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Old April 17th, 2006, 10:42 AM   #1
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5 pin TA5F to female XLR

I have an lectrosonic M185 wireless transmitter and receiver and I need a 5 pin TA5F to female XLR cord....I preferably would like it long enough to go from my transmitter on belt to a shotgun boom arm into an XLR microphone....does anybody know a good contact to get this item?? I also need a Y splitter on the receiver to go into XLR port of the MA-100...this has the 1/8 or 1/4 plug I think that is coming from the receiver.
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Old April 17th, 2006, 11:28 AM   #2
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also, if I put an XLR cord extension onto this 5 pin to XLR for the lectrosonic, will it cut down on performance? I would be using the top of the line monster 5' cord to get some extra length from the sound operator's belt to the boom and shotgun mic.
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Old April 17th, 2006, 11:36 AM   #3
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Try this one

http://www.trewaudio.com/catalog/items/item240.htm or http://www.trewaudio.com/catalog/items/item239.htm
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Old April 17th, 2006, 02:07 PM   #4
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thanks Steve - I appreciate it !!
Now, If I put a monster xlr extension on this, will I be okay?
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Old April 17th, 2006, 03:35 PM   #5
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Quote:
Originally Posted by Dean Orewiler
I have an lectrosonic M185 wireless transmitter and receiver and I need a 5 pin TA5F to female XLR cord....I preferably would like it long enough to go from my transmitter on belt to a shotgun boom arm into an XLR microphone....does anybody know a good contact to get this item?? I also need a Y splitter on the receiver to go into XLR port of the MA-100...this has the 1/8 or 1/4 plug I think that is coming from the receiver.
Dean...

B&H has an XLR-TA5F adapter for the Audio Technica line of transmitters.
http://www.bhphotovideo.com/product/...T8340/REG/1466

However, keep in mind that the mic wire on a Lectrosonic 185 also serves as the antenna. The first 18 inches or so of the wire is actually the transmission antenna and needs to be configured accordingly. Not sure if an XLR adapter would interfere with its proper function. You might want to drop a line to the people at Lectrosonic: in my dealings with them they've been very helpful.

Another option for the boom mic is to use a plug-on transmitter. Connects directly to the base of the microphone and eliminates any cables on the boom. If you're interested in one of these let me know via email.

The Lectro 185 has an XLR jack at the base of the receiver and will connect to the Canon XL1's MA100 directly with a standard XLR cable (Male-Female). The 1/8" jack is just to monitor the 185 via headphones.

As for the Monster cable, that's an unnecessary expense that won't be of any benefit. Just get good dual-quad Canare cable and make sure the connnections are clean. There's something called DeOxit and PreservIt, made by Caig and available from Markertek. Works wonders with mildly oxidized connections. A very picky recording engineer highly recommended it to me.
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Old April 17th, 2006, 06:56 PM   #6
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thanks Dean....for the info....I appreciate it...I just ordered the 5pin to XLR wire....this one is 4 feet!! The one from lectrosonic is only 37"....so I won't need the monster cord now.....
But on my receiver, I only have the 1/8" plug coming from it....this one is the law enforcement model, so it must be different. No XLR port on this receiver. So what do I need to go from 1/8" plug to XLR and to keep it in stereo??
Thanks,
Dean
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Old April 18th, 2006, 05:10 AM   #7
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Quote:
Originally Posted by Dean Orewiler
thanks Dean....for the info....I appreciate it...I just ordered the 5pin to XLR wire....this one is 4 feet!! The one from lectrosonic is only 37"....so I won't need the monster cord now.....
But on my receiver, I only have the 1/8" plug coming from it....this one is the law enforcement model, so it must be different. No XLR port on this receiver. So what do I need to go from 1/8" plug to XLR and to keep it in stereo??
Thanks,
Dean
I usually keep audio channels discrete. I'll send a receiver to one channel and, if I have the other channel open, I'll send an on-camera mic to it or some other audio source.

It can help as a backup in case there's a dropout or static on the wireless. At the very least there's some sort of audio to go to if something popped up at the wrong time. Most often I'd be running two channels of wireless mics so doubling up one source to two channels wasn't an option.

Dropouts and static weren't uncommon with my 184's. But with my ATW-101 diversity systems, dropouts aren't an issue anymore, at least in the few months I've had them.

In post I'll send each channel to center. One producer I work with likes to seperate them and "image" each channel toward the left or right, depending on the sound source. While this should be done with a third channel for ambience, it seems to work OK for the most part. I just try to avoid putting either channel too far to either side or putting both channels on one side.
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Old April 18th, 2006, 07:49 AM   #8
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I'm new to the video scene, so I understand some of what you are saying, but not all. What I may do is shoot audio with hard wire as much as I can unless I need wireless for tricky stuff with long lenses. So you are saying, that if I use my on-camera microphone, I can run that into the second XLR port on my MA-100 and my wireless would go in on the other XLR port?? What setting would I use in my XL1s?? Would I just run normal 16bit stereo? Does the two XLR ports of running sound into each port "double" the sound on the track when I lay it down?? Kind of like a mirror image or in Photoshop, an adjustment layer?? So it there is a dropout on the wireless, then the mirror sound layer from the on-board mic will "fill in" the dropout from the wireless?? But wouldn't the on-board mic with it's horrid sound quality, affect the wireless sound?
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