MA300 XLR microphone adapter

Ken Tanaka · September 15th, 2002, 08:45 PM

Look through this section of the site and you'll find several discussions already running on this subject, Tony.

Frank Granovski · September 15th, 2002, 08:58 PM

If you paid with your hard earned money for a new GL2, why not get it looked at by Canon. You do have a warranty, do you not?

Scott Silverman · September 21st, 2002, 02:22 PM

When you hook the MA-300 to the GL2, does one of the XLR inputs record to the left audio channel and the other XLR record to the right? This would mean that if I was using a wireless lapel into one XLR and a camera mounted shotgun on the other XLR, that when I played my video back I would be hearing the lapel and shotgun on two different sides of the TV (one on the left channel and one on the right). Is this true, or would I be hearing both the lapel and shotgun on both channels? If Canon designed the MA-300 this way it seems pretty darn stupid enless you were using different two mics for stereo recording. Would there be any way to correct this problem? What would I do to get both mics on both channels? Thanks!

Chris Hurd · September 21st, 2002, 03:34 PM

Howdy from Texas,

<< When you hook the MA-300 to the GL2, does one of the XLR inputs record to the left audio channel and the other XLR record to the right? >>

Yes. This is exactly how it's intended to work.

<< This would mean that if I was using a wireless lapel into one XLR and a camera mounted shotgun on the other XLR, that when I played my video back I would be hearing the lapel and shotgun on two different sides of the TV (one on the left channel and one on the right). >>

Playing back the raw video, before editing, yes, this is what you would hear.

<< Is this true, or would I be hearing both the lapel and shotgun on both channels? >>

No -- one mic on one channel, the other mic on the other channel.

<< If Canon designed the MA-300 this way it seems pretty darn stupid enless you were using different two mics for stereo recording. >>

Sorry Scott, but this is the industry standard... *all* cameras from *all* manufacturers having XLR audio inputs function in precisely this manner. Canon isn't doing anything different or out of the norm at all here.

<< Would there be any way to correct this problem? >>

Well, it really isn't considered a problem. Normally, if you're at a certain production level where you're using professional mono XLR mics, then it generally follows that you're also going to be properly mixing these channels together in the postproduction process... whether it's within a computer-based editing system involving digitized (captured) audio and video, or whether it's done through a sound mixing board in the traditional linear deck-to-deck editing process.

<< What would I do to get both mics on both channels? >>

In the field, you mean? I suppose you could do a couple of things... one would be to employ a small, portable field audio mixer (such as a 3-input, 2-output Shure, about $1000), and feed the output to the MA300. Another idea might be to use two Y-adapter XLR cables. Both mics go into one Y-adapter, choking down to one channel, then out another Y-adapter, branching out to two channels... I'm not sure if this would even work if the mics are of different impedences.

I think your best bet in the long run is to use the adapter as it's intended and follow the standard procedure of mixing channels in post. You'll have a *lot* more creative control this way. Hope this helps,

Scott Silverman · September 21st, 2002, 04:32 PM

Thanks for the info, that helps a lot. You mentioned fixing the "problem" in post production. I use Adobe Premiere 6. How would I seperate the left and right channels off my GL2 in order to put them on my timeline as two seperate audion tracks? If I could seperate left and right channels and then lay them down in the timeline as two seperate audio tracks, this would fix the "problem". Right? Thanks again.

Scott

Chris Hurd · September 21st, 2002, 04:39 PM

You should probably post this question to our PC Editing forum, but as I recall in AP6, if you capture 2-channels of audio, they'll show up on the timeline as two independant channels. In other words, it's done for you automatically. Try posting in the PC forum about this as. Although I have AP6 myself, I generally use the Canopus RexEdit program for most of my editing.

Scott Silverman · September 21st, 2002, 04:43 PM

Thanks. I'll post it in the PC editing forum. I as I see it, in AP6 it imports the audio (both left and right) as one track. I'll see what I get in the PC forum. and thanks sooo much. These forums are wonderful!

Linc Kesler · September 22nd, 2002, 04:37 PM

Another approach to this problem (if you regard it as such) is to use something like the Studio 1 mic box instead of the Canon adaptor. The Studio 1 box accepts XLR plugs as well as unbalanced inputs, and will accept line level feeds. It also has a switch that puts inputs from both channels into both outputs (a "mono" setting). So if you are taping something that you do not anticipate editing in post, you can do what you want. The box also has attenuators on each input that allow you to balance the relative strength of the inputs in such a situation. It's a pretty flexible little system for $200, and gets the weight of the XLR cables off the camera to boot, if that would be an advantage for you.

No, I don't have any connection to the company, but have just found this box to be well designed, and to perform well for its intended uses, so I thought I'd pass my experience along. It's also nice in that it can be used with any other camera (and even has a ground lift that is allegedly useful with some Sonys).

Linc Kesler

September 23rd, 2002, 11:04 AM

it was the ma300, and not the gl2 itself.
i bought another ma300 to test it before having to send the whole gl2 in, thank god.
so if anyone has a problem with the two, test the ma300 first. i guess i just got a bum one, it happens....

Brad Higerd · January 11th, 2003, 11:07 PM

I need to make a decision about which audio adaptor I should purchase for my newly arriving GL2. I will be purchasing a Sennheiser Me66K6 mic very soon, and I am looking for the best way to interface these tools.

I would enjoy reading any related opinions you (anyone) may have.

Thank you for your assistance.

Graham Bernard · January 12th, 2003, 01:52 AM

Brad - There's been a mass of chat about the MA-300 on this Forum. Can't remember if this included a comparison with the DXA-4P - but have a read anyway - yes?

I'm using the Canon MA-300 in conjunction with a Senni - no complaints yet.

Grazie

Don Berube · January 12th, 2003, 03:16 AM

I use both. The DXA-4P adds just the right amount of weight to the bottom center "sweet spot" of the camera which some people find that it helps to balance out the camera when you mount a shotgun to the top of the camera, especially if you add a wide-angle adaptor to the front of the lens.

The MA-300 does work quite well though and it "auto senses" whether you are inputting a mic or line level signal.

The DXA-4P can usually also be used on other cameras where the MA-300 will really only work on the GL2.

It comes down to what you prefer I guess.

Aaron Rosen · February 19th, 2003, 11:52 PM

What is the best MINI pre-amp for use with the MA-300 (XLR inputs)? I have the MA-300 and need a signal boost. I am looking for the SMALLEST battery run XLR compatible preamp.

I'm sure this may have been gone over before, but I was unsuccessful in finding it on the board.

Any product names and links to web sites would be greatly appreciated!

Thanks!

Ken Tanaka · February 19th, 2003, 11:59 PM

There's a thread running here that will be of interest to you.

Aaron Rosen · February 20th, 2003, 12:23 AM

Thanks -

I had read that thread before I posted this. Unless I missed somthing (I have been known to do that), there was no outside links.

I am looking for a few if you have any.

September 15th, 2002, 08:45 PM	#16
Ken Tanaka Retired DV Info Net Almunus Join Date: Dec 2001 Location: Chicago, IL Posts: 6,943	Look through this section of the site and you'll find several discussions already running on this subject, Tony. __________________ Lady X Films: A lady with a boring wardrobe...and a global mission. Hey, you don't have enough stuff! Buy with confidence from our sponsors. Hand-picked as the best in the business...Really! See some of my work one frame at a time: www.KenTanaka.com

September 21st, 2002, 02:22 PM	#18
Scott Silverman Major Player Join Date: Sep 2002 Location: Cupertino, California, USA Posts: 301	MA-300 Audio Channel Question When you hook the MA-300 to the GL2, does one of the XLR inputs record to the left audio channel and the other XLR record to the right? This would mean that if I was using a wireless lapel into one XLR and a camera mounted shotgun on the other XLR, that when I played my video back I would be hearing the lapel and shotgun on two different sides of the TV (one on the left channel and one on the right). Is this true, or would I be hearing both the lapel and shotgun on both channels? If Canon designed the MA-300 this way it seems pretty darn stupid enless you were using different two mics for stereo recording. Would there be any way to correct this problem? What would I do to get both mics on both channels? Thanks!

September 21st, 2002, 03:34 PM	#19
Chris Hurd Obstreperous Rex Join Date: Jan 2001 Location: San Marcos, TX Posts: 27,366 Images: 513	Howdy from Texas, << When you hook the MA-300 to the GL2, does one of the XLR inputs record to the left audio channel and the other XLR record to the right? >> Yes. This is exactly how it's intended to work. << This would mean that if I was using a wireless lapel into one XLR and a camera mounted shotgun on the other XLR, that when I played my video back I would be hearing the lapel and shotgun on two different sides of the TV (one on the left channel and one on the right). >> Playing back the raw video, before editing, yes, this is what you would hear. << Is this true, or would I be hearing both the lapel and shotgun on both channels? >> No -- one mic on one channel, the other mic on the other channel. << If Canon designed the MA-300 this way it seems pretty darn stupid enless you were using different two mics for stereo recording. >> Sorry Scott, but this is the industry standard... all cameras from all manufacturers having XLR audio inputs function in precisely this manner. Canon isn't doing anything different or out of the norm at all here. << Would there be any way to correct this problem? >> Well, it really isn't considered a problem. Normally, if you're at a certain production level where you're using professional mono XLR mics, then it generally follows that you're also going to be properly mixing these channels together in the postproduction process... whether it's within a computer-based editing system involving digitized (captured) audio and video, or whether it's done through a sound mixing board in the traditional linear deck-to-deck editing process. << What would I do to get both mics on both channels? >> In the field, you mean? I suppose you could do a couple of things... one would be to employ a small, portable field audio mixer (such as a 3-input, 2-output Shure, about $1000), and feed the output to the MA300. Another idea might be to use two Y-adapter XLR cables. Both mics go into one Y-adapter, choking down to one channel, then out another Y-adapter, branching out to two channels... I'm not sure if this would even work if the mics are of different impedences. I think your best bet in the long run is to use the adapter as it's intended and follow the standard procedure of mixing channels in post. You'll have a lot more creative control this way. Hope this helps, __________________ CH Search DV Info Net \| 20 years of DVi \| ...Tuesday is Soylent Green Day!

September 21st, 2002, 04:32 PM	#20
Scott Silverman Major Player Join Date: Sep 2002 Location: Cupertino, California, USA Posts: 301	Post production audio fix... Thanks for the info, that helps a lot. You mentioned fixing the "problem" in post production. I use Adobe Premiere 6. How would I seperate the left and right channels off my GL2 in order to put them on my timeline as two seperate audion tracks? If I could seperate left and right channels and then lay them down in the timeline as two seperate audio tracks, this would fix the "problem". Right? Thanks again. Scott

September 21st, 2002, 04:39 PM	#21
Chris Hurd Obstreperous Rex Join Date: Jan 2001 Location: San Marcos, TX Posts: 27,366 Images: 513	You should probably post this question to our PC Editing forum, but as I recall in AP6, if you capture 2-channels of audio, they'll show up on the timeline as two independant channels. In other words, it's done for you automatically. Try posting in the PC forum about this as. Although I have AP6 myself, I generally use the Canopus RexEdit program for most of my editing. __________________ CH Search DV Info Net \| 20 years of DVi \| ...Tuesday is Soylent Green Day!

September 15th, 2002, 08:58 PM	#17
Frank Granovski Outer Circle Join Date: May 2002 Location: Hope, BC Posts: 7,524	If you paid with your hard earned money for a new GL2, why not get it looked at by Canon. You do have a warranty, do you not?

September 21st, 2002, 04:43 PM	#22
Scott Silverman Major Player Join Date: Sep 2002 Location: Cupertino, California, USA Posts: 301	Thanks. I'll post it in the PC editing forum. I as I see it, in AP6 it imports the audio (both left and right) as one track. I'll see what I get in the PC forum. and thanks sooo much. These forums are wonderful! __________________ Scott Silverman Shining Star Digital Video Productions Bay Area, CA

September 22nd, 2002, 04:37 PM	#23
Linc Kesler Regular Crew Join Date: Aug 2002 Location: Vancouver BC Posts: 65	Another approach to this problem (if you regard it as such) is to use something like the Studio 1 mic box instead of the Canon adaptor. The Studio 1 box accepts XLR plugs as well as unbalanced inputs, and will accept line level feeds. It also has a switch that puts inputs from both channels into both outputs (a "mono" setting). So if you are taping something that you do not anticipate editing in post, you can do what you want. The box also has attenuators on each input that allow you to balance the relative strength of the inputs in such a situation. It's a pretty flexible little system for $200, and gets the weight of the XLR cables off the camera to boot, if that would be an advantage for you. No, I don't have any connection to the company, but have just found this box to be well designed, and to perform well for its intended uses, so I thought I'd pass my experience along. It's also nice in that it can be used with any other camera (and even has a ground lift that is allegedly useful with some Sonys). Linc Kesler

September 23rd, 2002, 11:04 AM	#24
imemine9 Posts: n/a	it was the ma300, and not the gl2 itself. i bought another ma300 to test it before having to send the whole gl2 in, thank god. so if anyone has a problem with the two, test the ma300 first. i guess i just got a bum one, it happens....

January 11th, 2003, 11:07 PM	#25
Brad Higerd Regular Crew Join Date: Jan 2003 Location: Orlando, FL Posts: 186	DXA-4P vs MA-300 I need to make a decision about which audio adaptor I should purchase for my newly arriving GL2. I will be purchasing a Sennheiser Me66K6 mic very soon, and I am looking for the best way to interface these tools. I would enjoy reading any related opinions you (anyone) may have. Thank you for your assistance.

January 12th, 2003, 01:52 AM	#26
Graham Bernard Old Boot Join Date: Aug 2002 Location: London UK Posts: 3,633	Brad - There's been a mass of chat about the MA-300 on this Forum. Can't remember if this included a comparison with the DXA-4P - but have a read anyway - yes? I'm using the Canon MA-300 in conjunction with a Senni - no complaints yet. Grazie

January 12th, 2003, 03:16 AM	#27
Don Berube Moderator Join Date: Mar 2002 Location: Boston, MA (travel frequently) Posts: 837	I use both. The DXA-4P adds just the right amount of weight to the bottom center "sweet spot" of the camera which some people find that it helps to balance out the camera when you mount a shotgun to the top of the camera, especially if you add a wide-angle adaptor to the front of the lens. The MA-300 does work quite well though and it "auto senses" whether you are inputting a mic or line level signal. The DXA-4P can usually also be used on other cameras where the MA-300 will really only work on the GL2. It comes down to what you prefer I guess. __________________ DONALD BERUBE - noisybrain. Productions, LLC Director Of Photography/ Producer/ Consultant http://noisybrain.com/donbio.html CREATE and NETWORK with http://www.bosfcpug.org and also http://fcpugnetwork.org

February 19th, 2003, 11:52 PM	#28
Aaron Rosen Major Player Join Date: Feb 2003 Location: HB, CA - USA Posts: 298	What is the best MINI pre-amp for use with the MA-300? What is the best MINI pre-amp for use with the MA-300 (XLR inputs)? I have the MA-300 and need a signal boost. I am looking for the SMALLEST battery run XLR compatible preamp. I'm sure this may have been gone over before, but I was unsuccessful in finding it on the board. Any product names and links to web sites would be greatly appreciated! Thanks!

February 19th, 2003, 11:59 PM	#29
Ken Tanaka Retired DV Info Net Almunus Join Date: Dec 2001 Location: Chicago, IL Posts: 6,943	Welcome Aaron There's a thread running here that will be of interest to you. __________________ Lady X Films: A lady with a boring wardrobe...and a global mission. Hey, you don't have enough stuff! Buy with confidence from our sponsors. Hand-picked as the best in the business...Really! See some of my work one frame at a time: www.KenTanaka.com

February 20th, 2003, 12:23 AM	#30
Aaron Rosen Major Player Join Date: Feb 2003 Location: HB, CA - USA Posts: 298	Thanks - I had read that thread before I posted this. Unless I missed somthing (I have been known to do that), there was no outside links. I am looking for a few if you have any.