I agree with Bob. Unless the audio is WAY different, just EQ it a bit and let it go. I hear mismatched audio all of the time on documentaries. I notice it, but it is not objectionable and doesn't distract from the content.

One other thing you might try is using a tiny bit of delay or reverb (tiny bit - tiny) on each cut. That will tend to mask the differences somewhat.

Tom

The basic rule when matching mics is that you have to match the better mic to the worse one unfortunately.

Use the same mic in the same acoustical environment (same reberb, ambient noise, location, etc.) and the second take should match reasonably well, given that it is a new speaker. It is harder with the same speaker, because he/she may speak faster, more animated, lower pitch, etc. which is obvious to the ear.

Note that I am suggesting you re-take the missing manager's talk.; not process the take you have.

Two words: "Acoustic Mirror"

It's free and is part of the Vegas feature-set that you can download IF you haven't got them. It's meant JUST for this and I think if you have a small sample of the noise characteristics you can create your own too!

Marvelous!

Grazie

Sorry but no, Acoustic Mirror will not do what's needed here.

Acoustic Mirror can emulate a 'space' by analysing the reponse of the space to an impulse. From that you can take a dry recording and come very close to making it sound like it was recorded in the space you sampled.
What it cannot do is to remove the reverb from recording in one space and make it sound like it was recorded in another space.

The much bigger problem here is using different mics and that's a very tricky problem. Despite a lot of head scratching I've never really been able to fully understand why you can't make one mic sound like another one. Whoever works this out though will make a large fortune.

Bob.

My mistake. I read it as needing the atmos.

Grazie

What I do is try and mask the crossover points with some background theme or SFx.
It is sudden changes that we notice most.
Bring the theme or SFx up and under and then fade out.
This would probably work only if there was one or two crossovers.

So as others have suggested:
1) Start with EQ and get them as close as possible.
2) Then mask the crossover points.

It is sudden changes that we notice most.

That may be why I see no practical use for a GATE. If the noise is loud enough to be noticeable under a person's voice then the constant appearance, disappearance, appearance, disappearance, appearance and disappearance of the noise only serves to call more attention to the noise.

If the noise in NOT loud enough to be noticeable .. then why use it at all?

Willing to hear opposing views.