John, I'm supposing you've got a smaller diam than the Canon mics . . that's why you are asking - yeah?

Up to now I've used a strip of car innner tube rubber . . it's flexible, it's free .. so you can loose it without any financial fears. . go to any garage and ask for an old one! ; it's a bit non-isolating for cammie noise . .. but it's firm and keeps my Senni66 from going walk-about - yeah? Just cut out a strip for your requirements.

There isn't much space between the the clamp and the mic itself to insert a more damperning type liner. If there is, I'm interested!

Grazie

I use a long strip of black felt rolled several times around my mic (ME66).

Ah! Now that SOUNDS good! Good dampening suspect?

Grazie

Thanks to all, I 'll have to give it a try.

I've got a GL2 w/ the Sennheiser ME66/K6 shotgun, and I was wondering if anyone had tried using a XLR Y cable from the Mic to both L and R inputs. Could you use your manual sound, and set the R to a higher gain and the L for lower in case of a sudden loud noise that may clip on tape? Just wondering as I'm shooting a documentary on Explosive Demolition beginning next week down in New Oreleans. Just trying to get the best sound of course, but I'll have 3 other MiniDV cams and 2 DATS as well.

One more thing while I'm talking about the ME66, I've used it for a year now with outstanding results, but can someone explain the switch on the actual mic that looks like --\ it's right by the power button, i'm guessing it's some sort of attenuator, but when would be the best time to use it or keep it off? Thanks,

Mike

Jesus, I meant the K66 bass roll-off filter, anyone use it? Sorry,

Mike

Yes, I created, "...XLR Y cable from the Mic to both L and R inputs". This was to ensure a colleague of mine had "both" channels on his AVIO edit system. He wouldn't copy one channel to both in post . . hey, sometimes yer have to go with the flow ;-)

Okay - I'm really trying hard to get my head around what you said next,"Could you use your manual sound, and set the R to a higher gain and the L for lower in case of a sudden loud noise that may clip on tape? " - I'd be thinking that adjusting either or both would only give you a higher or lower audio on THAT channel. Loud bangs or distorts would be captured on either one of the channels. In which case wouldn't you be back to square one? - I'm really having a problem with this concept . . . .

As for the Bass roll off, I've kept it on all the time. Nothing logical about my approach. Oh, there was a nice little graphical representation of the Bass Roll-off effect somewhere. I believe it was with my Senni66 kit when I got it. You could do a search on the Senni Site to get some info . . In the meantime could you please explain a bit more fully your ideas anout the Y split to both channels . . it's doing my brain in!

Hope some of this is helpful,

Grazie

The bass roll-off switch is common to many pro microphones. Essentially, it helps to filter-out low-frequency rumble.

Try changing the switch while recording near a motor or some other low-freq noise source to understand the effect.

Thanks for the bass roll off info, I've never had it on. I read somewhere that'd it'd be a good idea to y split the XLR cables so that you could set the ideal level of sound for example the left channel. Now for the right channel, set the gain lower but so the sound is still clean. That way, if an unexpected LOUD noise comes about and you dont' have time to ride the levels, the Right channel would have still picked up the clear LOUD noise w/o clipping on the tape. Basically, it acts as a back up.

Mike

Unless you are experiencing problems w low freq rumble or noise, it's best to leave the switch off. Why would you want to limit the range of the mic you spent big bucks for? Some folks use it when trying to cut down wind noise and it does help some but comes no where near a good wind screen.

I also read (In Real World Video) that when recording mono, you can Y split and set one channel at 0db and the other at -20db. So you get your optimal audio at 0 db BUT, if something happens to send that optimal over the edge and ruins the audio (that you normally would be capturing mono on just one channel), the -20 db channel acts as a back up, to be edited in at the appropriate spot in post.

If this is a BAD idea, I'd also like to hear from those who know...

Using a Y cable from one mic into two channels and with one channel set higher than the other is a great way to record sound if you are not able to ride levels or don't have a person dedicated to mixing the sound.

However, if the "loud" peak is louder than the mic's maximum db range than you will get distortion on tape regardless of how low you have turned the level down, especially with electret mics like the sennheiser K6. On the other hand, most dynamic mics on average have a much higher maximum db range and perhaps you should be using two mics for the purpose of recording explosive material. I personally use the sennheiser e835, which is very rugged and for a dynamic mic has a great frequency response.

Bass roll off is good if recording in high wind environment, but you still have to use a windshield other wise it will not do much in that regard. Do some tests like Ken says to see what difference it does make... and do listen to the material on a system that can produce good bass... u might be surprised at how much different the characteristis of the mic changes with the bass roll-off on and off.

Cheers,
Jack

. . I really think I missing the point here . . . As the output, whatever that maybe, going basically into 2 channesl give the "same". How does one manage this in post . . . I'm obviously missing a fatal flaw in my awarenesses here? . . Somebody put me out of my misery . . .

Grazie

If you have the one mic split via a Y cable into two channels and one is set lower than the other then in post you should only really use the one track, either the left or the right. If the left is set to a normal level and there is a distortion in one part of the recording, there is a good chance that the right track will not be distorted at that point as it has been recorded lower.

So in that case you would have to mix from one to the other (ie left to right and then back again to take out the distoted part. Obviously you have to mix the sound into mono during the edit or afterwards so that you dont end up with sound in just the left or right channels.

Hope this clears it up.
Jack

Thanks Jack. I think I was confusing the option to use mic att, which I have used to great avail, saved me and the shoot on a number of occasions. I was thinking that maybe one could mic att just one, either or both channels separately. This is where I was confusing myself. So all you are saying is that one would physically "reduce" one channel, THEN in post separate the 2 channels and Pick 'n Mix from either - yeah?

The last part of what you say about the need to Pan the mono I understood. I do this in Vegas all the time now.

So, no separate XM2 mic att for each channel, just a reduction in the audio of each channel - got it!

Not in misery anymore.

Grazie

Yes that's exactly right Graham.

One more note; mic attenuation is good for most things, but the original poster Michael mentioned recording explosive material and that IMO would still be too loud for mic attenuation.

I was recording a band once and although I was recording the sound onto minidisc from the mixer, my camera's sound was very distorted even after using mic att. and turning down the volume a lot. I was fairly close to the speakers and like I mentioned in my prebious post, if the sound pressure level goes over the mic's maximum it will distort no matter what.

Anyway, Im glad you now know what I was saying before.

Cheers,
Jack

Graham, you let A FRIEND use one of those? I had the bad luck of having to rely on that wretched machine in an under budgeted high school video class. It is by far the WORST machine i have ever used! An old iMac with iMovie is 100X the machine at half the price! But, hey... thats just me on a rant.

"Graham, you let A FRIEND use one of those? " - . . er no! He had it a long long time before I ever knew him. And, just for the record he has produced some remarkable wedding videos. PLUS he is a very good cameraman and FRIEND! - He just wanted the single track spread to 2 tracks . . .

Happy New YEar . . Grazie

I just had a thought, don't know if this is possible, but what about building a phantom supply into the ma300 adaptor? has anyone tried this?

Apparently not!

I suspect that the future version of the XL will (finally) incorporate phantom power and built-in XLR's. But I'm not so confident about a future version of the GL having this feature.

Meanwhile, there's always the Beachtek DXA-4P.

Hello everyone,

Gotta question, I'm trying to figure out the following:
If I connect an external mic to the MIC terminal in my GL2, will I still get audio from the on-board mic? Will the mono signal from the external mic be one the left channel? If so, does it cancel out the audio from left channel of the on-board mic?

Another question: how would you connect two wireless mics to the cam and control their levels without a mixer. Do I need one of these (or something similar?):
http://www.signvideo.com/xlr-pro_xlr_adapter-audio-mixer.htm

Thanks all!

Regards,
Emilio

If you plug an external microphone into the mic socket, it automatically disconnects both channels of the built in microphone.

A mono microphone will play left channel only. You will get noise on the right channel.

Most editing software will allow you to duplicate the L channel on to the R channel to give dual channel mono.

If there are no impedance problems, you can use a female mono/male stereo adaptor between your microphone and the camera socket.

I decided to go down the Canon Audio Adaptor MA300 route. This gives 2xXLR and other stuff too. It sits in the HOT shoe of the XM2 . .

There are pluses and minus' with this setup, as too with screwing a box under the cammie itself. This is the "type" of box which you've found out about. Others here will suggest the BEECHTEK [ spelling may be out . . ].

Anyways, using XLRis a very good way to go. It gives the "clean" pro sound. I guess you've got say what you will be needing it for in the near future and could you see this investment payng off . . yeah?

I have external Sennihieser kit:

1 - A senni EVOL100 Wirless kit [ ltie mic ]

2 - The ME66, shotgun with the K6 power module.

I connect each of the 2 XLR inputs on the MA300 and get a fabulous "feeling" of controllable and clean sound. When I come to edit in Vegas, I then have LEFT and RIGHT as Wirless mic and Shotgun mic. Great stuff. Just did a whole load of interviews. These mics and the MA300 setup was the perfect setup for me.

If I was connecting 2 wireless mics, then I would remove the shotgun . . . yeah? Then I could "mix" on camera. This is the way I've been taught. I'm more concerned to get the best and cleanest sound coming TO the cammie. Then any further "mixing" I can do weithin Vegas. I treat sound the same as video. GET the BEST in the can. NOW, mic attenuation is THE way for me to get the levels set and maybe a little down or up twisting of the dials to fine tune it, gets me thru' the night.

At the end of the day, Emilio, it is very straight forward. BUT getting audio and the BEST you can for your budget is the only way to go. I wish others starting out spent more time on addressing the forlorn poor cousin of vide . . namely AUDIO! - Hey Good audio can MAKE an average video . . BUT poor audio can totally RUIN an excellent piece of video .. been there cdone that . . got the scars - yeah?

Hope this helps .. Others will come in with their own observations and suggestions.

Best regards,

Grazie

Thanks Grazie and Alan for your replies. Really helpful insight guys. I've definitely learned a lot using this forum, and all of you are to thank!!

Grazie,
Another question, using the MA300 you've got two inputs. Is that, two mono inputs, left and right? Or, two stereo, on four left and right channels?

Regards,
Emilio

I have a Canon L1. It has a mic (stereo/zoom) that came with it. Has anyone ever hooked it up to the GL2? Would it work just from the hotshoe or do I need to get and extension cable 3" to reach the mic output?

I remember seeing on the board that someone used it this way before but I can't find the thread.

I'm shooting a reporter interviewing Gem experts at a Jewel convention atmosphere in a convention center.

Or will the onboard mic of my GL2 work fine?

Thanks for the help

Richard

Richard,

I would strongly recommend against using the built in mic for an interview in a noisy envrioment (actually pretty much anytime but especially here). You'll be picking up LOTS of sound that you don't want. Best would be to mic both with lav's, next best would be a good boom shotgun boom mounted.

Thanks Rob,

What about a Sure SM57 mic that he could hold? Would the GL2 pick this up as stereo or mono?

Richard

Richard,

Looks like that is a XLR mic so assuming you'll be using an adapter of some sort, yep, it'll record to just one channel. Plugging any external mic in to the GL2 disables the onboard mic so you'll just be getting that one channel.

No personal experience with that particular mic but it'll be waaaay better than using the onboard. Just make sure the interviewer points the mic in the vicinity of the source.

Thanks Again Rob,
This helps a lot!!!

I'm gonna try to get and adapter......


Richard

Hi
I recently purchased the XLR Pro from sign video ,only took 4 days to arrive (from placing order and i'm in the UK).Very pleased with both the service from SignVideo and the XLR Pro.The only dissadvantage to getting the XLR Pro(or similar Beachtek etc) over the MA-300 is you will have to get a hot shoe shock mount if you want to sit the mic on the camera(oh and the MA-300 lets you connect a field monitor). Beyer make a reasonably priced shock mount(just ordered one of those as well it was about £20.Other things to consider when it comes to the mic is ,does it need phantom power or does it take a battery.I have an AudioTechnicaAT4073a(phantom power only)and an AT835b(phantom or battery).So i had to order a phantom power supply,these can be either battery or mains powered and vary in price ,output voltage,number of channels etc.(ordered a PPS2-24v £50apprx),the one i'm getting has two channels and runs off 3 PP3 batteries,so i can connect both mics at the same time.It is a more expensive set up than going for the MA-300 but it's not restricted to just my cam(XM2).I would tsill have needed to buy the phantom power supply anyway for the AT4073a.
Hope that helps
Andy

I'm looking for an XLR adaptor for my GL-2. I'd like
two XLR inputs.

I'm currently considering Sign Video's XLR Pro and Studio One's XLR -BP Pro...

Any suggestions?

Thanks,
Dan from Michigan

I opted for the SignVideo XLR Pro,and it seems fine to me .Haven't used it a great deal yet ,only played around,i use it with a battery powered phantom power unit ,and 2 AT mics.The service from Sign was excellent as well,had it within a few days of ordering,and i'm in the UK.I have one of thier Lanc controllers as well,the only downside i've found with the Lanc is i cannot zoom and focus at the same time.In all honesty i don't think there is really much beween the Sign video,studio one and beachtek adapters.With any of those adaptors you will need a hot shoe shock mount if you want to mount the mic on the cam,i opted for beyer 86 shock mount which works fine for me(especially for the price).
Hope that helps.

Thanks Andrew,

I've been comparing the Sign Video XLR Pro and the adaptor made by Studio One. According to Studio One, their XLR BP ($120) is only for dynamic microphones. If using a condensor, I guess that means you'd have to upgrade to their XLR BP Pro, which retails for $179.00. Sign Video's adaptor is about $149.

If anyone else has any input on these, I'd appreciate it.

Thanks again Andrew!

I did a comparison between the Studio One XLRBP-PRO and the Beachtek a while back on this board when I had a GL2. I found the Studio One to allow more sound through, and it was more flexible with the ground lift switch (could be used with a variety of devices and cameras), and I also liked the belt clip method as opposed to the under camera method.

I don't know anything of the Sign Video one, but I can tell you that the XLR BP-PRO is a very good product. If the Sign one is as limited as you mentioned above, I'd shake it off for the Studio One.

Imran,

Thanks for the feedback.

Just to make myself clear -- according to a rep. from Studio One, the XLR BP can only be used with Dynamic microphones. Their next model up is the XLR BP Pro, which sells for $180, as compared to Sign Video's XLR pro which sells for $150.

Does anyone know if the XLR pro can be used with microphones besides dynamic only?

Thanks again.

Why not? I've got it .. it works AND its got a BNC connector AND another cold shoe AND another a mic clamp too?!?! Why don't people suggest this? Do others know something I don't? .. . oh yeah .. it NOW looks like Sony's aduio "pods" they've designed-in to their "other" range too . . . hmmm... Canon must be doing something right here? . . . oh yeah . . it isn't bolted underneath the cammie!

Grazie

Has anyone ever tried adding a switch / circuit to make the MA-300 XLR adapter for the GL2 Mono/Stereo? I believe (I'm hoping) it should be rather easy. Running a wye-splitter into both jacks when taping handheld with a wireless receiver is bulky and bizaar. HELP!!!

Thanks, Christian

Are you saying you want the Mono feed to appear on both tracks? This isn't "stereo" it is the same feed on both tracks .. So I guess you're wanting the audio to appear on/in your NLE as 2 audio tracks. Why not double up the tracks in your edit, in post. This way:

1 - You wont muck up your MA300

2 - You've always got a spare XLR for another mono feed.

I've done both the "Y" and the separate recordings to each track. Others might have other views.

Grazie

My reason is this... I want my one input recorded on both tracks. If theres a dropout on one the other will cover it's arse. If it wasnt important I reckon Beachtek wouldnt include the feature on all their boxes either...

It is more likely that the drop out will be caused by the source, i.e your microphone. In this case your drop out will be duplicated on both tracks...

not all NLEs provide for duplicating the missing audio channel. this is a shortcoming of the canon adapter and another reason to consider the beachtek.

Wondering if anybody has experienced this before.

With the Canon MA-300 microphone adapter and an Azden SGM-1X shotgun mic, my recording levels are on the low side.
If I plug the mic right into the camera using a XLR-mini adapter cable, the recording levels are noticeably louder (and better sounding). I have the audio set to manual and at the same level for both tests.
Is this a 'feature' of the MA-300? Is there any settings I should be aware of?

Thanks

Jeff, granted I've got the Senni k66, but I haven't noticed this. I'll do a test later this morning . . hmmm...

Grazie

Well I have decided after several other tests that I am not that thrilled with the Azden SGM-1X

I thought it would sound much better than it does.

I just got a deal of a lifetime on a used Sennheiser ME66/K6 so hopefully it solves my audio problems.

The Senn ME66 has substantially higher output than the Azden, a far better mic to boot!

Good Day All,

I am the a/v coordinator at my church and we will be purchasing the GL2 this week. I have numerous questions, but I will only ask a few now and follow up with more later.

With the MA-300, what is the best way to get the sound from the soundboard (Mackie 32) and also getting the sound from the congregation? With getting the sound from the Mackie, will I need anything to reduce any unwanted noise/sound going direct from the soundboard to the GL2?

2nd Question: I will be using Video Vegas 5 +DVD to edit and author DVDs. Has anyone done this and what problems if any have you experience or words of wisdom.

I have general concepts of the a/v world from my degree in tv/radio, but haven't used any of my degree since I got commissioned in the Air Force. I have a love and passion, but the technology has changed greatly from when I was in school with 30 lb cameras and 3/4 inch tape. Any help or guidance is greatly appreciated.

I must say I have done a lot of reading on DV and this is an OUTSTANDING forum for newbys and those in the middle of the road!!!!

Hi Ryan, welcome to the forum.

I use a GL2 and often take a signal from a Mackie sound board, and I use Vegas 5 + DVD. My main venues are high school and cummunity theater auditoriums. I think that you and your "customers" will be thrilled with the DVD product you will be able to produce.

I recommend against the MA-300. It's usable, but if you haven't already bought it, or it's returnable, get a Beachtek adaptor instead, preferably the DXA-8. This will greatly increase your versatility. But even the DXA-4 is much better than the MA-300, and for about the same price.

Assuming that the church's PA sysem is working off the stereo outputs, I would plan on taking your signal from the Balanced Mono Out (not Monitor Out). That output is post eq, post fade and post mute, so you get the true mono mix of whatever the operator is sending to the stereo outputs. You will need a 1/4" TRS to 3-pin XLR male adaptor, and a suitable length of XLR cable. I would also purchase a few in line attenuators. because the DXA-8 is designed for mic level and Makie's Mono Out is a mix of the amplifed stereo output, controlled by the stereo faders. The stereo outputs normally go to the inputs of a power amplifier so the faders are not likely to be set too high for your use of the Mono (with attenuators), and not likely to be changed during an event. But check with the operator.

The output from the board is nice and pure, but as you apparently already know, can sound sterile if not mixed with some room sound. This is especially important when you have an audience or a congregation. So the idea is to take a line from the board into one of the GL2's stereo channels and a mic input into the other. Many mics will do the job for you, but don't get a shotgun like many people are inclined to do for their first mic (only a good idea if it's going to be a roving camera with a camera mounted mic). A cardiod or hypercardiod placed on a stand is better for indoor coverage. I use an AT 3031 cardiod.

Yes, this is a great site, easily one of the best on the internet, and you can get advice much more expert than mine on mics and on Vegas in their respective forums.

[Edit--I forgot to mention that the MA300 and the DXA-8 are both designed for mics, so attenuators are required in order to use them with line level inputs]

Best of luck!

Ryan,

I agree with Fred: The BeachTek DXA-4 (http://www.beachtek.com/dxa4p.html) is preferred over the MA-300. While the MA-300 has XLR inputs, it is NOT balanced inputs. I have used the DXA-4 with great success. The DXA-8 (http://www.beachtek.com/dxa8.html) adds phantom power and limiters, so if your budget permits, this will provide you will more capability and flexibility as Fred said.

Good luck.

Fred and Pete,

Thanks for the information. The two of you have been very helpful and I will be checking into the recommendations you have offered.

I do have some questions. With the DXA-4, thanks Pete for the link, does it have an attachment to allow you to connect it to the tripod. I see where it allows you to connect it to the camera, but does it allow you to connect it to the tripod. Being in the military you never want to assume, therefore I am a true believer that there is no such thing as a "dumb question".

Fred, what type(s) of attenuators do you recommend. Also with your recommendation, where can I find out more stuff about them. We do have a sound person who will definitely understand what you are talking about, but I believe knowledge is power, so I'm trying to learn as much as I can.

What are some of the places to purchase the DXA-4, the attenuators, and the AT 3031 cardiod?

Thanks again, and I'm sure you will be hearing from me again.