New Item
 

Just saw that Studio 1 is comming out with a new Pro adapter, the Studio 1 XLR-BP3-PRO Belt pack audio adapter which features three XLR inputs! Input 1 is independent, while Inputs 2 & 3 are combined onto the same channel. Attenuator volume controls allow you to balance the relative levels of the three inputs. Mic/line switches, mono/stereo. I read that this is a new item, due to be released early in the year. Has anyone seen or tried one yet and how much is it?
Ed

I saw this too. Looks like it is going to be a great product. I called them on Friday to see exactly when it is going to be shipping they said around Friday of this week. (Feb27 or so).

I have a couple of their XLR-BP Pro's and I was told the XLR-BP 3 Pro will have the same great audio quality and features. It will have a 3rd XLR input, but they had to drop the 1/4" input due to space limitations. For me that's not a big deal, I mainly use XLR inputs.

I was told the price will be $199.95.

Charles.

XLR to mic adapter or XL Adapter better
 

Which would give better sound performance (if either)? I have seen an XLR cable adapter and I have seen adapters that sit on the XL2's hotshot and take the mike's directly. Not having played with these do they plug into the camera's microphone input?

There are 2 3rd party XLR adapters for the GL2 (that I know of); the BeachTek and the Studio 1. Each has a loyal following, but I believe them to be largely equivalent. They attach to the camera's tripod thread and into the Mic jac.

Canon now makes a MA-300 XLR adapter that connects into the camera's "SmartShoe" and passes audio through the shoe. Having never used it I can't speak for it's audio quality. The concentration of cable strain on a plastic shoe, however, makes me nervous about its durability.

MA-300
 

Hello All -

I have the MA-300 and must say the Audio quality is very good. The plastic is tough and so far I have not had a problem... The only issue with it is that is offers no Phantom Power and no signal boost to self powered mics, at least the one I have.

So If you have a preamp, or know of and have a great shotgun mice (ME66) then it would work fine.

No EXTRA wires, looks cool, not very heavy.

Not Bad.

- AR

Any one use the Shure A96F converter? It looks like it would work but I would hate to buy it and not have it work

XLR adaptors Beachtek vs. signvideo xlrpro
 

Trying to grab some needed accessories for my GL2 and was all set to buy a Beachtek xlr adaptor when the sales person referred to it as JUNK and recommended the xlr pro by Sign Video. Can someone offer some feedback on these units or should I consider another brand (I can't use the ma 300 because of need to have a light on the hot shoe). Any help greatly appreciated!

Looks like the old model Studio One adapter tah has been supreceeded. Some folks feel the Studio One was a bit better than the Beachtek. Most felt they were about equal.

"I can't use the ma 300 because of need to have a light on the hot shoe" ? ? ??
 

Errrmmm... MA300 hot shoe adaptor is designed to take a light on top - honest! I've done it with a Senni in the mic holder. That's a light PLUS a Senni mic PLUS the XLR adaptor. The Senni is XLRed into the MA300 - dead easy!

The extra light doesn't take power from the Cammy battery, it takes it from its own supply. - No drain on the cammy.

Hi j and j. I have the sign video XLR adapter but haven't tried the beachteks. I got the sign video because it was cheaper and I also never heard any say the quality of the beachtek was better than the signvideo but I did have people say the opposite on occasion. Here's my run down.

Quality is superb - both in sound and solidity of construction. I haven't been able to scientifically test this device at all, but qualitative test have proven it to be excellent. Now the things I didn't like about it.

- It doesn't have a locking pin with the undercamera screw. I was concerned that this might cause the thing to twist under the camera but so far it hasn't done it - then again I have not used it tripod mounted a lot.

- The major problem I found was with the placement of the volume knobs. When you put it under the camera, and then hand hold your GL2, the foot of your palm rests against the knobs. This might cause them to move which you DONT want. There are however a couple of solutions, although I'd prefer to not have to use them as they aren't ideal.
- You can learn to hold the camera with your wrist slightly out. This might sound silly, but I find when I'm shooting handhold I support the front of the camera with my left hand anyway so all I do is let it support it a bit more and my right hand becomes less of an issue.

- You can belt mount the adapter and the problem goes away.

The SignVideo, compared to the beachteks does have one extra mic jack too if you're planning on using two non xlr unbalanced inputs.

Cheers
Aaron

I own one Shure adapter. As soon as I received it, I modified it :
- to reduce the length of the cable (to keep the asymmetric line as short as possible)
- to swap the straight 3.5mm jack for a right-angle one.

But in fact I don't use it because it too heavy and too long when mounted at the end of the ME66 on a Mini-mount support.

I ended building an ultra short XLR->Jack 3.5mm cable. I did some tests to compare the both solutions. The Shure only provide higher volume (impedance matching). But the ME66 is so hot that it really doesn't matter. So from now this little XLR->Jack is always connected avoiding unnecessary insertions for this tiny 3.5mm connector.

Stupid question perhaps, but....
 

When connecting an external mic to a GL2 using 3.5mm stereo miniplug, is there TRULY any difference than connecting an external mic (XLR) to an adaptor, that in turn plugs into the 3.5mm plug?

I am assuming, that since the adaptor is going to 3.5mm, that you would have the same quality and restrictions as if the mic was straight to 3.5mm to begin with...for example, external mic plugged into the 3.5mm plug only records (at least shows this way on the audio level meter) the left channel. I am guessing that through the MA-300 using an XLR mic would get you both channels, but the same XLR mic through an adaptor, such as those mentioned on these boards...Beachtek, etc., in effect converting the mic to 3.5 would bring you back to only getting the left channel, and would be no different than just using a mic with a 3.5mm plug.

Hope I am making sense. Would the above be an accurate assesment??

Thank you.

My straight XLR->jack 3.5mm gives sound on both channels.
It's great because I can have two different settings for the left and right channel so one of them would provide a little bit less gain. A kind of backup if the other channel has been saturated for any reason (and that happens a lot with the ME66).

This said, for short run direct connection is ok (asymetrical) but I would strongly recommend a box like (Beachtek, BP-Pro... or the I one I would love to own the MM-1). The box will perfom the symetrical (XLR) to asymetrical (3.5mm jack). A symetrical line protects you against noise on long distance.

So it's not just a connector adaptor but on very short distance running XLR to 3.5mm without a transformer would work.

David,
Yes, there could be an advantage to using XLR connections even through a Beachtek that ultimately connects via a 3.5mm jack. The primary advantage of using XLR connections, aside from mechanical security, is that they facilitate "balanced" audio signal transmission. Balanced transmission helps to minimize noise that might be induced into the cable over long runs.

Also note that most of the mic's you'll see discussed here are 1-channnel (mono). Devices like the MA-300 or a Beachtek take 1 channel of audio from each XLR connection. The 3.5mm mic jack leading from the Beachtek to the camera's mic port can send discrete 2 channels of audio if both XLR ports are active (with 2 mics).

Does that answer your question?

Thank you for the quick replies. That does indeed answer my question.

I am using the Schriber Acoustic SA-568, which comes with two seperate connectors, one XLR and one 3.5 mini. You use which ever cable is appropriate for your plug. The mic is mounted directly on the cameras hot-shoe and the cable is not long. IF I understand correctly, and I capitolize IF :) , 1) by hooking my mic up via an XLR adaptor and THEN plugging it into the 3.5 mini I would get both left and right channels. Or I am wrong, and 2 ) hooking my shotgun up to the adaptor would still only give me the left channel UNLESS I have a second mic plugged into the adaptor, in which case I would THEN get both channels?

Sorry, for being so naive, but I'm a bit new to the "higher-end" audio, as opposed to the simple mic built in to the camera.

Again, thank you for your helpful and insightful replies. :)

If you want both channels and don't plan to have any extra mic you have different solutions :
- the cable provided with your mike feeds left and right .. nothing to do
- you buy a 3.5 fem stereo to 3.5 male mono so the signal will be distributed on both channels
- you cut and make your own 3.5mm jack with left and right connections
- you build your own custom XLR -> 3.5mm. In that case you could use right angle connector for both XLR female and 3.5mm jack.

I strongly recommend right angle connectors especially for the 3.5mm connection not for the audio quality but mechanical aspect.

Dany

XLR Adaptor Question...
 

Hello again,

After reading through numerous posts here, I decided to purchase the Sign Video XLR Pro Adaptor and Azden SGM-1X microphone for my GL2. Nice products, although the SGM-1X may be a bit long and with the XLR cable attached, it's a kinda tough to get at the controls on the handle. I might have to take a look at the SGM-X with the mini cable.

If I attach the XLR Pro with the level knobs on the right, the palm of my hand hits and turns them. I'm curious if other users of the XLR Pro have had any problems with accidently turning the level knobs? If I switch the adaptor the other way, the XLR cable connectors are in the way. Would cables with angled connectors make a difference? Is the Beachtek DXA-4P any better in this regard?

Thanks!
Lyle

I'm pretty sure that this is the same product that was once manufactured under the name Studio 1. I orienate it so the faders are facing me and the cables attach at the front of the camera. It gives you a nice flat surface for the palm of your hand. It's impossible to handhold camcorder with the adapter attached any other way. I actually find it easier than handholding with no adapter because it gives you some extra leverage, even though there is some added weight. While this doesn't give the adapter as much surface in contact with the camera, I haven't had any problem. The only issue I can think of, is it throws the camera off axis when you mount it on a tripod so that when you pan the lens is swiveling on an oval instead of a circle. I've done a few crude tests and honestly, you can't tell the difference. If Sign Video has maintained the quality this product was known for, then you have a really great adapter by the way.

Lyle, you're correct. I have the same problems with my Sign Video adapter and so do many others. It's just a design flaw with those adapters but there are a couple of things you could try.

I have learnt to hold the camera with my palm just off the knobs. It don't think I'd like to do that for any length of time but it works.

Your adapter should have come with a belt clip, you can use that to take it off your camera.

I haven't tried it, but there might be a way to make (or buy) a small clip that can lock between the knob and the body of the adapter, effectively holding the knob in it's position.

The audio quality of the Sign Video adapter is excellent and was recommended to me by many people. Would I have bought a different one if I'd known of this hand holding problem, yes, probably, but now I have it I can live with it. Many more important things to buy ;)

Cheers
Aaron

In my book there are two solutions:

1 - Use the belt clip (there is one on the Studio 1 XLR PRO that I use)
2- Tape the box to one of the tripod legs.

Thanks everyone,

The XLR did come with a belt clip and I'll just use that for any longer shoots. I was just curious if anyone found a "magic" solution. Taping to the tripod is another good idea. It is definitley a quality product and now that I have it I'll just work with it.

Thanks again,
Lyle

I've conquered the problem I think.

If you look on our web site at http://www.imageonartworks.co.uk and look in the services then click on video, you can see our XM1 set up and see what we've done with this adapter.

This is my setup exactly, right down to the Mighty Wondercam! I usually put the light on the camera itself though.

I get a bit of Red Eye effect if I do that!

The mic is a Beyer Dynamic MCE86N

Thought you might like to know.... ?

Cheers

Xlr
 

What are some other options as far as XLR adapters go for the GL2? Is the MA-300 the best out there? Is there something that doesn't have to be camera mounted? Any reviews?

Thanks in advance.

The Beachtek and Studio 1 (or whatever its new name is) are the two primary options aside from the MA-300. I like the Beachtek. Solidly built, clean electronics.

Studio 1 is far better. Much lower noise and better construction.

Lower noise? How much lower noise given that both are passive devices? Can you describe how the measurements were made?

BTW: A recent player is Signvideo, the OEM for the original Studio 1 product line. Studio 1 is still in business as well, with a somewhat revised set of products.

Are these adapters balanced? If so there should be virtually no noise.

The MA-100 is an active device (electronics including integrated circuit amplifiers) inside so there will be some electronic noise - but not much. The Beachtek is passive, so the noise willl be the thermal noise of the components plus what ever is picked up form the ambient electrical/magnetic fields, even less. Because both are balanced input, pickup from the leads to balanced sources will be minimal.

The Studio 1 XLR adapter - how does that connect to the GL2? I know the MA-300 goes through the accesory shoe...Does it make a difference?

I believe that, like the Beachtek, it screws into the tripod screw and plugs into your mic jac.

Is there any quality difference/loss between the accesory shoe and the mic jack?

Does Mic Adapter cancel benefits of XLR?
 

I read (in Real World Digital Video by Pete Shaner to be exact) that when you use an adapter to connect an XLR cable to a mini plug, the mini plug only uses two of the three wires/lines that make up an XLR circuit, bypassing the feature of the unused wire, which is noise-canceling (meant to cancel 60Hz hum).

"Avoid using adapters except for stuff like headphones..." he says. "There's no substitute for XLR connectors and cables...if possible make connections at the mixer..."

But I haven't seen any discussion about this on this site. On the contrary, people seem to be pleased with their adapters and experiencing enhanced audio...

What am I missing?

Long runs of unbalanced cable (ie RCA and mini-plug tipped cables) can pick up interference due to their acting as an aerial for radio waves (think about how many mobile phones might be close to your line). The longer the cables run, the more efficient the cable is at picking up background. Balanced cables solve this problem by running twin signals that are 180 degrees out of phase and then recombining them at the other end. This means that the real signal can be recombined and the noise is phased out.

However, for short runs, an unbalanced cable is usually fine. The XLR converter (should) take in the balanced signal, flip it and convert it into an unbalanced signal that can be recieved by the mic input on the camera. The only issue is the length of run from the converter to the camera.

I use the XLR-BP-PRO for mobile work, but I much prefer to use a mixer whenever possible.

Of course, just hooking an XLR plug to one end of a cable and putting a 1/8" jack on the other is not the same as a proper adapter.

Thanks for the info, Jim. I have always been a little leary of audio (because I knew nothing, and that made me more afraid!). I am forcing myself into understanding it, and am learning a lot of what and how, if not always why.

Can you refer to me to a source/website where I can learn about using mixers with a camera and transfering to Final Cut Pro?

Also, I have a lav mic with a 20 ft cable. Is there a better/worse way to use the lav mic given the unbalanced signal? Does having the camera closer to the mic improve/worsen things, or does the length of the cable dictate my quality, or none of the above?

Diane, just did a search to locate at least a graphical represention of what is being discussed . .found one . . cleared it up for me:

http://www.nullmodem.com/Audio.htm

Grazie

Thanks, Graham! I love stuff explained in pictures (odd, considering that I am a writer by profession...)

Diane

. . but did it help you?

Well, when most audio people talk of long runs they're talking 20 metres rather than 20 feet, but it is wise to keep unbalanced cables as short as possible. It is also possible to get hold of high quality unbalanced cables with improved shielding if you're worried.

In terms of a mixer, you either need one with a mic-level output or you'll need an attenuator to drop line level signal to mic level. This is because the XM-2 only allows audio input through the mic input while recording and not through the line level AV port. Who knows why, but in my view it is THE biggest design fault of the camera.

The other way to shorten the runs is NOT to use the camera for recording audio. There's a little gadget called the mini-disc which is going out of fashion, but it shouldn't be. It's the ONLY compact digital recording method on the planet. Bung your sound onto an MD and then synch it in post. It's dead easy and it saves you all the trouble of trying to get your sound from your source to the camera. You can hide a minidisk anywhere, and they are as cheap as $150!

One really cool thing is to turn down the gain on the on-board mic and use it to pick up ambient. Remember an audio track is just an audio track. In post you can sample it out of the DV, mix it with whatever you got on your MD recorder, paste it back onto the video, and Bob's your mother's brother.

You might find some useful info here http://homerecording.about.com/libra...y/aa082697.htm