All Things Audio -- topics from 2002 thru 2004

Mike Rehmus · June 24th, 2003, 09:16 PM

Microphones are easy. Countryman and a few others make very small heads. The transmitter is another matter. Usually they hang on the belt. I don't know what the NFL uses today but they have helmet radios of some sort.

Vladimir Koifman · June 26th, 2003, 03:25 AM

It looks like a nice small shotgun-type mic:
http://www.ambient.de/p_tiny.pdf

It got quite a favorable review in dv.com:
http://www.dv.com/reviews/reviews_item.jhtml?category=Hardware&LookupId=/xml/review/garrett0402

But what bothers me is the total absense
of any technocal spec on Ambient site, not even
physical size numbers.
I emailed them but got no response on that matter.
Does anybody have hands-on experience with
this mic? How does it compare to Sennheiser
ME66/K6 in terms of directivity, sensitivity, build
quality and overall sound?

Annie Cheatham · June 27th, 2003, 02:10 AM

I'm wondering what anyone's opinion is on the Azden True Diversity 311DR receiver used with the 31LT VHF transmitter. Anyone got any horror stories? I've been using one for a couple events, and I'm not getting the best sound. Lots of interference (prob cell phones). Sometime I get drop outs as well. Would anyone trust it with a wedding?

Let me know what you think!

Nathan Gifford · June 27th, 2003, 11:50 AM

VHF is always going to be problem from interference. The best advice is to check with musicians in your area and find out how bad a problem it will be. If the wedding is in the middle of nowhere MAYBE you won't have problems.

There are work arounds. If you have a minidisc recorder you could sync the mic with the tape by using a clapboard. A better solution is to by a good UHF system like the Sennheiser Evolution 100 series; it is excellent.

Bud Kuenzli · June 28th, 2003, 01:54 AM

If you are not getting flawless reception you have to change your setup; the question is what to. Cheapest way is probably with md or other deck hard wired to a small lav.

i've not owned a sennheiser but they get good reports other than one person's comments. I'm also in the market and have pretty well set on an Azden 500UDR system. It's worth a look.

Christopher Hughes · July 1st, 2003, 02:39 PM

If I use an MA-200 on the XL1s so I get two mics on the go. Such as one handheld and one Boom. Whats the best way in Premiere 6.5 to get these two mics to be balanced, ie. handheld on left channel and boom on right channel. Do you just make a copy and swap over channels on the copied sound wave file or is their an easier way. I have heard people say use Cross Pan or Pan across...or words to that effect, however I cannot seem to see that in Premiere.

There is DUPLICATE LEFT but that would just overwrite right with left, right? then that would erase right channel mic. So do I just make a copy them use SWAP to have recorded mic on right and left and Left recorded mic on right and left channels with two wave files for clip. Or is their an easier way?????

I must say I have learned more in here about sound than I ever learned before, as I always had a 'soundman' before in detailed documentary projects and for being soundmen they never seemed to make much sound (speech) towards when trying to understand their roles or needs better. Probably got sick of my questions. But sounds more important than image in a lot of ways. And I want to learn more and more!

So please help me out any Premiere users or Sound experienced people out there!!! Amd that have guided me to websites or put up with my sound questions in past - I'm truely grateful!

Bud Kuenzli · July 1st, 2003, 06:16 PM

it's come to my attention that the new FCC rules regarding wireless frequencies will begin (or are already) encroaching upon current wireless microphone frequencies, including the same ones used by the Azden 500 unit I was about to purchase. Digital systems are currently very expensive. Anyone have any experience with true diversity systems being affected yet? Any thoughts on the issue?

Bud Kuenzli · July 1st, 2003, 06:33 PM

When you bring in two channels with separate audio inputs (two different mics) doesn't one come in the left channel and one in the right channel? that would be normal and I don't really understand what the problem is. if you prefer to have both mics in stereo can't you just create two more audio tracks and copy them into the new tracks to provide the listener with the sense the sound is coming from both channels simultaneously?
I use Final Cut Pro and it is trivial in that program (click and create a new audio track and copy/paste) but I can't help with specifics on how to do that (if that is related to your question at all) in other programs.

Jeff Donald · July 1st, 2003, 08:53 PM

The airwaves are getting crowded and there is little to be done about it. Diversity just allows for better reception if the signals are being reflected of walls etc. The overcrowding issue will be best worked around by the ability to select from hundreds of channels on the receiver and transmitter.

Marcello Mongardi · July 2nd, 2003, 07:05 AM

I amin the process of setting up my audio for interviews. Today I went to B and H and they were, as usual, very helpful. They (two different guys) suggested that i get the Shure A96 transformer to go from my SGM-2X to the VX-2000. My question is, how important is the tranformer? I know that it balances the signal and matches the impedance of the signals...

I also realize that i am now in the terrible world of the "hiss", with all of of it's vicious rumors and myths, and truths. Does anyone out there use the A96?

Thank you again,

Marcello

Dany Nativel · July 2nd, 2003, 05:34 PM

For long runs, yes the transformer will be usefull to keep the signal balanced and avoid picking up unwanted noises.

For camera mounted you can wire the mic directly to the mic input using a short XLR->Jack cable. In that case you will run unbalanced but because of the short cable you won't get any hiss.

The A96F will provide a little bit more "gain" compared to a direct connection because of the impedance matching. I use the ME66 that's not a big issue (mic is pretty hot!).

I was thinking about using the A96F on camera but couldn't find any way to mount it (too long and too heavy to stay on the microphone).

Dany

Matt Stahley · July 3rd, 2003, 01:14 PM

Does anyone know how to remove the earpads on the Sony 7506. I've searched online but can't find anything.
thanks for any info.

Joe Calvillo · July 5th, 2003, 09:28 AM

Hey guys,

I really need a shotgun microphone to help the quality of my films that I shoot on the Sony VX2000. I'm looking to spend about $200-$400 dollars on a shotgun microphone. I need something for short range filming, probably nothing more than 10-15 feet away at any given time. I would like the microphone to mount preferably, but I can deal with a microphone on a pole too. I just need something pretty quick because I need to start filming a project ASAP. I've looked at some microphones, but I'm really not completely sure. Can someone here who owns a VX2000 or knows a lot about them give me some advice about what to buy?

Thanks in advance,

- Joe Calvillo

Devin Doyle · July 6th, 2003, 08:08 PM

Joe - I'm just about in the same boat you are. I'm trying to spend just shy of $200 on a shotgun mic for my GL1 and will also be using it to make shorts (meaning mostly boom work). I dunno if you've read or heard about this review, but it really helped me whittle the field down:

http://www.lafcpug.org/review_shotgun_mic.html

They pretty much review the best prosumer mics there for DV videographers. I've cut it down to the AT-835b, but if your ceiling for spending is a bit higher I'd go for the Senn ME66. People rave about that mic, and I'd kill to get my hands on it! Well, good luck, and lemme know what you decide!

John Iler · July 7th, 2003, 03:14 PM

I bought a cheapie DV RCA 9360 and want to use it to interview people. Although the video output is impressive, the audio is pretty awful. I've got a nice lapel microphone w/battery amplifier. I'm wondering if I buy one of those karaoke players and an adapter, whether I could move speakers closer to the built-in mics and get better results?

Or is there a better way? Money is an object.

Thanks!

June 24th, 2003, 09:16 PM	#91
Mike Rehmus Wrangler Join Date: May 2002 Location: Vallejo, California Posts: 4,049	Microphones are easy. Countryman and a few others make very small heads. The transmitter is another matter. Usually they hang on the belt. I don't know what the NFL uses today but they have helmet radios of some sort. __________________ Mike Rehmus Hey, I can see the carrot at the end of the tunnel!

June 26th, 2003, 03:25 AM	#92
Vladimir Koifman Regular Crew Join Date: May 2003 Location: Israel Posts: 115	Ambient TinyMike opinions? It looks like a nice small shotgun-type mic: http://www.ambient.de/p_tiny.pdf It got quite a favorable review in dv.com: http://www.dv.com/reviews/reviews_item.jhtml?category=Hardware&LookupId=/xml/review/garrett0402 But what bothers me is the total absense of any technocal spec on Ambient site, not even physical size numbers. I emailed them but got no response on that matter. Does anybody have hands-on experience with this mic? How does it compare to Sennheiser ME66/K6 in terms of directivity, sensitivity, build quality and overall sound?

June 27th, 2003, 02:10 AM	#93
Annie Cheatham Regular Crew Join Date: Feb 2003 Location: Athens, GA Posts: 45	experience with Azden True Diversity wireless? I'm wondering what anyone's opinion is on the Azden True Diversity 311DR receiver used with the 31LT VHF transmitter. Anyone got any horror stories? I've been using one for a couple events, and I'm not getting the best sound. Lots of interference (prob cell phones). Sometime I get drop outs as well. Would anyone trust it with a wedding? Let me know what you think!

June 27th, 2003, 11:50 AM	#94
Nathan Gifford Wrangler Join Date: Sep 2001 Location: Tickfaw, LA Posts: 1,217	VHF is always going to be problem from interference. The best advice is to check with musicians in your area and find out how bad a problem it will be. If the wedding is in the middle of nowhere *MAYBE* you won't have problems. There are work arounds. If you have a minidisc recorder you could sync the mic with the tape by using a clapboard. A better solution is to by a good UHF system like the Sennheiser Evolution 100 series; it is excellent. __________________ Nathan Gifford Southern Cyclist Magazine & Productions For quick answers try our Search! To see me and Rob Lohman click here

June 28th, 2003, 01:54 AM	#95
Bud Kuenzli Regular Crew Join Date: Mar 2003 Location: North Pole, Alaska Posts: 197	senn or azden? If you are not getting flawless reception you have to change your setup; the question is what to. Cheapest way is probably with md or other deck hard wired to a small lav. i've not owned a sennheiser but they get good reports other than one person's comments. I'm also in the market and have pretty well set on an Azden 500UDR system. It's worth a look. __________________ on the Internet, when you get where you're going you still don't know where you are

July 1st, 2003, 02:39 PM	#96
Christopher Hughes Major Player Join Date: Jan 2003 Location: Sunderland, England (y Merida, Mexico) Posts: 269	balancing R & L separate mics into balanced sound. If I use an MA-200 on the XL1s so I get two mics on the go. Such as one handheld and one Boom. Whats the best way in Premiere 6.5 to get these two mics to be balanced, ie. handheld on left channel and boom on right channel. Do you just make a copy and swap over channels on the copied sound wave file or is their an easier way. I have heard people say use Cross Pan or Pan across...or words to that effect, however I cannot seem to see that in Premiere. There is DUPLICATE LEFT but that would just overwrite right with left, right? then that would erase right channel mic. So do I just make a copy them use SWAP to have recorded mic on right and left and Left recorded mic on right and left channels with two wave files for clip. Or is their an easier way????? I must say I have learned more in here about sound than I ever learned before, as I always had a 'soundman' before in detailed documentary projects and for being soundmen they never seemed to make much sound (speech) towards when trying to understand their roles or needs better. Probably got sick of my questions. But sounds more important than image in a lot of ways. And I want to learn more and more! So please help me out any Premiere users or Sound experienced people out there!!! Amd that have guided me to websites or put up with my sound questions in past - I'm truely grateful!

July 1st, 2003, 06:16 PM	#97
Bud Kuenzli Regular Crew Join Date: Mar 2003 Location: North Pole, Alaska Posts: 197	wireless and FCC rules. Problem it's come to my attention that the new FCC rules regarding wireless frequencies will begin (or are already) encroaching upon current wireless microphone frequencies, including the same ones used by the Azden 500 unit I was about to purchase. Digital systems are currently very expensive. Anyone have any experience with true diversity systems being affected yet? Any thoughts on the issue? __________________ on the Internet, when you get where you're going you still don't know where you are

July 1st, 2003, 06:33 PM	#98
Bud Kuenzli Regular Crew Join Date: Mar 2003 Location: North Pole, Alaska Posts: 197	don't understand the question When you bring in two channels with separate audio inputs (two different mics) doesn't one come in the left channel and one in the right channel? that would be normal and I don't really understand what the problem is. if you prefer to have both mics in stereo can't you just create two more audio tracks and copy them into the new tracks to provide the listener with the sense the sound is coming from both channels simultaneously? I use Final Cut Pro and it is trivial in that program (click and create a new audio track and copy/paste) but I can't help with specifics on how to do that (if that is related to your question at all) in other programs. __________________ on the Internet, when you get where you're going you still don't know where you are

July 1st, 2003, 08:53 PM	#99
Jeff Donald Warden Join Date: Mar 2002 Location: Clearwater, FL Posts: 8,287	The airwaves are getting crowded and there is little to be done about it. Diversity just allows for better reception if the signals are being reflected of walls etc. The overcrowding issue will be best worked around by the ability to select from hundreds of channels on the receiver and transmitter. __________________ Jeff Donald Carpe Diem Search DVinfo.net for quick answers \| Where to Buy? From the best in the business: DVinfo.net sponsors

July 2nd, 2003, 07:05 AM	#100
Marcello Mongardi New Boot Join Date: May 2003 Location: New York, New York Posts: 24	Shure A96 transformer I amin the process of setting up my audio for interviews. Today I went to B and H and they were, as usual, very helpful. They (two different guys) suggested that i get the Shure A96 transformer to go from my SGM-2X to the VX-2000. My question is, how important is the tranformer? I know that it balances the signal and matches the impedance of the signals... I also realize that i am now in the terrible world of the "hiss", with all of of it's vicious rumors and myths, and truths. Does anyone out there use the A96? Thank you again, Marcello __________________ Red means run, son.

July 2nd, 2003, 05:34 PM	#101
Dany Nativel Regular Crew Join Date: Dec 2002 Location: Odenton, MD Posts: 106	For long runs, yes the transformer will be usefull to keep the signal balanced and avoid picking up unwanted noises. For camera mounted you can wire the mic directly to the mic input using a short XLR->Jack cable. In that case you will run unbalanced but because of the short cable you won't get any hiss. The A96F will provide a little bit more "gain" compared to a direct connection because of the impedance matching. I use the ME66 that's not a big issue (mic is pretty hot!). I was thinking about using the A96F on camera but couldn't find any way to mount it (too long and too heavy to stay on the microphone). Dany

July 3rd, 2003, 01:14 PM	#102
Matt Stahley Major Player Join Date: Jun 2002 Location: Waynesboro, PA Posts: 648	Sony 7506 ear pad removal Does anyone know how to remove the earpads on the Sony 7506. I've searched online but can't find anything. thanks for any info.

July 5th, 2003, 09:28 AM	#103
Joe Calvillo Tourist Join Date: Jul 2003 Location: San Antonio, TX Posts: 3	HELP Need shotgun mic desperately for VX2000! Hey guys, I really need a shotgun microphone to help the quality of my films that I shoot on the Sony VX2000. I'm looking to spend about $200-$400 dollars on a shotgun microphone. I need something for short range filming, probably nothing more than 10-15 feet away at any given time. I would like the microphone to mount preferably, but I can deal with a microphone on a pole too. I just need something pretty quick because I need to start filming a project ASAP. I've looked at some microphones, but I'm really not completely sure. Can someone here who owns a VX2000 or knows a lot about them give me some advice about what to buy? Thanks in advance, - Joe Calvillo

July 6th, 2003, 08:08 PM	#104
Devin Doyle Regular Crew Join Date: Jun 2003 Location: Los Angeles, CA Posts: 188	Joe - I'm just about in the same boat you are. I'm trying to spend just shy of $200 on a shotgun mic for my GL1 and will also be using it to make shorts (meaning mostly boom work). I dunno if you've read or heard about this review, but it really helped me whittle the field down: http://www.lafcpug.org/review_shotgun_mic.html They pretty much review the best prosumer mics there for DV videographers. I've cut it down to the AT-835b, but if your ceiling for spending is a bit higher I'd go for the Senn ME66. People rave about that mic, and I'd kill to get my hands on it! Well, good luck, and lemme know what you decide! __________________ http://devin.par-t-com.net

July 7th, 2003, 03:14 PM	#105
John Iler New Boot Join Date: Jul 2003 Location: Bethesda, MD Posts: 22	No Microphone Jack: Is There Another Way? I bought a cheapie DV RCA 9360 and want to use it to interview people. Although the video output is impressive, the audio is pretty awful. I've got a nice lapel microphone w/battery amplifier. I'm wondering if I buy one of those karaoke players and an adapter, whether I could move speakers closer to the built-in mics and get better results? Or is there a better way? Money is an object. Thanks!