Boom Op monitoring question...

Ross Jones · June 3rd, 2006, 08:16 AM

Glad to hear that it's got some 'wellie' for the headphones... I too am very peeved at camera h/p outputs - way too feeble.. Hmmm, I guess I could use this as a straightforward h/p amp using the 1.4" input - from the 1/8" o/p from the camera, to boost the h/p level..
Also, my Beyer 'phones are 400 Ohm, & my AKGs are 600 Ohm - so they need a bit of grunt to drive them adequately. The 7506s are just about OK off camera, but a tad more level would be welcome.
Good recommendation; thanks.
Rgds, Ross.
~~~~~~~~~~~~~~~

Greg Bellotte · June 3rd, 2006, 08:31 PM

You should also check out the Whirlwind MD-1. Similar to the Rolls, but built like a tank. The XLRs can be a pass thru, or you can preamp for loonnnnnggggg cable runs. You can use mic or line on the XLR's, and it will supply phantom as well. Also has an external input that mixes into the h/p for the boom op, great for speaking to your op if you like.

Ty Ford · June 3rd, 2006, 10:11 PM

But only an 18 Volt Phantom.

Regards,

Ty Ford

Matthew de Jongh · June 5th, 2006, 01:57 PM

oleg sent me this thread, i haven't been on this msg board in a while...

i have a 442 and a 744t and the direct outs on my 442 are full because i feed all four channels to the 744t directly before any fader etc.

the only solution i came up with for my boom op's was to get the psc duplex cable which has the box at one end with the xlr input for the feed from the boom mic and it has a 1/4 headphone jack for the boom op's headphones.

at the other end is an xlr cable and the male 1/4 to plug into the headphone amp/source for the boom op.

what i came up with to elminate the boom op hearing more than the want or need is to feed them just the left channel from the 442 and the only compromise is that i only ever put the boom mic on the left channel.

which doesn't seem like a big deal because in the mix i think its probably better to have the boom mic on its own channel and then lav's or plant mics on the second channel.

plus i have all of this on separate channels on the 744t so for the final mix they can use that set of tracks.

the only downside is the cable is rather bulky, its a 10 pin just like the hirose cable that feeds from the 442 to the camera.

and the cable is 50 ft. long so thats a lot of cable to find a home for when your mostly shooting shorts in regular small houses.

i'm going to check out this rolls pm50sOB

matthew

June 3rd, 2006, 08:16 AM	#16
Ross Jones Regular Crew Join Date: Jul 2004 Location: Harvard, MA Posts: 155	Glad to hear that it's got some 'wellie' for the headphones... I too am very peeved at camera h/p outputs - way too feeble.. Hmmm, I guess I could use this as a straightforward h/p amp using the 1.4" input - from the 1/8" o/p from the camera, to boost the h/p level.. Also, my Beyer 'phones are 400 Ohm, & my AKGs are 600 Ohm - so they need a bit of grunt to drive them adequately. The 7506s are just about OK off camera, but a tad more level would be welcome. Good recommendation; thanks. Rgds, Ross. ~~~~~~~~~~~~~~~ __________________ XH-A1; HV-20; Miller DS-10; Manfrotto 695/3229; SD302/702; PCM-D50; FCS2; MacPro; 2.25TB

June 3rd, 2006, 10:11 PM	#18
Ty Ford Inner Circle Join Date: Nov 2004 Location: Baltimore, MD USA Posts: 2,337	But only an 18 Volt Phantom. Regards, Ty Ford __________________ Ty Ford's Audio Bootcamp Field Guide Ty Ford's Audio Video Blog

June 3rd, 2006, 08:31 PM	#17
Greg Bellotte Major Player Join Date: Sep 2005 Location: SLC, UT Posts: 291	You should also check out the Whirlwind MD-1. Similar to the Rolls, but built like a tank. The XLRs can be a pass thru, or you can preamp for loonnnnnggggg cable runs. You can use mic or line on the XLR's, and it will supply phantom as well. Also has an external input that mixes into the h/p for the boom op, great for speaking to your op if you like.

June 5th, 2006, 01:57 PM	#19
Matthew de Jongh Major Player Join Date: Sep 2003 Location: sounthern maine Posts: 344	oleg sent me this thread, i haven't been on this msg board in a while... i have a 442 and a 744t and the direct outs on my 442 are full because i feed all four channels to the 744t directly before any fader etc. the only solution i came up with for my boom op's was to get the psc duplex cable which has the box at one end with the xlr input for the feed from the boom mic and it has a 1/4 headphone jack for the boom op's headphones. at the other end is an xlr cable and the male 1/4 to plug into the headphone amp/source for the boom op. what i came up with to elminate the boom op hearing more than the want or need is to feed them just the left channel from the 442 and the only compromise is that i only ever put the boom mic on the left channel. which doesn't seem like a big deal because in the mix i think its probably better to have the boom mic on its own channel and then lav's or plant mics on the second channel. plus i have all of this on separate channels on the 744t so for the final mix they can use that set of tracks. the only downside is the cable is rather bulky, its a 10 pin just like the hirose cable that feeds from the 442 to the camera. and the cable is 50 ft. long so thats a lot of cable to find a home for when your mostly shooting shorts in regular small houses. i'm going to check out this rolls pm50sOB matthew