I'm planning on getting a Sennheiser ME66 mic, I know i need a K6 power module with it, but will I need anything else for it to work well with the Gl2? I've read things about xlr adapters but am not sure whether i need one. I'm on a bit of a budget you see.

Thanks

A little bit of research into the mics you're interested in will reveal whether they require XLR inputs or not. The Senn. ME66 is in fact an XLR mic, for instance. There are cheap ways to get around an XLR adapter, but they usually involve monkeying around with various converter plugs and jacks and whatnot. In the long run, an XLR adapter keeps the signal clean and the cables dressed and ultimately is the best way to go. If you're looking at using a professional mic, I think it's a good idea to also budget for an XLR adapter for the GL2. Hope this helps,

Chris is correct. All my audio kit, apart from the XLR adaptor - Canon MA300, is Senni. And XLR throughout:-

1 x Senni 66

1 x K6 power module

1 x Evolution Wireless Set

1 x HD280 pros Headphones [ non-XLR ]

. . .and yer know what? The audio is clean and clear .. having this coming into the two separate XLR Canon MA300 adaptor channels is a pure joy to hear. It is a sweet, clean sound . . If you can stretch your budget try and do the initial outlay of XLR throughout . . The make? Did I mention Sennhiesher - no? . . . . ;-) . . .and no, I don't work or have any relatives working for them. My Bank manager will back me up on that one!!!

Grazie

Can't I just put the me66 directly into the GL2?

Thanks

No. As noted above, the ME 66 is a professional mic that uses an XLR connection, not a mini plug.

You could use an XLR-to-MiniPhone (mono - not stereo) adapter cord and connect directly. It would work, but you would lose the benefits of balanced connections (usually not an issue with very short cables). The audio will be mono, on the left channel.

The issue with a simple adapter using stereo miniPhone (pin 2 and 3 to tip and ring) is that the left and right channels will be out of phase, a potential issue for thelinear track if copied to VHS.

I use an ME67/K6 combination using a 6 inch long XLR (R/A Neutrik) to stereo phono jack to connect to the camera. At this length there is no problem with noise pick up. If you want to use longer cables you can get Balanced/unbalance adaptors from companies like Composite Video (www.compositevideo.co.uk) in the UK.

I have tried both mono and stereo phono jacks, and despite the impedance implications there is no audible difference that I can detect. I use studio monitors and high quality headphones in my editing set up. If you want to play safe, with Premiere, and I guess other editing programs, you can duplicate the single channel during editing

The Evolution Series---the 100 is not XLR, correct? I also want it to be camera-mountable, so does that rule out the 300 series as well?? (research was done on the Northern Lites site)

I have a GL2 and am shopping for a wireless system. I am curious if anyone has heard about the Sennheiser G2 and WHEN it will be available.

And should I wait, or go for something that will be "older" and cheaper, like the
EW512P (500 series). Best price found so far is around $650.

Also I assume I can buy mics seperately to add to my wireless system. I understand I can only use one transmitter at a time, but can I interchange transmitters (have one trans and switch out lav or handheld, for ex)?

Thanks for your help
d

Diane,

Just bought the above radio mic set.
1. You get an XLR cable with it now which can plug into your XLR accessory (MA300/Beachtec).
2. It is supplied with velcro strips (strong grip) that can be attached to your Cam for the RX.
3. "Also I assume I can buy mics seperately to add to my wireless system"
Yes, have a look at www.sennheiser.co.uk for possibilities.
4. "can I interchange transmitters (have one trans and switch out lav or handheld"
You probably could as long as TX & RX are on the same frequencies. The other day I went on a shoot with a friend and we "swapped" receivers, ie: I had my TX and his RX and vice versa. The original "pair" of each set had to be different frequencies and we used them to talk to each other.
Similar for your mic swap, it is easy to change the frequencies quickly.

2 Points here:

1 - "The Evolution Series---the 100 is not XLR, correct? " - Diane XLR is a method of connection. It does not include or exclude any particular device per se. You may want to research this site for "definitions" I've found it very helpful http://desktopvideo.about.com/library/glossary/bldef-XLR.htm . OKay, that said, my Senni 100 series wireless kit came with an XLR connector as part of the kit. One end is the standard mini jack and the other is the big and beefy XLR. Easy!


2 - "I also want it to be camera-mountable, so does that rule out the 300 series as well?? (research was done on the Northern Lites site) " I can't answer fr the models you speak of, but getting the Rx part of the Senni 100 to "sit" somewhere on the cammie was, well, "creative". Here is a link to a bracket type thingy: http://www.bracket1.com/wireless_microphone/bracket.htm you could consider. I've actually made my own. This used some "plastic" epoxy putty and an old "cold-shoe" extender - HAH! The kit comes with 4 strips of male and female Velcro and I've use this to fix to my "bodge". It works, it's secure . . and looks kinda kool too! I've also elected to mount the Rx in an horizontal position. I haven't found that the ariel is hampering the Rx quality being attenuated in this horizontal position - seems fine to me.

Regards,

Grazie

. .Alan . .think I'll give up . .you're too quick for me . . Have fun today with The Man!

Grazie

OT - Just off now Grazie, will let you know how I get on

Thanks gentlemen for your replies. Let me try to clarify my question (I should just go to the guitar store and look: I can hear you thinking) I own an XLR adapter and want to use ONLY XLR, period, for sound. I already hate that my camera does not have XLR "ports" or "connectors" or whatever you call them.

The 100 Series mic it's got a mini jack that you adapt with an XLR cord, right? Then I run it to my XLR adapter which is plugged into my camera with a mini jack.


Maybe I'm just suspicious because I don't have a lot of experience:I always imagine it's like that game telephone: the more different parts required to get the info from beginning to end, the better chace you have for something to screw it up.

So if I want a wireless Senn mic that is "born" with XLR (i.e. you'd need an adapter to plug it into an 1/8' plug camera) I need to NOT get the 100.

I already have my XLR adaptor mounted on my camera via the tripod mount. When I mount the receiver I am guessing its a system similiar to my ZOOM COMMANDER, which came with cool stuff to mount on the tripod handle.

Fine. I am catching on that this is an industry full of proud Dr. Frankensteins!

LOL! I like your attitude to this stuff .. . I can't agree with you more .. As to calling me a Gentleman, steady on there! Don't wanna looose what Street Cred I've got left . . ha ha ha ..

Okay, I'll come clean! I've had to research what on Earth this all means too. 18 months later I think I gotta handle on most of what I think I need . ..

Okay, I see what yer mean. You've got an audio adaptor that has to be connected to the Camie via a mini jack - yes? I've got the Canon MA300. this sits in the Hot Shoe and makes a connection directlly to and within the Cammie .. so whatyou are implying .. I think .. why should you go "momentarily" XLR .. the "Sound-Heads" will come back with the answers .. .

As to Mary Shelly's part in all this . .. . "It Lives! .. It Lives!" . .When I ve got most of the "other" stuff bolted onto my cammie, it looks like a christmas tree . ..

Cheers, Grazie

don't forget about the beyerdynamic MCE72 CAM. it's a stereo condenser microphone, and uses a xlr-> 3,5 'adapter-cable'. the cam version comes around with a "hot shoe" to mount the mic on your camcorder. I plan to buy it within the next month (have to do some fundraising actions;)

add: datasheet link:
http://www.beyerdynamic.com/com/product/pdf-Datasheet/mce72.pdf

jan

I have the sign video XLR pro as my adapter. I've done tests with mini jack mike, in camera mike and xlr—all in the same (fairly noisy) spot, and the XLR is so much cleaner it brought a tear to my eye.

But every situation is different. I've had certain scenes/clips where having the in- camera mic was a great choice and the ONLY choice and it sounded just like it needed to sound.

"...so much cleaner it brought a tear to my eye. " . . .LOL ;-)

. .where have you been?!?! People are soooo serious around here . . it's really good to "hear" quality, scientific experimentation being carried on with . .a littl bit of humour . . I got some other forums that could do with your approach . .wanna know? / .. . . NO! Stay here! . . nice one Diane! When you get to testing out tripods I really wanna know . . .

Best regards,

Grazie

don't forget about the beyerdynamic MCE72 CAM. it's a stereo condenser microphone, and uses a xlr-> 3,5 'adapter-cable'. the cam version comes around with a "hot shoe" to mount the mic on your camcorder. I plan to buy it within the next month (have to do some fundraising actions;)

add: datasheet link:
http://www.beyerdynamic.com/com/product/pdf-Datasheet/mce72.pdf

jan

Hi,
Did you try it out? I'm curious on that microphone. I'm planning to buy it as well but I would love to hear some samples or advice from anyone who have tested this mic.

Cheers
Ronnie