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

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.

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

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!

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!

John

I think a better solution for you is to sell that RCA camcorder (put it on Ebay maybe) and use that money toward getting a DV camcorder that *does* have a mic input jack, such as the Canon ZR60 (which is only about $500). Hope this helps,

With no mic input, the really only way to record good audio is either a DAT recorder (which cost a lot) or a MiniDISC player/recorder with a mic input (which still cost a decent penny, $200 minimum)....

You can also try a standard old-school cassette recorder, and rip it onto your computer via line in on your sound card (like you'd have to do with minidisc) but the quality isn't going to be all that great.

Chris - thats a good suggestion, i'd say it's really the most logical one, but i'd rather take that RCA with no mic input then a ZR (with a 1/6" ccd) with a mic input....

John, if you do decide to take back/sell the RCA for some reason, I can suggest Panasonic DV cameras, good cameras, must get one with a mic input though. :D

If you have not yet figured it out let me know and I will have the answer tomorrow.

Thanks but i figured it out today.They just pull off!

XL1 Onbard Mic or Boom

We will be shooting a children's video. We will have children watching as the ins and outs of various pieces of equipment are explained. We are tight on a budget. What loss of quality will we experience if we choose to shoot without a boom for children's questions and instead just use the onboard mic to pick up the children's voices? Our host will have a lav, but getting extra help for the boom and using the boom may be a little much. I know we SHOULD use a boom, but honestly, do we really need one?

Who has experience in shooting just using the onboard mic and will we suffer for using it and not a boom???

Thanks!

We currently produce children's videos. We will always have one host, sometimes two. We shoot with a Canon XL1. Our hosts will always be within 15 yards, but for the most part much closer at maybe 5 yards. We are set to buy a wireless lav kit. Here are the options we were given for being under severe price constraints:

1 - $119.50 Audio-Technica PRO-88W Wireless VHF Lav Mic Kit
2 - $149.50 Azden WLX-PRO Wireless VHF Lav Mic Kit
3 - $319.50 Azden Dual Wireless VHF Lav Mic Kit (allows recording from two transmitters simultaneously)
4 - $459.50 Sennheiser EW-122P Wireless UHF Lav Mic Kit

We need to purchase in the next few days for a project in early August.....

Please, all comments will be most appreciated. We hear from our seller that pretty much the Audio-Technica and Azden are the same quality wise. But is the Sennheiser that much better?

Thank you so much!

MFP

If a VX2000 could talk how would it tell you to set its mic/line switch when connected to a BeachTek DXA-4?

David Hurdon

You must set the VX-2000 for mic when using the Beachtek. It told me so itself... ;-)

I'm about to do a couple of weddings in a month or so and planning on having multiple(more than 2) wireless mics. I gather that I would need a mixer to combine all the audio since my DVX100 only has two XLR inputs. But I don't want to be tied down by being tethered to the mixer either. So how does something like this usually work?? Get a small mixer and strap it and the receivers onto the cam?? thanks

Yang,

In the situation you defined, you'll be best served by having one wireless feed your camera, use the on camera mic on the other channel. Have other wired/wireless mics feed a mixer that is connected to an alternate recording device (Mini Disk, another stationary camera...). This set up ensures you'll get some usable audio regardless of a single point failure anywhere in your system.

I had some good experience with it, but I'm definitely no audio
pro. I suggest you do some test runs (try simulating the room
and the amount of people etc. as much as possible) and see/
hear for yourself.

Does anyone use the 896 with a laptop? I use the 896 now with a dual xeon 2.8 with 1gb ram. I use 7200 RPM ATA 100 data drives to record 24bit 96khz sound. I can record live all 8 channels without any dropouts for at least 1 hour. But I'd like to switch to using a laptop and an external 1394 (or usb2) data drive for ease in portability. Before I plunk down $2000 for a laptop with 2.8P4, 1GB DDR ram, I'd like to make sure that I can record 8 24/96 tracks simultainiously with NO dropouts like I can with my large workstation. Anyone doing this now sucessfully?

I don' t know if that sennheiser is diversity or not. If it is, it's probably a good choice. If not, take a look at the Azden 500 series. It is true diversity and seems to work very well. I got a receiver, transmitter and Sony mic for ~$500 a short time ago. I recently used it in a large auditorium with numerous others using wireless mics and security on radios everywhere with no trouble. I haven't had it a long time, but at first blush it seems quite good and the price is good for a diversity system. I think the first three choices you mentioned are not diversity systems, which is a big deal when using a wireless mic indoors where room reflections can cause real headaches in terms of reception.

Hi Mike, I have been looking at the 896 for my studio and on the road.
I know your looking into the laptop but how has the Motu drivers been too you. I am a little nervous about Motu drivers on a XP workstation they don't have the best track record. Any comments would help.

Luke Andrews

Impossible to find a review of this mic. How it compares to an ME66 or an AT835?

Thanks.

I am about to purchase a Beachtek DXA-6 audio adapter. (Supplies phantom power to both channels, I have read.)

Do I have to use the ME66 (short shotgun) capsule with K6/K6P power modules fed to the DXA-6, or are the K6 modules nothing more than power supplies (K6P being phantom), allowing me to attach the capsule straight to the DXA-6?

Thanks for the help!

I came back to the audio section looking for replies to my post on this topic, only to find it not here (I thought I didn't submit it or whatever). After I posted this, I realized I put it in the GL2 section.

IGNORE THIS. SORRY!!!

I think I stressed my ear phone socket out because when i open my lcd screen in vcr--the sound only plays when I push against the ear phone jack with my finger--the audio cant play by it self in vcr with out me doing this--Could I have stressed my socket causing a short and if so how can i fix it?

i plan on buying an m-audio Sonica Theatre which offers 7.1 sound
can anyone recommend some speakers? 4-500 dollars is my budget

It sounds like you cracked something (solder, circuit board etc.) inside. Probably best to send it to Sony or find a local repair facility that you feel confident in.

I see that Mikemuff now makes a furry windsock for the ME-66. While it's probably not on par with the Rykote or Lightwave it would still seem to provide some benefit for $40. Has anyone used a mikemuff on a shotgun mic yet? Any comments?

i just bought one for my gl2
it only records on the left channel?
any good tips for recording?

http://www.theregister.co.uk/content/54/32469.html

I am producing my first 30 second commercial for a small time television station. I was wondering if there was anything special I should know about the audio levels. Like a standard level or anything? Any tips at all would help. Just a beginner with the whole broadcast thing.

Thanks, Todd

I received my MikeMuff yesterday and it's huge. Apparently the MikeMuff people assume you already have the Sennheiser foam windscreen though they make no mention of the fact on their site. I have a cheap-o foam windscreen on my mic now and the mikemuff is still too large.

After reading many posts from other DVInfo users using painter poles as mic boom I decided to give it a try.

The head is little bit different as it gives more flexibility (angle and support for virtually any shockmount). http://natzo.com/hardware/boom10.jpg

You can find additonal pictures as well as the full article at : http://natzo.com/article.php3?id_article=14

Dany

Yeah I pretty much made the exact same pole for the exact set up but i like the angle attachment idea!

You really have to check with your television station for the way they want your commercial delivered.

Usually they want bars and tone (and then maybe a slate) followed by your commercial. see http://docs.info.apple.com/article.html?artnum=36798 for what Apple suggests.

Adjusting audio using the Gain slider

Along with the color bars at the beginning of your tape, there should also be a reference tone that matches the duration of your bars. It sounds like a long beep and is a 1 kilohertz (kHz) tone that's adjusted to play at 0 decibels (dB) on analog systems and typically at -12 dB on digital systems.

If you're capturing from a pre-mixed master tape, then all of the audio on your source tape should have been mixed in relation to the level of this reference tone. When you adjust the Gain slider to the appropriate matching level on Final Cut Pro's recording audio meter, none of the audio recorded from that tape should be overdriven.

If you're capturing audio from a tape recorded in the field, even if there is a reference tone at the beginning of the tape, chances are that the audio will vary widely from shot to shot. In this case, it will be important for you to adjust the Gain slider to record the best possible audio levels without overdriving the audio. Sometimes one setting will work for every clip on your tape. Other times, you may find yourself adjusting the audio levels for each clip one at a time. It all depends on how widely the audio levels vary on any given tape. It's important to remember that overdriven audio recorded digitally sounds crackly and distorted, and should be avoided whenever possible.

Note: When capturing DV audio, the gain level is already set and cannot be modified.

To adjust the audio Gain setting:

1. Make sure your video deck is connected to the capture card in your computer.
2. Cue the videotape to the reference tone recorded at the beginning of the tape.
3. Do one of the following:
Cue the videotape to the reference tone recorded at the beginning of the tape, if there is one and if you're recording from a pre-mixed tape.
Cue the videotape to the clip with the loudest audio signal of all the clips you want to capture on that tape.
4. Play back your tape.
5. Adjust the Gain slider so that the visible bars of the audio meter average around -12 dB, represented by the green section of the audio meter.

Your audio can peak anywhere between -12 dB and -3 dB (represented by the yellow section of the audio meter). To avoid distortion, the audio should not hit higher than 0 dB.

How you adjust the gain depends on the dynamic range of your clip. Dynamic range refers to the difference in decibels between the loudest and the softest part of your recording. You don't want to record your material at levels too low because you'll end up with a soft audio signal that doesn't sound clear. If you're capturing material that ranges between very soft and very loud, adjust the gain for the very loud sections to avoid periodic distortion.

For more information on setting levels properly, see Working with audio.

I just want to know if the Sony ECM-Z37C Microphone is better than the built in in the VX-2000....

thanks

Hard to say. You need to define what you mean by better than.

At B&H, there seem to be three different sets of the Senn. Evolution 100 Series wireless systems, or maybe three different microphones that come with each respective (otherwise identical) system. At the end of the product description:


......."with ek100 reciever sk100 body pack transmitter + me2 microphone"
and then in parentheses, one for each,

"(C 740-772 mhz)",
"(B 630- 662 mhz)", and
"(A 518-550 mhz)"........


Extreme newbist posting here, but these are descriptions of the various microphones that one might want for one's system, yes or no? And if so, what's the real difference between these to me? This is the only difference between the systems, as far as I can tell. I have heard only good/great about the Evolution 100 series.
Currently, I am using
Power Mac G4
Sony Pdx10
imovie (soon to be using FCE)

Thanks for clarifications and recommendations..........
Shawn

The Sennheiser Evolution Wireless are available in three frequency groups. Each group has 1280 frequencies to choose from. A, B and C represent UHF frequency groups, not a different mic or anything else.

Please follow the link below to help you choose the best frequency group based on your location.

http://www.sennheiserusa.com/mat_dev/rf-frequencies/ew-freqs.html

I have a Canon XL1s and cannot get 48kHz audio. I set the audio menu at 16bit. According to the camera manual, it should record 48kHz. But when I captured my footage into Adobe Premiere, the audio is only 32kHz. Can anyone tell me if I should fix something on the camera end or this is a software issue? Thanks a lot for your help.

Hmmm, check and see if you have four track recording enabled. If
so, you cannot record @ 48kHz.

I've been trying to record school bands, particularly the drum lines, and don't seem to have much luck getting a decent sound.

I'm using an xl-1s with the built-in mic, at about 15 to 20 feet. I started by setting the 20db attenuator, and letting the meter peak at the -12db level, but the results sound kind of "muddy" and the dynamic range seems to evaporate to the point that you can't hear any of the quiet passages.

So, I tried again without the attenuation, and pretty much the same results. In both situations, it seems to work a little better if I let the meter go beyond -12.

I am reading on here where sensitive mics like the ME66 overload at high sound pressure. Is the Canon onboard the same or am I doing something wrong? I'd prefer to coax the performance out of the existing mic if it's possible but would the at-822, or maybe just some sluggish dynamic mics work better?

I'm still new and groping around; many thanks for the help and suggestions.

Eddie

The problem is you are trying to capture the sound of an entire band with a single microphone. Difficult at best.

Try something like the Shure SM81C which can take the hammering of loud passages and still be quite sensitive.

I also use it to record the sound of unmuffled exhaust sounds from aircraft engines and gunshots during SWAT training. Works very well.

To really mic an orchestra or band, you need separate micorphones for each and every instrument. Used to be the RCA Records guys would use two microphones in a symphony hall to do a pretty good job.

I got the my new XLR adapter. . .any tips for the best performance? I'm using it with my XL1s, direct from mic to adapter to camera. The instructions that came with it were not the most helpful.

The two knobs are attenuators, right?

I have the DXA-4 with a VX2000, and yes, the pots control channel volumes, and are of the click stop variety, so while you can't ride them during recording you also can't easily bump them in error.
I found that playing with the unit while wearing headphones helped me to understand how to use it. To my mind the key feature is the mono/stereo switch on the front. It allows you to create two discreet channels from two sources, or mix both on each of two channels. I recently took a line level input from a mixing board in ch 1 and a mic input on ch2, both of an entertainer at work. In post I was able to give priority to the nice clean line level track during his songs and blend crowd reaction from the mic input at the end of each song - or during a number if crowd participation was a large part of it. It really opens up the audio options.
Channel 1 is left and 2 is right. In my NLE (Premiere 6.5) I make a copy of the audio track, then set one to "duplicate left" and the other to "duplicate right". That gives me two stereo tracks to work with.

David Hurdon

For those of you who use MiniDisc recorders to record the vows (or any audio through a lapel for that matter), do you place your mic sensitivity on Low or High?

I am using the 810.

Hey Guys,
I am hoping that you will be able th help me. I am currently editing my footage in Vegas and then create a master on mini dv using my Canon GL2 via firewire. (No problems there.) Next, I connect my GL2 to a Panasonic AG 1980 S-vhs deck for duplication using the S- cable and the composite audio cables. Here goes the problems:

During the recording and preview on tv, the picture quality looks great and the audio is good. BUT when I take the VHS tape out of the AG deck and place it into two of my consumer VHS players for testing, the video is still reat, but the audio is poor. There is an annoying buzzing sound and sometimes there is fluctuation in sound level. I don't know what to do. This is what I have tried so far:

Using a JVC EHG VHS tape and Maxell S-VHS tape.

These setting that remained constant: TBC-on Search sound-off Input Select-S-Video Tape Select -T120 S-VHS-off

Changes made:
I tried recording with hi-fi/Linear (with L*R) Mix off and on (still there was a buzz).

I changed the MTS from MTS to SAP1 and there was seemingly no difference in sound. (Honestly, I don't know what MTS/SAP1 stands for)


BOth VCRs I use are hi-fi. On e of them is connected to a tv with stereo and the other one has mono audio.

The preview tv that is connect to the Panasonic AG deck (via coxial cable) has mono audio.

Can you PLEASE help?

Thanks in advance,

Al Rodgers

PS Is it OK to record to a S-VHS tape for playback on a consumer VHS player if you turn the S-VHS recording off during recording on the AG deck?

Two things to try:

You may have a wiring issue or the consumer deck may have a problem.

Is this the only tape that buzzes when played on the consumer deck?
(In other words, all your other tapes sound fine? If so, move the part 2)

Part1
The consumer deck may have
a bad output . . . is the buzz in both channels or only one?
If the buzz is only on one side, and 'moves' as you
move the cable to the other channel's output, try another cable.
If the buzz doesn't move with the wire, then the deck has a problem.

Part2
If the buzz is in both left and right you may have a ground loop in your wiring.
Make sure all your gear is plugged into the same circuit when
making a dup.
Is the GL2 plugged into "wall" power? If so, try a test recording using
GL2 battery power.

I would like to experiment with a boundary (PZM) mic. Before I shell out for one, I'm wondering if I can improvise one from a mic I already own, a Shure MS11 dynamic lav. This mic is faced with a grill of raised bars, 1/16th inch thick. When the mic is placed against a flat surface, such as a wall or a piece of plexiglass, the mic's element is suspended 1/16th inch above the surface and open to the sides. Would this setup approximate the properties of a PZM boundary mic?

Yes it will give a similar effect and in reality you don't have to get that fancy. You can simply attach the mic on its side, you're still below the wavelength of most useable frequencies even though that's a very fat capsule for a lavalier. It also helps the pickup pattern, remember even an omni isnt 100% omni at higher frequencies.
It's fun to test this with isolating headphones. Move the element closer and closer to the surface, listening for phasing effects at higher and higher frequencies as the distance decreases. It helps if there's something on the far side of the room that's making broadband noise, like a fan or a fridge compressor while you do this test. It also works outside on a wall while listening to night sounds (amaze your friends...)
The SM11 is generally a pretty poor mic, if your rough test is encouraging, but only capable of low gain, try a more sensitive mic with a wider frequency response.
You can use this trick in lots of situations and get double-duty out of your regular mics.
If you want to isolate the capsule from the surface, use very thin rubber or neoprene. Like a gripper for opening jars or a very thin mousepad.

I don't think a lof ot people are using minidisc to record their
audio. If I'm not mistaken it wasn't very good with this for
some reason...

For people who have been following the efforts to create a hard-disk recorder out of a standard PDA, Core Sounds announced it is now shipping its product. Check out this link.

http://www.core-sound.com/HighResRecorderNews.html#NEWS

They also have a released a new 24 bit A/D converter.