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I used a female XLR to Male 1/8 inch adaptor to connect the mic to the camera since the camera does not have XLR inputs.
Doing so likely created an out of phase audio file, where the left channel is 180 degrees out of phase with the right. When it is played back, the two out of phase signals cancel each other out.
This is more apparent when played on either a mono device or a device where the speakers are very close together - like a smart phone . . . and will be less apparent when played on a device with stereo speakers that are farther apart, like a desktop, or when using headphones.
To fix this, in Premiere go to Effects > Audio Effects > Fill Left with Right and apply the Fill Left with Right to the microphone audio clips in your sequence.
Then export and test.
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Blown away by the simplicity of both the problem and the solution after hours of troubleshooting over several months in my free time.
again. wow. and thank you.
will be less apparent when played on a device with stereo speakers
I disagree. This problem is blatantly obvious in stereo.
I'm continually baffled how people don't hear this as "wrong".
I am primarily visual. I SEE things all the time that are "wrong" that most other people do not see. My wife, on the other hand is a classically trained musician, and when we go to hear a live band somewhere, she will hear all kinds of problematic things that most other people do not hear. You are the first person to even point out to me that something is "wrong" despite the hundreds of people who have seen my footage from this camera/mic setup over the past 4 years. So no, I still don't "hear it". I hear other details that are less than satisfactory, but not this "out of phase" thing. That doesn't mean you are wrong, it means I am naiive. I am still baffled and trying to figure out how to "hear it". If you can suggest some kind of tutorial or online youtube video that would be helpful in helping me to train my ear to hear the problem when listening to raw footage on headphones or other speakers, that would actually be more helpful to me or others whose brains are trained/wired differently than yours.
Your point is excellent. When I hear say operatic voices live, I hear things ... subtle things ... most others in the hall aren't aware of. For example, a tenor did a "spectacular" high ending for an aria, and the house went nuts.
There wasn't any brassiness, rasp, or anything other for most people but powerful high tenor. With a stunning shimmer to it.
Another person was there, that I knew, with ears like mine. We quickly turned to each other with eyes wide with alarm.
In his second or third overtone, there was ... something ... out of whack. Seriously. Not vibrating or shimmering with the rest of the sound but against it. We wanted to rush the stage and say stop until you get that trained out ... it was a beautiful young tenor and we were afraid of his career.
When I mentioned it to several other passionate experienced people there, they'd no clue what I was talking about. Talking with my voice teacher a year or two later, she nodded. Yea, a couple of the chorus were peers of hers, and had told her the same thing. They heard deterioration where the rest of the company heard Power.
All experienced highly trained vocalists.
I designed and built a pair of tower speakers, because hearing sound correctly is important to me. Extensively designed and planned, and just as extensively tested. These are flat within 3dB (mostly 2dB) from 16.5Khz down to around 60Hz, where they start a slight rise, with a 4dB peak around 23Hz. -3dB point is probably around 19Hz.
I love the sound of the human voice and orchestral instruments through them. It is ... accurate. Especially when approaching actual orhestral/operatic volume.
Even among musicians I know, most can't hear that much difference between decent speakers and very fine ones. Not a fail, just an inability to distinguish the sound with that degree of clarity.
Normal among humans.