I would have posted this in the sound forum BUT it has to do with the physical charactersitics of mounting a mic on the DV.

I just received my new DVX100A from B&H yesterday. Now that I have a charged battery I am playing around with it.

I've shot a lot with the Canon XL system and have some accessories which I am trying to make work on the DVX. I have an AT835B shotgun with a Rycote softie but it is way too into the pic if I mount it with the provided mic holder. I tried to see if I coud get my Lightwave mic holder to adapt to the DVX but with no luck.

Any suggestions on how to either mount the mic further back or a shorter mic that works well on the DVX camera?

Many thanks in advance.

i bought the shotgun mic that panasonic sells as an accessory to the camera, and it's worked out just fine for me.

on interviews where i'm no more than 4-5 feet away from the subject, it sounds fine. not great, but fine. and for $150, it's a great improvement to the on-board mic.

I've found the panasonic mic that comes with the cam to be totally useless! I'd get a better mic - even an AT 897 would do the trick.

What would be the best short shotgun regardless of price?

I actually found a way to use my AT 835b shotgun with a Lightwave shock mount (for the Canon XL) onto the Panasonic shock mount on-board the DVX 100A, The offset of the two mounts enables the mic to travel on board just out of sight by mounting it further back.

That's a good one too!

Rhode NTG1 and a Senny ME64 are good with it..

one thign abotuthe Senny though, is that it has teh tendency to give u a too hot a signal.. be careful not to overdrive the capsule.. no amount of ALC will salvage a lost shot..

I've been using the Sennheiser MKH60 for about a year (with the DVX100A) and I have come to the conclusion that while I LOVE - absolutely love the MKH 50, I really don't like the MKH60. I'm a little slow, I'll admit, but I kept thinking it was the settings I was using, but last week I did a shoot where the 60 was the mic on the interviewee, and the 50 was on the interviewer, and I just keep wishing that I had switched. There is a "covered sound" that comes from the 60 that I really don't like. Maybe I have it too close, maybe I don't understand what is the right way to use it, but I have to tell you, I've recorded all over the world with the 50 and I've never had those problems - ever.

So why did I get the 60? Well, I wanted a mic that I could use on camera for "run and gun" docs, which is what I do most of the time. I wanted a longer throw than I got with the 50, but frankly I can always make the 50 work anyway. I looked at the schoeps and I think I will try it - a friend of mine from New Mexico said he loved it and was going to see if he could sell the 60.

Anybody else had this experience?

thanks,
Milt