So, I have an old but good Sennhesier 416 I think is the model number...
phantom power, all that...

But I want to get a new mic for the JVC HD...

I assuming Sennheiser is the brand=
but any thoughts on models?

I also have a good Sony wireless radio mike,
so I just need a mic to slap on top of my rig when working solo...

T. Patrick Murray (many thanks)

PS A philiosophical question--- has anyone ever worked with a "good" mic and found it was "too good" and caught too much sound? Case in point- I used new mickes for my Canon XL1 filming s football doc and after a while, I found that my SIMPLE STOCK MIC worked better- it sounded simply better.

Thoughts?

I read a letter from JVC that says the camera's audio (via XLR mic inputs) is UNbalanced.

heath

Well if you have a good working Sennheiser 416 I would just stick with that, as it's the standard in the film and television industry, and as far as I'm aware, there's still not much out there that can beat it.

"I read a letter from Ed Sherry of JVC that says the camera's audio (via XLR mic inputs) is UNbalanced."

GOOD GOD! If that's true, what a freakin waste. Could they have intentionally crippled this camera any further? Why didn't they just make it so that all footage had composited over it: "THIS CAMERA MAY NOT BE USED BY PROFESSIONALS"?

In case your customers ask this question.

E S

JY-HD10U deliveries begin next week and we believe customers of this unique camera will be very pleased with its amazing price/performance.

The JY-HD10U features two XLR audio inputs located on the camera's microphone mast. In most professional products, XLR connectors connote balanced audio design. However, the JY-HD10U's specifications show "unbalanced" at the XLR audio input.

Since this feature is not expected to be changed, modified or upgraded in the foreseeable future, JY-HD10U published specifications clearly denote the XLR connectors as "unbalanced." Balanced output microphones may be successfully used with these connectors, with a 6dB drop in audio level, and without the noise cancellation provided by a balanced input. This potentially only a concern when there is a long cable run between the microphone and camera.

We wanted you to be aware of this characteristic prior to the camera's release.

Regards,

Tim Tokita
National Product Manager

Can someone please explain the difference with UNBALANCED audio?

Does this refer to AUDIO LEVELS upon XLR input,
meaning I need a field mixer?

Or does this refer to the relationship between the R and L inputs?

Please help- I need to understand if this precludes the need to get a new microphone... thanks in advance...


T. patrick

Hi,

I put up that letter because my sales rep gave it to me, so I know what to do with the mic. I don't want to cause any trouble, it's just that this balanced vs. unbalanced audio thing really needs to be known to all of us.

Thanks,

heath

putting up that letter was great-
but what does it mean, technically?

tim

<<<-- Originally posted by T. Patrick Murray : putting up that letter was great-
but what does it mean, technically?

tim -->>>

I don't know, honestly. I purposely keep out of the technology, because I have the problem of losing focus on my filmmaking if I'm slaving over tech.

Buy a DAT!

heath

>>So, I have an old but good Sennhesier 416 I think is the model number...
>>But I want to get a new mic for the JVC HD...

List some mics that are better than a Sennheiser 416?

Schoeps
MK41. The MK41 is the "high end" film industry choice for audio capture.
You can add an MK8 (figure 8) mic underneath.
This combo is for real good MS recordings.
The MK41 is very directional and the
amount of MK8 signal added into the mix opens the
field as wide as you like. This is the mic used (the MK41 I've been told) on
almost every Clint Eastwood movie made.

Both of these mics can fit inside of a blimp about the size of
a softball, so the whole "kit" is small and portable. With the
Schoeps preamp and special Y cable and "furry" about $4300.
http://www.posthorn.com/

Neumann
(lifted from their website)
RSM 191
has a coincident pair of microphones in a single housing to generate a stereo signal with perfect mono compatibility. The middle microphone is a hypercardioid short shotgun, while the side capsule system has a figure-8 pattern. The microphone uses transformerless circuitry for excellent transient response, transparent sound quality, high output level, high SPL tolerance, and wide dynamic range
The complete RSM 191 system includes an integrated amplifier/matrix offering adjustments of XY stereo with varying acceptance angles or MS outputs with multiple ratios. The microphone can be powered by external Phantom power or by a single 9V battery inside the matrix box.


Sennheiser
MKH 70-1 (long shotgun)
MKh 60-1 (short shotgun)

The 416 is a good mic however. If you want to sell it, you'll
have plenty of takers.

I appreciate the GREAT answer Jacques!

Say- could you check out my film's website?

If the subject interests you, I will send a FREE copy of the film...

Thanks T. Patrick Murray

Looks like a pretty cool documentary T. I love to see it.

Tell us more about it, but maybe a wrangler can shift this over to the
right forum?

Jacques-


I put up a new thread to talk about my little movie...

Thanks very much...