Me66 -> Gl2
 

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!

SORRY!
 

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!!!

Did I add too much...to my vx-2000--help
 

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?

speakers for my powerbook?
 

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.

Mike muff for ME-66
 

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?

mke300 question
 

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

Check this out
 

Audio for Broadcast commercial
 

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.

YAHDB - Yet Another Home Depot Boom
 

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.

Sony ECM-Z37C Mic.
 

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.