DM-50 with XL2

[Ola Wold]

Hi,
I`m trying to use a DM-50 mic with my XL2 but it doesn`t seem to work.
I`ve tested the mic on other cameras and it works.
What is wrong?
By the way, is it worth the effort?

Ola

[Greg Boston]

In order to use the DM50 on your XL2, the camera will have to be in 32khz/12bit audio mode to activate channels 3 and 4. Set the Audio 2 selector under the door to 'shoe' and it will work. You have to go into the camera menu to set the 4 channel audio mode.

-gb-

[DJ Kinney]

Just wanted to dig this thread up because I'm interested in Ola's question as well. Basically the "Is it worth it" part.

I'm thinking that it isn't because in order to use it you have to drop to the 12 bit mode, and this is sub-pro. But then again, is this compensated for by the addition of, say, a shotgun mode that will clear up dialogue at a distance when used in conjunction with the other standard stereo mic?

Or, is the standard mic already has some good shotgun capabilities, would the DM-50 add a nice, clean ambient noise?

Or should one just keep it in 16bit and if they want a shotgun, jack it into the XLR?

DJ

[Greg Boston]

Originally Posted by DJ Kinney

Just wanted to dig this thread up because I'm interested in Ola's question as well. Basically the "Is it worth it" part.

I'm thinking that it isn't because in order to use it you have to drop to the 12 bit mode, and this is sub-pro. But then again, is this compensated for by the addition of, say, a shotgun mode that will clear up dialogue at a distance when used in conjunction with the other standard stereo mic?

Or, is the standard mic already has some good shotgun capabilities, would the DM-50 add a nice, clean ambient noise?

Or should one just keep it in 16bit and if they want a shotgun, jack it into the XLR?

DJ

Hi DJ,

12bit 32khz audio can sound very 'pro' if done right. It's not meant for music or wide dynamic range audio, but for speaking voices which don't occupy a large range of frequencies, it works fine. The bits are assigned in a non-linear fashion so as to maximize sonic quality.

As to whether it's worth it, I can't tell you. Try to test one out if you can so that you can make an informed decision.

-gb-

[Tony Davies-Patrick]

How can you possibly say that 12-bit is equal to sub-pro?

I use 12-bit a lot, and very few people would be able to hear the difference between 12-bit & 16-bit in most situations. The majority of my sound is mono voice + mono/stereo ambience, and then the music and overlay narrative during editing stages can be 12 or 16-bit + CD quality sound tracks.

[DJ Kinney]

Point taken. I've just always had a problem using something "less" than what I could be using. Image, sound, anything. Especially when it's right there at my fingertips. Just because most people can't hear the difference, doesn't mean that the person who can hear the difference won't be the guy who wants to offer me a job next go around or something.

Now, back on track...what about the microphone aspect of the question?

[Tony Davies-Patrick]

I would say that anybody that wants to maintain the highest quality audio with the XL2, would try to choose a better mic than the DM-50, and also add that that mic would not really improve on the original Canon XL2 mic.

[Greg Boston]

Originally Posted by Tony Davies-Patrick

I would say that anybody that wants to maintain the highest quality audio with the XL2, would try to choose a better mic than the DM-50, and also add that that mic would not really improve on the original Canon XL2 mic.

It definitely sounds different and pulls distant sound a bit better than the stock mic. The other nice feature which is now found on the stock mic supplied with the XLH1 is that the DM50 has a mono/stereo switch.

-gb-