How can I plug an XLR microphone into my canon GL2 camera? Will I need to purchase an adapter such as the Beachtek ones? Or can I just use an one of those inexpensive XLR To 1/4" Microphone Cable Adapter? Or could I use a mixer to do this? Thanks.

Use one of the Beachtek adaptors if you can swing it. It will give you more versatility and individual channel volume control. Also, if you get the right model you'll be able to see your levels as you record.

Just my two cents... (and I have used the 1/4 inch to XLR adaptors on an old sony of mine and regretted not getting the Beachtek even though I shoot with an XL2 now.)

Kevin

XLR adapters to (usually 1/4") reduce impedance by a fixed amount via a small transformer built into the adapter. It comes close, but probably won't match the GL2's mic impedance. So you play with attenuation within the camera's menu.

These adapters will work, but the audio is always a bit off.

A Beachtek, or SignVideo (cheaper and likely better) admirably resolves issues. Much more flexible.

Bottom line is what ever works. I use anything and everything.

You can get an adapter cable from Trew Audio (among others) with an XLR female and a mini TRS male. It's wired specially to feed the mic to both channels. Trew also has one with two XLR females should you want two mics.

These adapter cables are built with blocking capacitors to keep the camera voltage out of your mic.

A beachtek is not needed (don't like 'em myself).

Have you considered a mixer?

Regards,

Ty Ford

Could I use a mixer instead of getting an adapter such as a beachtek or signvideo? Or since I am only planning on using one mic should I just get an xlr adapter from signvideo or studio 1? If I can use a mixer instead of an adapter what are some inepensive mixers? I have read somewhere that the 1/4 inch to XLR adaptors only work if you have less than 20' of cable and I was planning I getting atleast 25'. Is that correct? Would there be any advantage to using a mixer instead of beachtek or similar adapter? I want to get whatever wil give me the best sound for the least amount of money. Sorry for all the questions but I do not know very much about audio stuff.

Ty, do you have a link for that specific cable?

Carly, Cole:

Here is an example of the kind of thing that Ty is talking about. I use one of these myself sometimes, and it does a pretty adequate job. For $10 a pop, you can't really go wrong. Just make sure you have a mic that can run on battery power, because phantom power is out of the equation unless you buy some kind of phantom powering device.

http://www.bhphotovideo.com/c/product/158476-REG/Hosa_XVM101_Mini_Stereo_Male_to.html

These are made in all kinds of lengths (though with these, get the shortest possible length) and connector configurations. Just search for "xlr mini cable" or similar at B&H.

Ty, do you have a link for that specific cable?

Yes.

http://www.trewaudio.com/store/home.php?cat=21


These cables are for one mono mic or two mono mics that DON'T want to see the low voltage some cameras put out for some electrets. There's a blocking capacitor (or two) inside teh XLR shell to stop the camera voltage.

The single cable sends audio to BOTH channels.

Regards,

Ty Ford

I'm assuming the voltage coming back is phantom power. On the XL1s, isn't that the second plug? So the $10 one should work in a pinch if the microphone isn't phantom powered, right? I've had so many problems getting audio into my camera.

I had an ATR55 (which I've since replaced with a MA100/Sony ECM672 combo) that I tried just plugging into the XL1s mic input...there was no gain whatsoever, so I had to crank it up to the point that the electronics were creating their own noise louder than the mic.

Are there gain mismatch problems jacking into an XL1s with these adaptors too - either shotgun or dynamic?

I'm assuming the voltage coming back is phantom power. On the XL1s, isn't that the second plug? So the $10 one should work in a pinch if the microphone isn't phantom powered, right? I've had so many problems getting audio into my camera.
......

No, that connector is low voltage "mic power", usually about 5 volts and a totally different thing from phantom power.

Persactly Mr. Steve.

Ty

Note that in the case of the XL1, you don't have to worry about whether your adapter has the blocking capacitor, because its jack does not output the low-voltage "mic power;" it has a separate DC jack below the main audio jack that carries this voltage. This is true also of the XL2 and the GL series cameras. In these cases, the DC is separate, so a blocking capacitor is not needed. Since both Carly and Cole are using these Canon cameras, the cheaper Hosa cable should do the job.

If, however, your camera only has a single 3.5mm mic jack, chances are very good that you'll want to block the "plug-in" power from getting to your XLR-connected mic like Ty says.

unless your an amateur, i'd bite the bullet and get a Beachtek, or SignVideo. I know when I first got into video I didn't want to spend the money on one either.

bite the bullet and get a Beachtek, or SignVideo.This isn't really necessary for all of the reasons explained above. Even in cases where blocking "plug-in power" is necessary, the cable that Ty has linked to will do exactly what the Beachtek-type boxes do for a fraction of the cost. The only benefit of the Beachteks over these kinds of simple cables is that you might get an extra mic input--but if you need extra inputs, I think your money is better spent on an actual mixer instead of the Beachtek.

This isn't really necessary for all of the reasons explained above.
I didn't read through the entire thread but I saw she said she has a mixer. I still stand by what I said. Those 1/8 camera inputs are fragile and the cord can easily pull out. If you have to send your camera in for a repair or have the audio cut out in the middle of taping something you wont be too happy with the money you saved by going with an adapter. While this one situation might work its usually better to think ahead. If you ever go hand held how are you going to carry around a mixer with you? Its difficult to predict what you'll need in the future, thats why most get equipment that affords the most flexibility.

Those 1/8 camera inputs are fragile and the cord can easily pull out. If you have to send your camera in for a repair or have the audio cut out in the middle of taping something you wont be too happy with the money you saved by going with an adapter.And Beachteks connect to cameras using these same connectors, do they not? :) Loop the cable around the handle or something for strain relief. Apply some gaff tape to this loop if you want extra security. Problem solved.

While this one situation might work its usually better to think ahead. If you ever go hand held how are you going to carry around a mixer with you? Its difficult to predict what you'll need in the future, thats why most get equipment that affords the most flexibility.We're talking about portable mixers no bigger than the Beachtek. You wouldn't want to carry around a 24-input console. :)

In this case, what I'm saying is that thinking ahead might prevent you from spending money that you needn't have spent. You can get a small mixer for about the same price as the Beachtek, and you will actually have more flexibility this way, not less. In addition, a small mixer will be every bit as portable as the Beachtek.

If you only need the one input, then you're saving a HUGE amount of money by getting a simple adapter cable, and your audio will sound no worse for it at all.

I don't know what type of mixer she's talking about but even if its the smaller variety if its not designed to bolt on to the bottom of your camera its going to be a pain. The beachtek doesn't put a strain on the 1/8" input because its attached to the camera. While there are work arounds thats what they are work arounds. Its difficult over a message board to really know whats needed but we can agree to disagree.

Sure. If you want to buy a Beachtek, then by all means go right ahead. There's nothing wrong with it. It's just that it's not really necessary, and lots of people think that it is. We're just pointing out here that there are other ways to skin that cat, and that sometimes these other ways are cheaper and/or provide added functionality.

As for small mixers being a pain, that's not really true. There are thousands of professional crews using them every day. You can quite easily clip them onto your belt. And if you simply take care with your connection to the camera and loop your cable like I was saying, then stress to the jack is not an issue. By definition, all of these methods (including the Beachtek) are work-arounds, because we're doing things with these cameras that they were not designed to do. This is the price one pays for using consumer gear in a professional context.

I'm not trying at all to argue with you here, Pete. I'm just helping Carly and Cole see what their options are.

I don't know what type of mixer she's talking about but even if its the smaller variety if its not designed to bolt on to the bottom of your camera its going to be a pain. The beachtek doesn't put a strain on the 1/8" input because its attached to the camera. While there are work arounds thats what they are work arounds. Its difficult over a message board to really know whats needed but we can agree to disagree.

Yes, well, then you can't change the volume during a shot because you'll shake the camera. Good audio mixers (people, that is) may need to adjust volume during a take.

Strapping a box to the bottom of a camera pretty much makes that impossible.

Regards,
Ty Ford

Yes, well, then you can't change the volume during a shot because you'll shake the camera. Good audio mixers (people, that is) may need to adjust volume during a take.

Strapping a box to the bottom of a camera pretty much makes that impossible.

Regards,
Ty FordMaybe thats because you don't use a run and gun style that most of my gigs seem to be. By run and gun I mean: one person, no audio guy with a boom and mixer. Hand holding the camera, wireless receiver strapped to the camera or on your belt, light with power cable going to a heavy battery also strapped to your belt. So I guess I wouldn't want another cable with a mixer also strapped to my belt.

I'd also add its easier to adjust audio levels with out much camera shake with a beachtek than fiddling around with the camera menus. And if your camera is on a tripod its even better because the audio controls are at your finger tips so you don't have to take your eyes off the viewfinder.

I'm just pointing out why beachtek is used by so many people. Its not the only way to do it but I think its one of the best options if you don't have a camera with xlr inputs. A lot of this stuff is predicated on the budget and shooting style your using. But the vast majority of ppl using pro-sumer camera such as these are working on the low end and are shooting solo. Btw, i've got myself a camera with xlr inputs because i got tired of these work arounds.

I define run and gun, which I do as a sound person as moving quickly from place to place while tethered to a camera.

I have a breakaway multipin cable that plugs into the camera audio in and headphone out. The breakaway cable is about 2 feet long and there's a connector that I can undo or do in seconds that connects to my main cable.

Given what you say, I'd suggest a Sound Devices MixPre, providing your camera has line inputs. It's preamps are better than any cameras and the input and output limiters keep your audio from crashing.

I have seen brackets somewhere for mounting the MixPre under the camera, much as a Beachtek might, but the sound you'll get is much better.

Regards,

Ty Ford

...I'd also add its easier to adjust audio levels with out much camera shake with a beachtek than fiddling around with the camera menus. And if your camera is on a tripod its even better because the audio controls are at your finger tips so you don't have to take your eyes off the viewfinder.
...

I hate to sound hard-a***d but IMHO ANY camera shake is unacceptable for other than that once in a life-time situation where the historical importance of the story outweighs any technical considerations. "Not much" shake doesn't cut it.

Oh Steve! I love it when you talk like that!

Regards,

Ty

Hmmm, a little flirting going on in here.

I hate to sound hard-a***d but IMHO ANY camera shake is unacceptable for other than that once in a life-time situation where the historical importance of the story outweighs any technical considerations. "Not much" shake doesn't cut it.

for shake, I use shake ;)

If you have a field mixer, you should be able to run a line-level to the camera (most sound guys I know think this is preferrable noise-wise to feeding a mic level input).

BTW, I use an Azden FMX42, and it is a little of a pain in the neck (literally). I use it to split the mic to my Tascam HD-P2 field recorder and the camera to record "dual-system". Even if I'm on my own, I still prefer to have the mixer and recorder slung over my shoulders (I'm a sound guy who also likes to do the photography sometimes). If I have the luxury of a tripod and a stationary subject, I can put the sound equipment on a stand next to it and glance at it and tweak the levels from time to time.

In my film club we generally have someone manning the field mixer in real time, monitoring and adjusting the levels - something much more difficult to do using the camera controls. Also, some cameras don't allow you to turn off the automatic gain control - something you really want to do unless you're shooting home movies. We set the levels on the camera in advance during a sound check and then let the DP concentrate solely on shooting the picture. And there's usually a dedicated boom operator who can just concentrate on aiming the mic at whomever is speaking - but if we are short on crew, the boom operator usually handles mixing duties as well (as best he can).

And if you're using multiple mics, of course you absolutely need a mixer.

How can I plug an XLR microphone into my canon GL2 camera? Will I need to purchase an adapter such as the Beachtek ones? Or can I just use an one of those inexpensive XLR To 1/4" Microphone Cable Adapter? Or could I use a mixer to do this? Thanks.

Carly,

Everyone else has concentrated on the physical connection. You should be aware that no matter HOW you physically connect the microphone to your camera, if the microphone is BALANCED - that is to say it has a 3 wire connection (Any Mic that has a connection with 3 pins IS balanced) then you need to maintain the balanced wiring properly up to a point as close as possible to the camcorder if you wish to enjoy the main reason that balanced audio exists. And that is to REMOVE inductive noise from the cable so that you get a quieter signal to noise ratio.

You can search on Balanced Audio to help understand this. But the practical point is that simply adapting a 3 conductor balanced audio line to a 3 conductor STEREO input - will NOT keep the circuit balanced.

(The better under-camera adaptors DO keep the line balanced up to the device. So they're superior to any passive connection in noise handling.)

Hope that helps.

And in addition to what Bill says, the other benefit from having a balanced (two wire+one ground) connection over an unbalanced (one wire+one ground) is another 6dB of signal over noise. That's a "free gift" a balanced circuit provides over an unbalanced circuit.

6dB of signal over the noise of the camera audio circuit can make a noticeable difference.

Regards,

Ty Ford

My first 3 chip camera was a Canon GL-1, I used a Beachtek adapter unit that connected to the bottom of the camera. I carried the camera as it was designed and worked well. It also has different inputs from 1/8" to two xlr cables.

For the best results, use a clean external preamp with gain, and turn the gain down in the camera. The camera likely has a cheaper preamp and is a noisier environment. It's especially likely that the camera has a cheap preamp if it doesn't have balanced inputs.

Options are:
1) Use a juicedLink, which is very clean and provides a 1/8" mic level output with gain.
2) Use a field mixer with line output, feed it thourgh a balanced/unbalance transformer and select line level input on the camera. (Not all cameras offer this option. The 5D2 does not.)
3) Use a field mixer with a line output and use a balanced/unbalanced transformer and a pad to a camera that only has a mic level input.
4) Just use a balanced/unbalanced transformer or passive device. (This is the worst solution in terms of noise.)

The bottom line is that the juicedLink is built for the job. Note that it can accept mic or line inputs, so you can run a separate field mixer upstream, if that's the way you shoot. Keep the juicedLink at the camera so the unbalanced line is as short as possible. It's set up with 1/4" threads top and bottom, so it can mount between the camera and tripod. Select a low, fixed gain in the camera and turn up the juicedLink to or near the max. Even at full gain (+18dB or so), the CX231 is very, very clean.

I compare the juicedLink and Beachtek into the 5D, as well as the H4n and Microtrack II here:

1. Canon 5D Mark II Audio Exposed - Boom Mic (juicedLink, Zoom H4n, Microtrack II, BeachTek) on Vimeo (http://vimeo.com/5370880)