Who is using the JuicedLink DT454 with a 550D

[Graham Budd]

I am trying to decide whether to purchase the JuicedLink DT454 $419 or the Beachtek DXA-SLR ACTIVE DSLR ADAPTER $399 with a T2i/550D. Who is using either with this camera or possibly either with the 7D.

Thanks, Graham

[Marc Faletti]

I second the question -- has anyone used the new JuicedLink DT454 yet? Would love to know how people feel about it. The Zoom H4n has a little too much hiss for me...

[Jon Fairhurst]

I've used the DT454 with the 5D2. I've run the tests in Auto Mode, Manual Mode, and with Magic Lantern. And I've put it up next to the Tascam DR-100. (I need to get my hands on a Zoom again to get a real head-to-head comparison.)

The winner is the JL into the 5D2 with ML. RMS noise is below the 16-bit threshold.

The Tascam vs. JL into the 5D2 in Canon's manual mode have very similar S/N numbers.

The JL into the 5D2 in Auto mode trails slightly. It definitely usable, but it's unlikely to be significantly better or worse than the H4n.

If Magic Lantern is ever released for the T2i, the DT454/T2i will likely beat the mid-priced recorders in S/N performance.

[James Donnelly]

Hi Jon,

May I ask what methods of testing you are using?

Thanks.

[Jon Fairhurst]

I tested each by calibrating to a tone. I'm using a -12dBFS tone and then knocking it down another 40 dB for mic level. I then set the gain in the recorder/preamp/camera to show -12dBFS.

After that, I plug a 100ohm wirewound resistor into the XLR input. I capture the whole thing (tone and silence) and then use Sound Forge 9 for analysis. I can highlight a swath of audio and report the statistics. I also use the Noise Reduction plugin to capture the noise, perform an FFT, and show the frequency plot. Finally, I increase the gain by 30dB of the silent recording and play it back to listen for the overall quality.

I realize that I should add 10k resistors from the shield to the two signal lines, turn on phantom, and repeat the tests. My earlier tests didn't include phantom power and any noise that it might induce.

The Canon records only at 16/48. With the Tascam, I was recording at 24/48.

I'm not 100% sure about the absolute accuracy of the Sound Forge metrics, but everything is the same from test to test. That's why I report on the relative performance, rather than absolute numbers.

[Marc Faletti]

Thanks Jon! I feel like the Zoom H4n might be my first whoopsie in the DSLR revolution. Everyone refers to it as the go-to choice, but I dislike the hiss and will definitely look to try a Tascam and possibly switch. Unless we get that Magic Lantern for the T2i, of course!

[George Angeludis]

The hiss can be eliminated at post.

[Jon Fairhurst]

I agree. Unless you are using a low sensitivity mic at a far distance, the noise should be relatively low. You can probably get rid of the noise in post without harming the signal much at all.

On the other hand, we shot a festival short on the Microtrack II, which is terribly noisy without a separate preamp. The hiss was terrible. And I was trying to get the audio to play well in a theater. Too much processing, and the actors sounded underwater. Too little, and the hiss remained.

There are limits to hiss removal, but if you use a good mic and placement, you can probably remove the hiss from the H4n without unacceptable distortion of the signal.

[Jonathan W. Hickman]

Shot my TV show last night with the T2i. We reviewed ROBIN HOOD.

I rigged with my Zoom, but we did some tests and were satisfied with the audio we got with the transmitter at -30 and the receiver at -6. Frankly, the AGC probably makes any adjustment to the gain either way useless.

But I just finished the rough cut and the sound has a hiss, sure, but for the show it is fine. I'll meet with the Station Manager tomorrow and we're going to create a "hiss script" in Soundtrack Pro, which is easy, but I gotta tell you, I can live with it on this show. The hiss with other settings on our Iron Man 2 show was awful. We fixed it post but the overall audio level was low (I guess you call it the floor).

Guys, I don't want to use my Zoom. It is a fine piece of equipment, but let's face it, having audio and video on one is better workflow for most projects. I helped produce a feature last year, THE FAT BOY CHRONICLES, and we synced the sound but shot with the RED. But for the controlled eng that I'm doing, I just can't do that and remain sane.

I just wish I had an extra $400 for a JL.

[James Donnelly]

Originally Posted by Jon Fairhurst

I tested each by calibrating to a tone. I'm using a -12dBFS tone and then knocking it down another 40 dB for mic level. I then set the gain in the recorder/preamp/camera to show -12dBFS.

Thanks for sharing that. I am interested in testing my field equipment to compare it with the studio gear I own, but the process is a little more involved than I anticipated. Looks like I need to go study some theory!