Matthew Roddy
June 3rd, 2009, 04:54 PM
Yeah, "Headphone Jack" is in quotes.
I've been doing video for 12+ years and am still learning about the trade - especially audio.
Jon said (in another thread):
If/when you buy a recorder, keep in mind that the inexpensive ones (under $1k or so) have so-so preamps. I've got the MicroTrackII and the result with an AT815b plugged straight in was too much hiss. I've now got the juicedLink CX231 stereo preamp, and am getting much better results. It's active, so I can turn up the gain in the juicedLink and turn down the gain on the recorder.
The juicedLink is optimized for placing in front of a camcorder-type recorder with a 1/8" stereo plug and mic levels. When/if we can set the gain in the 5D MkII and monitor the audio, the juicedLink will be a nice companion.
There's a new Beachtek product that you can put upstream from the 5D, but it's passive (no gain, so you still get preamp noise downstream, if your mics aren't sensitive enough.) It has a built-in pilot tone that helps control the 5D gain, but doesn't solve the monitoring problem.
For the same price as the juicedLink, you can get a mono preamp from Sound Devices. It's active, but meant for feeding an XLR input at line level. You'd need to pad it down and use a converter cable for use with the 5D or other 1/8" mic input recorder. It could work as the front end to a Zoom H4n or MicrotrackII, but costs twice as much as the juicedLink per channel.
Anyway, whatever you get, consider a clean active preamp. If your microphone has a hot output, passive is okay, but if you use a low-sensitivity mic, or want to pick up low level or distant sounds, a clean, active preamp is the way to go. Assuming you have a decent mic, the preamp is the next most important piece of audio gear.
Now, I'm wondering: even if Tramm is able to get us these great meters and bypass the AGC, how beneficial will that be to the videographer who's really concerned about the audio.
A grand setup for my workflow would be my Senns into a 2 or 4-port JuicedLink, then that into the 5DM2.
If we can't actively monitor what the camera is hearing, does this mean we will be relegated to always using a secondary recording device for pro audio? Or is there a CHANCE that the A/V jack can indeed be re-purposed to serve as a headphone jack?
I thought I read here that this isn't a possibility.
Seeing the levels bounce is all fine and well, and if you have time to check every shot (or every few shots) you're golden.
I'm just wondering what the potential reality of headphones coming our of our much vaunted 5DM2 is.
I've been doing video for 12+ years and am still learning about the trade - especially audio.
Jon said (in another thread):
If/when you buy a recorder, keep in mind that the inexpensive ones (under $1k or so) have so-so preamps. I've got the MicroTrackII and the result with an AT815b plugged straight in was too much hiss. I've now got the juicedLink CX231 stereo preamp, and am getting much better results. It's active, so I can turn up the gain in the juicedLink and turn down the gain on the recorder.
The juicedLink is optimized for placing in front of a camcorder-type recorder with a 1/8" stereo plug and mic levels. When/if we can set the gain in the 5D MkII and monitor the audio, the juicedLink will be a nice companion.
There's a new Beachtek product that you can put upstream from the 5D, but it's passive (no gain, so you still get preamp noise downstream, if your mics aren't sensitive enough.) It has a built-in pilot tone that helps control the 5D gain, but doesn't solve the monitoring problem.
For the same price as the juicedLink, you can get a mono preamp from Sound Devices. It's active, but meant for feeding an XLR input at line level. You'd need to pad it down and use a converter cable for use with the 5D or other 1/8" mic input recorder. It could work as the front end to a Zoom H4n or MicrotrackII, but costs twice as much as the juicedLink per channel.
Anyway, whatever you get, consider a clean active preamp. If your microphone has a hot output, passive is okay, but if you use a low-sensitivity mic, or want to pick up low level or distant sounds, a clean, active preamp is the way to go. Assuming you have a decent mic, the preamp is the next most important piece of audio gear.
Now, I'm wondering: even if Tramm is able to get us these great meters and bypass the AGC, how beneficial will that be to the videographer who's really concerned about the audio.
A grand setup for my workflow would be my Senns into a 2 or 4-port JuicedLink, then that into the 5DM2.
If we can't actively monitor what the camera is hearing, does this mean we will be relegated to always using a secondary recording device for pro audio? Or is there a CHANCE that the A/V jack can indeed be re-purposed to serve as a headphone jack?
I thought I read here that this isn't a possibility.
Seeing the levels bounce is all fine and well, and if you have time to check every shot (or every few shots) you're golden.
I'm just wondering what the potential reality of headphones coming our of our much vaunted 5DM2 is.