I don't have a answer, but I do want to add to this with a question.

How exactly does "foam" cut the wind? I am just curious, but wouldn't that have little effect? I know it stops air from going through it, while still letting sound travel, but when attached to the microphone, directly, it would just transfer the vibrations over, correct? Is it isolated somehow?

The way I understand it -

The problem is the pressure of the airwaves striking the microphone creating the wind noise. The foam breaks up the pressure waves and at least diminishes the wind sounds. The pressure would still push against the foam but it would then be distributed more evenly and 'cushioned' so to speak. At some point in time the foam is not enough and it's time for a softie or zeppelin.

Sound and distance. Problem?
 

When shooting a two camera event in a large church, I have tried different methods of acquiring my sound. 2 wireless, on camera, shotgun, minidisk etc. . . I notice that if I only use a shotgun, or on camera mike on the back camera, that the sound is obviously delayed due to the distance involved from the front of the church to the rear. This often results in either an echo, or disjointed sound. I often have to discard the sound from cam 2.

Sennheiser Evolution 100 freq. question
 

I'm planning to buy a Sennheiser 100 wireless system for use primarily in L.A., Ca, and after checking the very handy tv station frequency chart (listings of freq's in major cities) at the Lectrosonics site, it seems that the Senn 100 "A" (518-550 mhz) kit is the best match.

Can anyone using the Senn 100 in L.A. confirm this? Is the "A" the one to get, or the B (630-662), or C (740-772)?

I'm assuming that the trick is to pick a freq. range that has the least amount of channels in use for a given area. Is that correct?

Thanks for any info.

Hurry up! Cheap and great audio upgrade for your PC/MAC!
 

If you go to a Guitarcenter retail store you can get an Echo Mia audio card for $99 (until June 30th).
Most of them won't have it anymore but you can ask them to get it from another shop.

They sell it online for $139 which is still a great deal considering what you get (on eBay or other online store... it sells for $165...$200 !!!)
Echo has recently stopped the production of this card but it's still a great investment if you're looking at quality audio (recording) on PC (not for games/DVD!) without spending a lot of money.

* 2 balanced ¼" analog inputs with 106dB (A-weighted) dynamic range... can also be used unbalanced
* 2 balanced ¼" analog outputs with 106dB (A-weighted) dynamic range... can also be used unbalanced
* 24-bit/96kHz ... but can do any of the lower bit/kHz
* 24 bit coaxial S/PDIF digital I/O
* Supports full duplex 4 channel in, 4 channel out operation.
* +4dBu or -10dBv analog I/O on each analog channel
* Built-in digital mixer provides near-zero latency monitoring
* Support for WDM, ASIO and GSIF
* 8 "Virtual Outputs"
* Low-latency drivers

I think the biggest advantage of this card is the balanced audio (in and out) using rugged 1/4". If you add the +4dBu/-10dBv selection via software for each input/output and the virtual outputs system you have a pretty versatile card :

- Perfect for MD uploading using Analog Line Out of the MD recorder (some of you will say ... "oh it's not digital"... yes, but it's probably cheaper than getting a deck only for that function)
- Studio recording : using a mic-preamp (like MM-1) or small mixer you can feed the PC using long balanced cables and +4dB levels. Check the reviews you won't be disappointed.

Dany

PS: I don't work for GuitarCenter... just wanted to share that great deal with DVinfo community before it expires.

The channels are all selectable so you can select the frequency you want.

Ben Lynn

If you were to buy the EW100 from your local authorized Sennheiser dealer in your area, you wouldn't have to scour the web to find out that information - they would know already and make sure that you purchase the correct unit the first time around.

Give COFFEY SOUND SERVICES a call at 323-876-7525. They are authorized Sennheiser resellers and they know what they are talking about.

http://coffeysound.com
3497 W. CAHUENGA BLVD
HOLLYWOOD CA 90068

- don

Camcorder with 4 channel input ?
 

Hi,

Do any of these pro camcorders do four audio channels
to DV ? I realize I have to drop the audio quality to
32 Khz, 12-bit, but really, I'm not getting a 48 KHz, 16-bit
signal anyway. I'd really like to be able to fix more of
my audio mistakes during editing. I'm not even sure
a video editing package supports this editing.

Bug-like microphones ?
 

Hi,

I'm looking to mount some microphones inside some
sporting helmets to record the breathing and comments
of athletes. Since the helmet is receiving impact,
I need something small enough to fit inside the helmet
with a transmission range of no more than 40 feet,
usually 20 feet. I'd like to feed these into a mixer along
with other microphone sources. Any tips for sources
of "bugs" ?

Thanks !

The XL1 or XL1S with the MA-200 adapter will acommodate 4 channels of audio input.

Microphones are easy. Countryman and a few others make very small heads. The transmitter is another matter. Usually they hang on the belt. I don't know what the NFL uses today but they have helmet radios of some sort.

Ambient TinyMike opinions?
 

It looks like a nice small shotgun-type mic:
http://www.ambient.de/p_tiny.pdf

It got quite a favorable review in dv.com:
http://www.dv.com/reviews/reviews_item.jhtml?category=Hardware&LookupId=/xml/review/garrett0402

But what bothers me is the total absense
of any technocal spec on Ambient site, not even
physical size numbers.
I emailed them but got no response on that matter.
Does anybody have hands-on experience with
this mic? How does it compare to Sennheiser
ME66/K6 in terms of directivity, sensitivity, build
quality and overall sound?

experience with Azden True Diversity wireless?
 

I'm wondering what anyone's opinion is on the Azden True Diversity 311DR receiver used with the 31LT VHF transmitter. Anyone got any horror stories? I've been using one for a couple events, and I'm not getting the best sound. Lots of interference (prob cell phones). Sometime I get drop outs as well. Would anyone trust it with a wedding?

Let me know what you think!

VHF is always going to be problem from interference. The best advice is to check with musicians in your area and find out how bad a problem it will be. If the wedding is in the middle of nowhere MAYBE you won't have problems.

There are work arounds. If you have a minidisc recorder you could sync the mic with the tape by using a clapboard. A better solution is to by a good UHF system like the Sennheiser Evolution 100 series; it is excellent.

senn or azden?
 

If you are not getting flawless reception you have to change your setup; the question is what to. Cheapest way is probably with md or other deck hard wired to a small lav.

i've not owned a sennheiser but they get good reports other than one person's comments. I'm also in the market and have pretty well set on an Azden 500UDR system. It's worth a look.

balancing R & L separate mics into balanced sound.
 

If I use an MA-200 on the XL1s so I get two mics on the go. Such as one handheld and one Boom. Whats the best way in Premiere 6.5 to get these two mics to be balanced, ie. handheld on left channel and boom on right channel. Do you just make a copy and swap over channels on the copied sound wave file or is their an easier way. I have heard people say use Cross Pan or Pan across...or words to that effect, however I cannot seem to see that in Premiere.

There is DUPLICATE LEFT but that would just overwrite right with left, right? then that would erase right channel mic. So do I just make a copy them use SWAP to have recorded mic on right and left and Left recorded mic on right and left channels with two wave files for clip. Or is their an easier way?????

I must say I have learned more in here about sound than I ever learned before, as I always had a 'soundman' before in detailed documentary projects and for being soundmen they never seemed to make much sound (speech) towards when trying to understand their roles or needs better. Probably got sick of my questions. But sounds more important than image in a lot of ways. And I want to learn more and more!

So please help me out any Premiere users or Sound experienced people out there!!! Amd that have guided me to websites or put up with my sound questions in past - I'm truely grateful!

wireless and FCC rules. Problem
 

it's come to my attention that the new FCC rules regarding wireless frequencies will begin (or are already) encroaching upon current wireless microphone frequencies, including the same ones used by the Azden 500 unit I was about to purchase. Digital systems are currently very expensive. Anyone have any experience with true diversity systems being affected yet? Any thoughts on the issue?

don't understand the question
 

When you bring in two channels with separate audio inputs (two different mics) doesn't one come in the left channel and one in the right channel? that would be normal and I don't really understand what the problem is. if you prefer to have both mics in stereo can't you just create two more audio tracks and copy them into the new tracks to provide the listener with the sense the sound is coming from both channels simultaneously?
I use Final Cut Pro and it is trivial in that program (click and create a new audio track and copy/paste) but I can't help with specifics on how to do that (if that is related to your question at all) in other programs.

The airwaves are getting crowded and there is little to be done about it. Diversity just allows for better reception if the signals are being reflected of walls etc. The overcrowding issue will be best worked around by the ability to select from hundreds of channels on the receiver and transmitter.

Shure A96 transformer
 

I amin the process of setting up my audio for interviews. Today I went to B and H and they were, as usual, very helpful. They (two different guys) suggested that i get the Shure A96 transformer to go from my SGM-2X to the VX-2000. My question is, how important is the tranformer? I know that it balances the signal and matches the impedance of the signals...

I also realize that i am now in the terrible world of the "hiss", with all of of it's vicious rumors and myths, and truths. Does anyone out there use the A96?

Thank you again,

Marcello

For long runs, yes the transformer will be usefull to keep the signal balanced and avoid picking up unwanted noises.

For camera mounted you can wire the mic directly to the mic input using a short XLR->Jack cable. In that case you will run unbalanced but because of the short cable you won't get any hiss.

The A96F will provide a little bit more "gain" compared to a direct connection because of the impedance matching. I use the ME66 that's not a big issue (mic is pretty hot!).

I was thinking about using the A96F on camera but couldn't find any way to mount it (too long and too heavy to stay on the microphone).

Dany

Sony 7506 ear pad removal
 

Does anyone know how to remove the earpads on the Sony 7506. I've searched online but can't find anything.
thanks for any info.

*HELP* Need shotgun mic desperately for VX2000!
 

Hey guys,

I really need a shotgun microphone to help the quality of my films that I shoot on the Sony VX2000. I'm looking to spend about $200-$400 dollars on a shotgun microphone. I need something for short range filming, probably nothing more than 10-15 feet away at any given time. I would like the microphone to mount preferably, but I can deal with a microphone on a pole too. I just need something pretty quick because I need to start filming a project ASAP. I've looked at some microphones, but I'm really not completely sure. Can someone here who owns a VX2000 or knows a lot about them give me some advice about what to buy?

Thanks in advance,

- Joe Calvillo

Joe - I'm just about in the same boat you are. I'm trying to spend just shy of $200 on a shotgun mic for my GL1 and will also be using it to make shorts (meaning mostly boom work). I dunno if you've read or heard about this review, but it really helped me whittle the field down:

http://www.lafcpug.org/review_shotgun_mic.html

They pretty much review the best prosumer mics there for DV videographers. I've cut it down to the AT-835b, but if your ceiling for spending is a bit higher I'd go for the Senn ME66. People rave about that mic, and I'd kill to get my hands on it! Well, good luck, and lemme know what you decide!

No Microphone Jack: Is There Another Way?
 

I bought a cheapie DV RCA 9360 and want to use it to interview people. Although the video output is impressive, the audio is pretty awful. I've got a nice lapel microphone w/battery amplifier. I'm wondering if I buy one of those karaoke players and an adapter, whether I could move speakers closer to the built-in mics and get better results?

Or is there a better way? Money is an object.

Thanks!

John

I think a better solution for you is to sell that RCA camcorder (put it on Ebay maybe) and use that money toward getting a DV camcorder that *does* have a mic input jack, such as the Canon ZR60 (which is only about $500). Hope this helps,

With no mic input, the really only way to record good audio is either a DAT recorder (which cost a lot) or a MiniDISC player/recorder with a mic input (which still cost a decent penny, $200 minimum)....

You can also try a standard old-school cassette recorder, and rip it onto your computer via line in on your sound card (like you'd have to do with minidisc) but the quality isn't going to be all that great.

Chris - thats a good suggestion, i'd say it's really the most logical one, but i'd rather take that RCA with no mic input then a ZR (with a 1/6" ccd) with a mic input....

John, if you do decide to take back/sell the RCA for some reason, I can suggest Panasonic DV cameras, good cameras, must get one with a mic input though. :D

If you have not yet figured it out let me know and I will have the answer tomorrow.

Thanks but i figured it out today.They just pull off!

All Things Audio
 

XL1 Onbard Mic or Boom

We will be shooting a children's video. We will have children watching as the ins and outs of various pieces of equipment are explained. We are tight on a budget. What loss of quality will we experience if we choose to shoot without a boom for children's questions and instead just use the onboard mic to pick up the children's voices? Our host will have a lav, but getting extra help for the boom and using the boom may be a little much. I know we SHOULD use a boom, but honestly, do we really need one?

Who has experience in shooting just using the onboard mic and will we suffer for using it and not a boom???

Thanks!

Which wireless Lav system?
 

We currently produce children's videos. We will always have one host, sometimes two. We shoot with a Canon XL1. Our hosts will always be within 15 yards, but for the most part much closer at maybe 5 yards. We are set to buy a wireless lav kit. Here are the options we were given for being under severe price constraints:

1 - $119.50 Audio-Technica PRO-88W Wireless VHF Lav Mic Kit
2 - $149.50 Azden WLX-PRO Wireless VHF Lav Mic Kit
3 - $319.50 Azden Dual Wireless VHF Lav Mic Kit (allows recording from two transmitters simultaneously)
4 - $459.50 Sennheiser EW-122P Wireless UHF Lav Mic Kit

We need to purchase in the next few days for a project in early August.....

Please, all comments will be most appreciated. We hear from our seller that pretty much the Audio-Technica and Azden are the same quality wise. But is the Sennheiser that much better?

Thank you so much!

MFP

VX2000 mic/line and BeachTek
 

If a VX2000 could talk how would it tell you to set its mic/line switch when connected to a BeachTek DXA-4?

David Hurdon

You must set the VX-2000 for mic when using the Beachtek. It told me so itself... ;-)

How to do a wireless shot
 

I'm about to do a couple of weddings in a month or so and planning on having multiple(more than 2) wireless mics. I gather that I would need a mixer to combine all the audio since my DVX100 only has two XLR inputs. But I don't want to be tied down by being tethered to the mixer either. So how does something like this usually work?? Get a small mixer and strap it and the receivers onto the cam?? thanks

Yang,

In the situation you defined, you'll be best served by having one wireless feed your camera, use the on camera mic on the other channel. Have other wired/wireless mics feed a mixer that is connected to an alternate recording device (Mini Disk, another stationary camera...). This set up ensures you'll get some usable audio regardless of a single point failure anywhere in your system.

I had some good experience with it, but I'm definitely no audio
pro. I suggest you do some test runs (try simulating the room
and the amount of people etc. as much as possible) and see/
hear for yourself.

Moto 896 and Windows Laptop
 

Does anyone use the 896 with a laptop? I use the 896 now with a dual xeon 2.8 with 1gb ram. I use 7200 RPM ATA 100 data drives to record 24bit 96khz sound. I can record live all 8 channels without any dropouts for at least 1 hour. But I'd like to switch to using a laptop and an external 1394 (or usb2) data drive for ease in portability. Before I plunk down $2000 for a laptop with 2.8P4, 1GB DDR ram, I'd like to make sure that I can record 8 24/96 tracks simultainiously with NO dropouts like I can with my large workstation. Anyone doing this now sucessfully?

another option
 

I don' t know if that sennheiser is diversity or not. If it is, it's probably a good choice. If not, take a look at the Azden 500 series. It is true diversity and seems to work very well. I got a receiver, transmitter and Sony mic for ~$500 a short time ago. I recently used it in a large auditorium with numerous others using wireless mics and security on radios everywhere with no trouble. I haven't had it a long time, but at first blush it seems quite good and the price is good for a diversity system. I think the first three choices you mentioned are not diversity systems, which is a big deal when using a wireless mic indoors where room reflections can cause real headaches in terms of reception.

MOTU 896 ?
 

Hi Mike, I have been looking at the 896 for my studio and on the road.
I know your looking into the laptop but how has the Motu drivers been too you. I am a little nervous about Motu drivers on a XP workstation they don't have the best track record. Any comments would help.

Luke Andrews

Shotgun: Beyer MCE
 

Impossible to find a review of this mic. How it compares to an ME66 or an AT835?

Thanks.