MA300 XLR microphone adapter
 

need to fabricate an accessory which will enable me to safely mount
my Sennheiser ME66 shotgun mic to the MA-300 XLR adaptor.
It seems only a 25mm mic will fit in the neck as it is and the adaptor
is not adjustable. Known additional accessories? Suggestions beyond
switching to a Beachtek? Thanks in advance...

Since the MA300 is an acccessory specific to the GL2 / XM2 I thought your post might be best served over here.

I believe that this is the same issue that XL1/s users have long faced with the thinner ME66. It's been solved by the use of a special bushing inside the fitting. Give the folks at ZGC (zgc.com) a call. I'd bet they have a good solution for you that's less expensive than getting a BeachTek.

solved my own problem
 

Thanks for the ZGC suggestion, Ken. They did try to get me an adaptor ring from a company called lightweight systems which was supposed to work, but does not. ZGC plans to modify these rings by having the metal sized down, so a "true" adaptor should be available through them in the coming weeks for those who need. meanwhile, my own temp solution is a play off another suggestion from a collegue. Apparently sound folks have made due in this kind of jam with a bicycle innertube cut to size to absorb shock and hockey stick tape. I went for what seemed the best of both worlds: outergrip meant for tennis rackets. this mainly sticks to itself and does not create a sticky mess on your mic and is also designed to absorb shock as the rubber innertube would and is used to handling the humidity and moisture of sweat. not to mention that the duratrac by wilson is the exact width of the MA-300s mic cradle! Sennheiser seems pretty safe, snug and sound on there, run and gun shooting conditions will be the true test. Hope this helps someone else out there facing the same problem...

Good for you! Thanks very much for following-up with a solution that probably will help many others with the same problem.

Ma-300
 

I have searched and I can't find any info on this question. When using the MA-300 can you use the audio coming into 1 XLR on one channel and audio coming into the 3.5 mic input on another? I guess my question is basically can I use a shotgun mic plugged into the XLR adapter and then plug the output of a Sennheiser Evolution 100 wireless receiver into the 3.5 jack and get audio from both simultaneously or is it all XLR or no XLR at any given time? Thanks again for your help.

Sorry, but with the XLR adapter, it's either all or none. Besides, the mini-jack on the right side of the GL2 is stereo anyway. Meaning that if you plug in a mono device, it doesn't automatically free up a channel. Both channels are "taken," but one will be dead, the other live.

For what you want to do, consider an adapter cable to convert your receiver up to XLR and plug it into the MA300. Hope this helps,

Merits of MA-300
 

Hey guys, I was wondering is there a marked difference in quality between the mic on cam vs. a shotgun mic that would be plugged into the side of the cam vs. the ma-300 adapter with two xlr mics?

I'm currently thinking of recording some footage of jazz musicians in a controlled documentary style setting. My immediate guess would be that using the ma-300 with two real nice mics for true stereo imaging would work best. Especially because I would be able to place those mics wherever I wanted.

Does this make sense?

I guess the shotgun mic would be used for when you need good audio on the move?

Makes a world of sense.

The GL1/2 (XMx) built-in mic is decent as on-camera mics go in its price range, but there is no substitute for close mic-ing the program material with appropriate mics. For bst results mic each piece with appropriate mics and use a mixer - feed that signal at -30 dBV to the GL1 set to MIC ATT setting. Manage your levels to heep the GL1 outof AGC/limiting mode.

Alternatively, consider getting a single point stereo mic, such as the AT-825.

In general on-camera mics are poor for musical ensembles, and as you move the camera to ediffrent angles you will get a different stereo image.

Thanks for confirming my ideas!

-Eric

Hi Eric,

You didn't note the setting. If it's in a club, and the musicians are already mic'ed for the PA, you could just run line level from the PA to the camera. I don't know whether the Canon adaptor provides attenuation for line level feeds, but the Studio 1 adaptor I use does. If you are using more than one mic, or want to have some EQ control, a small mixer is a good idea. Behringer makes a very small one my local music store was selling for $69. I had to run it through the Studio 1 for attenuation, but it worked. With this mixer, it was pretty critical to keep the mixer gain controls at neutral or less, or the mixer introduced hiss, but the EQ worked fairly well, and it does have phantom power, which is very useful, esp. at this price, if you are using mics that require it. No doubt a $400 Mackie would be better. But again, if it's in a club setting, you might have a really good board to work with, and the musicians might already be using mics they like.

I've also read that other people have not typically regarded the sound recording circuitry in this level camera to really be up to "CD quality": the sampling, etc., is, but not the preamp circuitry, so they seem to do sound separately on a DAT deck, or mini-CD, and mix it with the video in post. But that may be way overkill for what you want to do, and kinda takes things out of the scene-documentary space, if that's more what you are looking for.

Oh yeah, while we're at it, it also seems that people recording live music note that some volume levels are a bit high for the mics one would use in other situations. I know musicians commonly use very specific (and relatively inexpensive) mics for both vocal and instruments in live environments, and I think they are designed more for those applications (Shure 58s are popular, if I'm remembering right--could be 85s!) and won't be overwhelmed by the sound levels.

I'm really no expert, and most of this is just info I've gleaned from other sources trying to keep myself out of trouble. For my immediate work (oral history), I decided to skip the mixer: the added EQ wasn't enough of an advantage, and keeping it simple made a lot of sense, esp. given the sensitivites of my subjects, for whom the camera and wearing a lavalier were already intimidating enough. But it was worth checking out for me, just so I knew what I was or was not missing.

Linc Kesler

Linc Kesler

thanks for that post, yeah... I think for what I'm envisioning, the camera (thru xlr) sound will suffice.

I have a pretty decent audio studio I built about a year ago (actually my dv studio is part of the audio studio.. the dv studio consists of my gl2, vegas video 3.0, and soon to be adobe after effects :))

So manipulating sound once I get it isn't a problem. those behringer mixers are decent for the price. my friend usesthem for to submix his rock band during performances. However, I've noticed (as you stated) there is a lot of noise that comes from it. Since I wanna focus on jazz, I'm gonna get a mackie if I get anything

I'm about to get a 1604-vlz pro for my studio anyway.

-Eric

help - canon gl2 and ma-300 stopped working
 

hello, after my second day using the canon gl2 with the ma300, using an at835st mic, it just stopped working. ive spent two weeks trying to resolve it, i know all the menus and settings to this thing by memory now, and nothing solves it, even taking out the battery for a day to reset everything. i see no levels on the audio meters, nor is sound recorded to tape nor heard live. the mic works fine, the cable works fine, i dunno if its the ma300 or the camera.

do i just try and get canon to help? their email support doesnt answer me. thanks for any input, im pretty sad and drained about this.

I don't understand why you have been sitting on this for two weeks; you should have called for help immediately, at most within a day or two of the problem.

Contact your nearest Canon service facility, which Canon Factory Service at 100 Jamesburg Road, Jamesburg, NJ 08831. The telephone number there is (732) 521-7007.

If possible, try a different mic and see if you get anything. Are you sure the MA300 is properly seated with full contact. Be prepared to send the camera to Jamesburg. You'll pay for shipping one way but the camera is covered by the one year parts & labor warranty, provided that you bought it from an authorized US dealer.

i was just thinking perhaps someone else had run into the same unsual problem, or maybe there was something i was overlooking...
im going to try and get another ma300 and see if its something in the ma300 circuitry that went perhaps, that would be a nice a simple resolve.

MA300 Microphone adapter
 

Hi,

I was wondering if anyone has used the ma300 and if so whats it like. is it stable or does it wobble on the hotshoe.

What size mic can it hold? does it make the camera front heavy,

anyone who has any info on the ma300 please let me know


regards

tony webber

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

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?

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!

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,

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

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.

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!

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

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....

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.

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

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.

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!

Welcome Aaron
 

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

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.

Sound Devices makes the MM-1, the finest pre-amp on the market in my opinion. It's pricey, but you said the best.

There's a link to the Rolls in one of my last posts on that thread.

The MM-1 can be found at Sound Devices' site.

Thanks for the links guys. Do these preamps offer XLR connections?

MA-300 Question...
 

Question to anyone who owns the MA-300 microphone adapter:

What are the pros & cons of using the BNC video output of the MA-300 to patch into an external monitor, versus the RCA cables that can be patched directly from the back of the GL2 with the RCA inputs that come with the camera. Why route it through the MA-300 at all?

Just curious...

You said it!
 

I can't believe Canon did this. How hard would it have been to include a video return with those hardwired audio returns to the camera? There is no technical advantage except that you now don't need a BNC adapter to use a pro monitor but you DO now need a video patch cord to use that BNC connector from the 300 to the camera. Who approves these things before they hit production? Unbelievable!!

Oh, and one more thing...
 

I have one more question concerning the MA-300. How can I get it to input audio in stereo? I have only one shotgot microphone, patched into one of two XLR inputs on the MA-300. The two XLR inputs are labeled Left and Right, but with one microphone source, how do I get sound into both the left and right channels? What's the best solution?

XLR Y Adapter
 

All you need to accomplish your goal is to get an XLR Y adapter. B&H or any pro audio store should carry these. I got mine from B&H who resells the Comprehensive brand. They also carry the general brand. I think they're all the same to tell you the truth. Look for the Neutrik name on the shells for best quality assurance.

DO now need a video patch cord to use that BNC connector from the 300 to the camera
 

Errmm . . . I think I got one of these cables that came with my XM2 kit. - I've asked several people about the BNC, and they too were a bit bemused with the "loop" back to do this. Another wire to loose eh?

"What's the best solution?"
 

"...how do I get sound into both the left and right channels? " - Well there is an argument that you could do this in post with any more than average competant NLE s/w. I have used SoFo's Video Factory [$45-ish USD] gives the option to "pan" the audio to L>R or R>L AND find a balance on that split mono - yeah? Did this with my mono analogue Panny Cammy - works like a dream.

I say there is an argument for doing this in post because you could leave the "other" XLR channel for "other" audio input - wireless, ambient non-shotgun mic - yeah? Doing stuff in post -including colour correction - means you have far more creative control of the final production. If it aint in the can you can't create it in post.

Hey what do I know! - I'm still learning.

Grazie - Sorry Chris, can't get away from my nickname - yeah?

Mixing Left and Right
 

I'll be doing most of my editing work in Final Cut Pro, and being able to drag shots into the timeline with dialogue already mixed evenly between the left and right channels will save me having to manually add the dialogue into the second channel for every single shot. If dialogue is recorded evenly in the left and right channel, I can pan the audio left and right within FCP easily enough if it is necessary. So, am I hearing correctly that the XLR Y splitter is my best bet for this?