It's been my experience that ANYTHING is better than a on camera mic.

Yes it will improve your audio and clean up the sound but shotgun mikes are mostly used for B-roll, not main audio tracks when making productions so it won't do you well if your making a short or a video and want to record some dialogue.

Get yourself a wireless mike systems or a boom mike and you'll be much more suited for dialogue production. And your shotgun mike will complement them for b-roll audio.

Ben Lynn

That sony mic is ok for general sound . i had bought it for my PC-110 and works better than the on board mic but forget about it when its windy etc. the foam cover doesnt help.also you will want to just use it in shotgun mode and not zoom mode. zoom mode the sound gets real "tinny". It cant even compete with a pro mic but for $75 its not too bad but i would not use it for any serious dialog etc.

just a lil' survey on the most popular makes/models of outboard audio equipment here when using xlr/boom poles/etc.
thanks

ie: i'm using nagra 4.2 with 7" reels

Besides the obvious limitations involving movement, are there limitations with having an interviewee wearing a lapel mike that plugs directly into my vx2000? Does the longer lead then lead to disturbance? It seems that it might be the way to go if one is low budget. Am i right.....or just ignorant?

Marcello

I have yet to plug into a sound board to pick up audio. However, I have begun looking at them at the schools where I film performances. Usually the only output on the sound board is a 1/4" headphone output. I'd like to plug into this and connect my Sennheiser wireless transmitter to it. However, I'm not sure if the headphone jack is mono or stereo. I don't want to plug a mono plug into the headphone jack if it is stereo as this would short out one of the stereo outputs. So my questions are:
1. Are these headphone outputs always mono?
2. If stereo, how would I combine the two signals so that I can transmit the mixed signal using a single mono wireless transmitter?
3. What line attenuator would you recommend for cutting the headphone output down to an amplitude compatible with my Sennheiser transmitter? (its expecting a microphone level signal)

Alan,

(1)Headphone outputs are always stereo.
(2)You could try using a stereo-mono cable, (presuming the
wireless input is a 1/4" jack).
(3)This is something you are going to have to test, but I would
imagine either buying a line transformer would work, or maybe
even a small "headphone box/amplifier". There are some
small passive headphone distribution amplifiers that actually
only limit the signal, rather than boosting the signal. You
could probably find one at your local music store or even Radio
Shack.

Does your wireless have an input volume control on it? If so, you might get lucky and actually be able to plug directly into the wireless with no problems.

Hope this helps,

-Nori

I have a sony pd150 and for a birthday gift I got a shure UT4 wireless. Is this the best thing for using in a documantary type situation? I have a couple lavaliers but the wires have been problems. I'm new at all this and find sound to be difficult at times to say the least. I notice on the booklet with it there is a lot about guitarist use or vocal artist. Should I switch it for something else? Any comment or suggestions would be appreciated.

I'm thinking of investing in a separate recorder to capture audio at weddings and other events. The recording device would enable me to capture more audio channels than I can capture with my VX-2000 by itself. Ideally the recorder would record two channels of audio for an hour or more. The recorder would be connected to XLR microphones or a sound board output. Once captured, I would load the recorded audio into my editing system for incorporation into my video production. A direct digital connection would be ideal, but re-recording the analog output from the recorder is also an option. Ideally each recorder channel level could be set manually or to some automatic mode (AGC). I recognize that this sounds a lot like the sound section of a PD150, but I'm hoping that there is something out there that is less expensive and that meets my needs. An inexpensive DV camcorder might be able to fit the bill with a Beachtek or similar XLR adaptor. However most of these don't have the ability to set sound levels manually.
What would you recommend for this application? An MD recorder? If so, what features or model would you recommend? Are there other viable options? Any advice would be greatly appreciated.

I've been using a Sony NZ10 minidisc, and have gotten really good results. I bought it over the N707 because you can set the mic sensitivity to low, but in retrospect I don't know if this feature is worth the extra $100. The thing is damn small, that's for sure, and sounds great to my ears. I've since found that most people prefer Sharp minidiscs, which supposedly have better preamps. The controls are also bigger, and easier to manage on the Sharps. The buttons on my minidisc are a little too small for my liking. Keep in mind that the biggest drawback to minidisc is the copyright protection that prevents you from digitally transferring your recordings off the disc. There are ways to defeat this, but it requires investing in expensive equipment and is really a hassle.

I have just started using the VX2000E (PAL) and I am excited about telling my own stories in troubled Africa . I would appreciate some suggestions on what brand model I should use as a wireless lapel mic for my vx 2000 and also a good shotgun mic. I would want to record presenters at workshops and also cover some traditional dancers what type of microphones should I buy. I am intending to produce a talk show where people would be discussing shortcomings of our dictator ( A very old man called Robert Mugabe who has brought a lof of suffering to the people of zimbabwe)

Thank you

recommend you do a search on the term 'Africa', to see the large number of posts on this specific topic.

Good luck.

I was away (just returned) in Oregon and Washington states for a couple of weeks. I stopped into Fry's Electronics just to check out the "famed" store and see what was up. All-in-all I was rather UNimpressed. They carry absolutely NOTHING in the way of pro video/audio gear, and their prices aren't so hot on the items they do carry (I'm near NYC, so perhaps I'm spoiled).

I bought a good set of Sony headphones and a Nady UHF 10 wireless lav setup because it was only $199 (no sales tax in OR, schweet). The construction of the bodypack transmitter is fairly cheesy, but I baby my gear and construction is secondary to me. It's a "true" UHF "Diversity" mic system and is available in both lav and handheld for the same price. The receiver is AC powered only with both 1/4" and balanced XLR outputs!

Well, I am impressed with the audio quality of this cheap unit. This is the new version with the detachable lav mic (the last version was hardwired to the bodypack), so you can use a better mic if you wish.

For $199 it's a big-time no brainer. I wouldn't use it in bad weather or under physically demanding conditions as it's built in accord with its price, but for most circumstances I believe that just about everyone will be impressed.

Geeze the Fry's I checked out in Pheonix had a VX2000. Good deal on the UHF.

Get whatever is approved in that region and does not attract much attention.

BTW, they just threw out one reporter in Zimbabwe after trying to scare the begeezus out of him.

Does anyone know what the line/mic switch on a Studio 1 Pro XLR adapter does exactly? I assume it attenuates the signal from line level to mic level, but how much does it attenuate? The Sign Video Web site (I guess they’re making it now) says “Line Level Attenuation: Varies with camera input - approx 54db”. How can that be? Also, anyone know how I could mount one of these units on a belt? It would be cool if someone made a belt clip that screws into the bottom.

They had the VX2000, but no real pro gear or pro accessories. I don't really consider the VX2000 a pro camera, but rather for the higher-end or more discriminating consumer.

I believe Sony does not consider it a pro camera either.

The Sign Video box comes with a belt clip that screws on to the bottom. Also comes with the mini jack extension cable.

Cool. Thanks. I hope they sell it seperately.

I have decided, after much research (mostly through y'all!) to buy the SGM-2X for my vx 2000. My question is, if I were to interview someone, could I improvise a boom situation? I will be working alone, but am anticipating situations in which i would be able to rig the mike to a pole. How rugged can one get with this? How long a cable can I get away with, and what would I need besides what the SGM-2X comes with (besides the XLR to miniplug adapter)?
If i can get the mike nearer to my subject i would prefer it to the camera mounted option.

Thanks,

Marcello

I have a mic boom stand that I use for static shots, ie. where the subject is not moving. It works great for interviews where the subject is seated or standing in one position.

If the subject will be moving, you'd need a boom operator to hold the mic or you'd have to camera-mount it.

<<<-- Originally posted by Marcello Mongardi : I have decided, after much research (mostly through y'all!) to buy the SGM-2X for my vx 2000. My question is, if I were to interview someone, could I improvise a boom situation? I will be working alone, but am anticipating situations in which i would be able to rig the mike to a pole. How rugged can one get with this? How long a cable can I get away with, and what would I need besides what the SGM-2X comes with (besides the XLR to miniplug adapter)?
If i can get the mike nearer to my subject i would prefer it to the camera mounted option.

Thanks,

Marcello -->>>

Thanks for the info. Are there any technical specifications to look out for (how i mount it, etc.), or can i cowboy it? What about the cable? What kind of cable should I buy, and does more length make the quality inferior?

Thanks again.

Marcello

I got a tip in this forum regarding Eric Perez at Professional Sound Services, in New York. They custom make and provide short (1 foot, for example) XLR M-F cords with right-angle connectors. Perfect for my VX2000, Beachtek and Azden SGM-2X. I called and ordered a 1-foot cord with right angles at both ends, cost totalled $34.00.

That was on May 5. I was told by Eric Perez it would be shipped that week. As of today, June 9, I have talked to Eric Perez three times in the last three weeks, and his receptionist "Mona," three times, and both of them -- each time -- have stated that they wold send the cord out by Next-day shipping "because they had taken so much time with it." Mona *promised* she would send it out Next-Day UPS, back on Wednesday, June 4. Today, June 9, I called her and asked where it might be? She gave me a tracking number ... it was shipped via UPS GROUND and should be delivered here June 11. Just a ¡¡CAUTION!! to people dealing with this company; you practically have to FORCE them to send your goods. Six weeks for a 1-foot cord? Inexcusable. Maybe in New York they think they're immune from customer relations.

Hey, I've tried everything to play back a loop through fruityloops and record with a microphone in a few different programs (vegas, cool edit pro, and some small program)....it doesnt work. I need a playback through my headphones to "sing" to the music (i'm making stupid songs, for fun) and it records the playback from fruityloops along with the input from the mic everytime. I know a simple way would be to make a cd of the loop and play it back from like a cdplayer, but it should be easier then that.

In my sound properties, disabling the wave in the record, would fix it, but that also disables it in the playback properties...

Do you have to have a special sound card or what?

Alex look into Pro tools i believe they have a free 8 track version but im not positive.this should allow you to monitor the playback track while cutting the vocals to a second track.

I just wanted to share a good deal I've had with AudiMidi regarding the Sounddevices MM-1 pre-amp.

You may have heard about this (very) rugged device that gives you total control over your sound recording. I like it's versatility and performance over the regular XLR adaptor boxes :

- active mic amplifier (up to 66dB) …. So you can the cam's gain all the way down to avoid it's crappy pre-amp stage.
- Great headphone monitoring (you won't never come back to the cam to monitor the sound)
- Active limiter so when shooting single man you wont clip the audio
- Phantom power (12 or 48V) out of 2xAA batteries.
- Can be used with a camera (belt mounting or on a shoulder mount) but also as a single unit for a boom operator recording on DAT or Minidisc for example.

It's a mono unit (see the mixpre and others but more expensive).

Bottom line is you can usually find this unit at $475 from the manufacturer's website. I paid $305, including free ground shipping from Audiomidi.com (it's not on their website but they get it for you).
Zotz was also pretty close to that price too so check with DVinfo sponsors.

Again I couldn't believe how rugged and well built this unit is. You can drive you SUV over the MM-1 .. It wont break.

So I hope others will enjoy this incredible accessory (who said gadget?)…

Dany

PS: I'll be back with some other deals

Any recommendations for or against different foam windscreens for the ME-66? I know Sennheiser makes two varieties (one with velour and one without). The Markertek catalog has some foam ones that are even cheaper.

How good/bad are the Markertek foam windscreens? I know Lightwave makes one, I'm sure it's very good (I have one of their equalizers) but I'm looking in the <$50 range right now. If there is too much wind I'm not going to be using the shotgun anyway so the onboard mic with its equalizer will work fine. Unfortunately, it doesn't look like Mikemuff makes one for this model yet.

*****newbie alert*****

I'M USING A sony XV-2000 XLR (BEACHTEK ADAPTER)..AZDEN MOUNTED SHOTGUN MIC...WIDE ANLGE LENS...Light pretty good...OK THOSE ARE THE SPECS.

I'm doing a short documentary piece on a street pimp (i'm serious) and i would like to read your suggestions on the audio set up you would use if you were me. I'll be on the streets of bronx,ny after hours. I have an idea already but, i wanted to ask you guys what you think.

i use a similar setup with my VX2k only its a sign video XLR box and a ME66. I get good audio run and gun style like talking to people on the streets etc. with the mic mounted on cam. i would suggest a windscrenn like one made by Lightwave or Rycote.This will make all the difference.

cool, i was worried i would need a boom operator for this, which i could not pull off due to weird circumstances i'm under--I actually tested my set up out last night and the audio was suprisingly good when i watched it on t.v.

I rapidly decided that I needed a windsock for my new Sennheiser ME-66. More out of necessity than cheapness I've been trying to find something locally to use until I get something better. A trip to the local Radio Shack turned up a short shotgun foam windsock for $4 (claims to be audiofoam). By using two of them, and cutting the top off of one, I have a foam windscreen that coast $8. It was a snug fit and took some care to get it on but hard to beat the price. I doubt it will last very long but should do the trick until I get something better.

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.

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.

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.

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

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.

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.

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?

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.

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.

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!

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?

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.

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