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.

Evolution 100 series.........
 

At B&H, there seem to be three different sets of the Senn. Evolution 100 Series wireless systems, or maybe three different microphones that come with each respective (otherwise identical) system. At the end of the product description:


......."with ek100 reciever sk100 body pack transmitter + me2 microphone"
and then in parentheses, one for each,

"(C 740-772 mhz)",
"(B 630- 662 mhz)", and
"(A 518-550 mhz)"........


Extreme newbist posting here, but these are descriptions of the various microphones that one might want for one's system, yes or no? And if so, what's the real difference between these to me? This is the only difference between the systems, as far as I can tell. I have heard only good/great about the Evolution 100 series.
Currently, I am using
Power Mac G4
Sony Pdx10
imovie (soon to be using FCE)

Thanks for clarifications and recommendations..........
Shawn

The Sennheiser Evolution Wireless are available in three frequency groups. Each group has 1280 frequencies to choose from. A, B and C represent UHF frequency groups, not a different mic or anything else.

Please follow the link below to help you choose the best frequency group based on your location.

http://www.sennheiserusa.com/mat_dev/rf-frequencies/ew-freqs.html

Can not get 48kHz with Canon XL1s
 

I have a Canon XL1s and cannot get 48kHz audio. I set the audio menu at 16bit. According to the camera manual, it should record 48kHz. But when I captured my footage into Adobe Premiere, the audio is only 32kHz. Can anyone tell me if I should fix something on the camera end or this is a software issue? Thanks a lot for your help.

Hmmm, check and see if you have four track recording enabled. If
so, you cannot record @ 48kHz.

Recording loud music w/xl-1s
 

I've been trying to record school bands, particularly the drum lines, and don't seem to have much luck getting a decent sound.

I'm using an xl-1s with the built-in mic, at about 15 to 20 feet. I started by setting the 20db attenuator, and letting the meter peak at the -12db level, but the results sound kind of "muddy" and the dynamic range seems to evaporate to the point that you can't hear any of the quiet passages.

So, I tried again without the attenuation, and pretty much the same results. In both situations, it seems to work a little better if I let the meter go beyond -12.

I am reading on here where sensitive mics like the ME66 overload at high sound pressure. Is the Canon onboard the same or am I doing something wrong? I'd prefer to coax the performance out of the existing mic if it's possible but would the at-822, or maybe just some sluggish dynamic mics work better?

I'm still new and groping around; many thanks for the help and suggestions.

Eddie

The problem is you are trying to capture the sound of an entire band with a single microphone. Difficult at best.

Try something like the Shure SM81C which can take the hammering of loud passages and still be quite sensitive.

I also use it to record the sound of unmuffled exhaust sounds from aircraft engines and gunshots during SWAT training. Works very well.

To really mic an orchestra or band, you need separate micorphones for each and every instrument. Used to be the RCA Records guys would use two microphones in a symphony hall to do a pretty good job.

Got my beachtek DXA 4C. . .any advice?
 

I got the my new XLR adapter. . .any tips for the best performance? I'm using it with my XL1s, direct from mic to adapter to camera. The instructions that came with it were not the most helpful.

The two knobs are attenuators, right?

I have the DXA-4 with a VX2000, and yes, the pots control channel volumes, and are of the click stop variety, so while you can't ride them during recording you also can't easily bump them in error.
I found that playing with the unit while wearing headphones helped me to understand how to use it. To my mind the key feature is the mono/stereo switch on the front. It allows you to create two discreet channels from two sources, or mix both on each of two channels. I recently took a line level input from a mixing board in ch 1 and a mic input on ch2, both of an entertainer at work. In post I was able to give priority to the nice clean line level track during his songs and blend crowd reaction from the mic input at the end of each song - or during a number if crowd participation was a large part of it. It really opens up the audio options.
Channel 1 is left and 2 is right. In my NLE (Premiere 6.5) I make a copy of the audio track, then set one to "duplicate left" and the other to "duplicate right". That gives me two stereo tracks to work with.

David Hurdon

Minidisc Settings
 

For those of you who use MiniDisc recorders to record the vows (or any audio through a lapel for that matter), do you place your mic sensitivity on Low or High?

I am using the 810.

Poor Audio in Post
 

Hey Guys,
I am hoping that you will be able th help me. I am currently editing my footage in Vegas and then create a master on mini dv using my Canon GL2 via firewire. (No problems there.) Next, I connect my GL2 to a Panasonic AG 1980 S-vhs deck for duplication using the S- cable and the composite audio cables. Here goes the problems:

During the recording and preview on tv, the picture quality looks great and the audio is good. BUT when I take the VHS tape out of the AG deck and place it into two of my consumer VHS players for testing, the video is still reat, but the audio is poor. There is an annoying buzzing sound and sometimes there is fluctuation in sound level. I don't know what to do. This is what I have tried so far:

Using a JVC EHG VHS tape and Maxell S-VHS tape.

These setting that remained constant: TBC-on Search sound-off Input Select-S-Video Tape Select -T120 S-VHS-off

Changes made:
I tried recording with hi-fi/Linear (with L*R) Mix off and on (still there was a buzz).

I changed the MTS from MTS to SAP1 and there was seemingly no difference in sound. (Honestly, I don't know what MTS/SAP1 stands for)


BOth VCRs I use are hi-fi. On e of them is connected to a tv with stereo and the other one has mono audio.

The preview tv that is connect to the Panasonic AG deck (via coxial cable) has mono audio.

Can you PLEASE help?

Thanks in advance,

Al Rodgers

PS Is it OK to record to a S-VHS tape for playback on a consumer VHS player if you turn the S-VHS recording off during recording on the AG deck?

Two things to try:

You may have a wiring issue or the consumer deck may have a problem.

Is this the only tape that buzzes when played on the consumer deck?
(In other words, all your other tapes sound fine? If so, move the part 2)

Part1
The consumer deck may have
a bad output . . . is the buzz in both channels or only one?
If the buzz is only on one side, and 'moves' as you
move the cable to the other channel's output, try another cable.
If the buzz doesn't move with the wire, then the deck has a problem.

Part2
If the buzz is in both left and right you may have a ground loop in your wiring.
Make sure all your gear is plugged into the same circuit when
making a dup.
Is the GL2 plugged into "wall" power? If so, try a test recording using
GL2 battery power.

makeshift boundary mic?
 

I would like to experiment with a boundary (PZM) mic. Before I shell out for one, I'm wondering if I can improvise one from a mic I already own, a Shure MS11 dynamic lav. This mic is faced with a grill of raised bars, 1/16th inch thick. When the mic is placed against a flat surface, such as a wall or a piece of plexiglass, the mic's element is suspended 1/16th inch above the surface and open to the sides. Would this setup approximate the properties of a PZM boundary mic?

Yes it will give a similar effect and in reality you don't have to get that fancy. You can simply attach the mic on its side, you're still below the wavelength of most useable frequencies even though that's a very fat capsule for a lavalier. It also helps the pickup pattern, remember even an omni isnt 100% omni at higher frequencies.
It's fun to test this with isolating headphones. Move the element closer and closer to the surface, listening for phasing effects at higher and higher frequencies as the distance decreases. It helps if there's something on the far side of the room that's making broadband noise, like a fan or a fridge compressor while you do this test. It also works outside on a wall while listening to night sounds (amaze your friends...)
The SM11 is generally a pretty poor mic, if your rough test is encouraging, but only capable of low gain, try a more sensitive mic with a wider frequency response.
You can use this trick in lots of situations and get double-duty out of your regular mics.
If you want to isolate the capsule from the surface, use very thin rubber or neoprene. Like a gripper for opening jars or a very thin mousepad.

I don't think a lof ot people are using minidisc to record their
audio. If I'm not mistaken it wasn't very good with this for
some reason...

PDA hard disk recording system ships
 

For people who have been following the efforts to create a hard-disk recorder out of a standard PDA, Core Sounds announced it is now shipping its product. Check out this link.

http://www.core-sound.com/HighResRecorderNews.html#NEWS

They also have a released a new 24 bit A/D converter.

Azden 400UDR vs. 500UDR???
 

Can anyone tell me what the difference is between these two receivers? I have a line on a good used 400 but I can afford a new 500 if need be.

I use 2 of the 500UDR units and love them. I really don't know the difference between the 400 and the 500 but I'm guessing it has to be very very minor. Edward T. uses the 400 series I believe and he loves his, so whatever the differences they gotta be small.

Don

What's up with SoundDevices recorders?
 

Anybody know? I had thought they were supposed to have brought the 744T and 722 hard disk recorders to market by now. I wonder if all these inexpensive MP3 recorders out there have made them rethink the market.

Just found the answer to my own question. Now they're talking Q1 2004. They've apparently made a major redesign to the system.

Shure VP88
 

Has anyone had any expirience with this mic?

Wireless Mic
 

I'm Using AZDEN 500UDR reciver. My question is:
Can I use more then one TRANSMITTER?

right now i only use AZDEN 41BT bodypack transmitter.

There are 2 ways to use more than 1 transmitter, but ones mot the best.
1)you COULD have the little screwdriver in your hand and make the switch on the reciever when you need the 2nd transmitter to rbe received but I really don't suggest that. It's far too easy to miss the frequency, miss the timing or have some other disaster happen, so that brings us to number 2) get a 2nd receiver and if need be a mixer or something like the Studio1 BP XLR aduio adapter.

Cost a little more but well worth the peace of mind.

BTW, I forgot my 2nd receiver 1 time and tried method 1, needless to say I haven't forgotten my 2nd receiver since.

Don

mics for no budget video feature
 

We're going to shoot a no-budget film in a cabin next month--and I'm trying to get the most reasonable sound I can for a small amount of money.

The camera is an HD-1, which has great picture but supposedly lousy audio inputs--DAT recorders are out of my price range but a friend of ours is donating a mini-disc recorder, which according to some sources is a reasonable second choice. This leaves the shotgun.

I looked on B&H where they have an AT815b Line/Gradient Shotgun Condenser Microphone on sale for 279.00 (reg. 399). In addition they have a used At815a condenser microphone for sale for 199. Does anyone know if this is basically the same model?

In your opinions, would either of these models provide good enough sound for a project that, in the best possible fantasy scenario would be shown in festival and commercial theatres?

Thanks for any advice:)

why not rent a mic ?

for the miniDisc i would rent a XLR box for it - much easier to set volume levels. all XLR cables plug into box then mini stereo cable from box to miniDisc .... also use FILM slate at heads of every shot ..if over 5 min take i would also tail slate ...

the 815 is a long shotgun = works good outdoors but so so indoors - forget using in a bathroom ... so depending on your project ?

i use short shotgun 90% of the time indoors/outdoors

guide on AT mic's
http://www.equipmentemporium.com/atmics.htm

intro to shotgun mic's
http://www.equipmentemporium.com/selectin.htm

using boom intro
http://www.equipmentemporium.com/introto.htm

general sound for DV
http://www.equipmentemporium.com/audiohi8.htm

audio delay
 

I just "discovered" something which may be completely obvious to many of you, but might also be helpful to others that are less experienced (like me! ;-). I've just started editing a lot of performance video that I shot with my PDX-10. For audio channel 1 I used a feed from the house board which consisted of mikes on the proscenium and orchestra pit. I used the on-camera mono microphone on channel 2.

Now since I was shooting at the rear of the house, about 100 feet from the stage, there is a very noticeable delay between the audio on channels 1 and 2, caused by the time it took the sound to travel over 100 feet. It sounds a little disconcerting, and I was wondering if I should even use channel 2 in the mix or just go with the mono audio from channel 1.

Then it occured to me that all I needed to do to get the two channels in sync was to delay the audio on channel 2. IIRC, sound travels around 750 mph and audio people like to round that off to about 1 millisecond per foot. Each video frame is about 33 milliseconds, so if you do the math it works out to around 3 frames offset between my audio tracks at a 100 foot distance. So in FCP I shifted the video track and the audio track 1 forward by 3 frames and voila... they were in sync. After a little fiddling I actually decided I liked the way it sounded better with only a 2 frame offset. I blended the two channels together in different proportions and ended up with something that sounded pretty good.

Anyway, just thought this might be helpful to someone else in the same situation where each audio channel is fed from mikes that are at different distances from the performers.