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Azden 330 ULT SUCKS! Sound cuts out while recording!
replied 13 years, 10 months ago 9 Members · 26 Replies
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Hi Raf,
Welcome to the Cow Audio Forum. Richard is correct. Monitor the wireless receiver at the camera headphone output. That’s really the only way you know the audio is getting there. If it sounds bad there, you need to do something before it gets there.
I once had a shooter tell me “all the audio guys say my camera sounds like cr*p, don’t worry.
Later, he told me he thought my mixer was causing problems. I actually went through the process and assured him it wasn’t. Then he did a bit of looking around and was honest enough to tell me his camera was broken.
Regards,
Ty Ford
Cow Audio Forum Leader
Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog -
Hi Ty.
The XA10 does NOT have good headphone monitoring capabilities. Maybe it does inside a studio, but outside with ambient noises, wind, etc.. Nope. The mic mon is not good at all. I didnt know this till after purchase. As a matter of fact. The XA10 was NOT that great of a camera. But that’s another forum. 😉
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Raf,
I’ve used that AT system before as well as the Senns, and I’ve gotta say Sennheiser all the way. The quality of the Sennheisers are just much better, be it build quality or audio. Just my 2¢ -
Raf,
Could you be suffering from Crapitus Headphonitis?
The Sony MDR 7506 headphones are about the most sensitive headphones out there. They are great for other reasons as well. A pair may help you hear what’s going on better.
$99 most everywhere.
Regards,
Ty Ford
Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog -
Understood on your feelings Yoshi about the two systems. Other than the initial failure, I’ve not had a problem with my AT. But Senn has a great rep also.
Raf, thx for clarifying on the XA. That did make ‘sense’ to buy, given the possible pro level restrictions, if you didn’t have the initial budget.
It sounds like a field mixer would help, and the Mixpre-D is a great option. It can plug in under the camera, with it’s newer mount, the headphone volume control is great, and can output loud to the cans. I use it on my 7D. Then all you have to do is monitor your camera volume meters, to see that you have the mixer right. That can get you in the ballpark,without overdriving. And it’s unlikely the people you worry about charging you extra would even see the thing.
The AT receiver has a very strong signal for output to the cans as well, so sometimes I do all level checks there, if I don’t bring the field mixer. Again, you can monitor the incamera level controls if the scene is noisy. Last but not least, the signal should be running to a field recorder and the PMD661 along with the Mixpre-d allows me to output to the recorder and use my camera as the backup. Far less hiss on the 661 than any camera I’ve ever used. Cameras all have terrible pre’s it seems
Would I buy it again? Not sure. But it’s been ok, and the AT service, for here in the US did not disappoint.
Al
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Ok.. I am convinced about the Sen’s… So what were the cons with the AT brand? Did yours lose signal or anything like that?
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Back when I traveled all around the country teaching Production in seminars – I had a fun little exercise I used to do in class.
I’d pick a volunteer from the crowd hand them a basic camcorder.
Saying… “I need some footage of me teaching for my reel? How about I pay you $500 for some decent general shots of me teaching over the next half hour. Would you do that?”
They’d always agree happily.
Then I’d tell them “Oh, one problem. I’ve put gaffers tape over both the viewfinder AND the LCD screen on this camera – so you have to shoot the footage totally blind. And the second part of the deal is that if the class doesn’t vote that the results are professional enough – you have to pay ME $500. Is that OK?”
Then I’d just turn to the class before the volunteer got too uncomfortable and note: “I bet every one of you would have a problem on a paid gig recording video if you couldn’t actually SEE anything about what you’re recording – is that fair to say?”
(hold for the nods)
Then,
“By the way, be honest – how many of you shoot without using headphones every single time you’re recording audio?”
Some sheepish hands would inevitably go up.
“Those of you honest enough to admit it, think about this… if it would make you extremely uncomfortable to try to shoot video without being able to even SEE the results, how exactly is it you’re OK recording audio without being able to HEAR the results. Aren’t these basically the same thing?”
It was always fun to see the light go on in so many faces.
It’s just a brain disconnect. It’s a “video” camera – so the “video” is always the thing to monitor.
The folks who last in our business tend to be the ones who learn the deception of this thinking as early as they can.
FWIW.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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Only lost signal when the batteries were low.
Al
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My bars were full. New Batts. Less than 5 minutes into shoot.
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Where did you GET the batteries? I have had bad luck trying to buy batteries on the road, especially in the 3rd world. Even in Johannesburg, South Africa we found it difficult to find “brand-new” AA cells that weren’t half-dead already.
Always take a battery tester. I don’t have 100% confidence in the battery indicator on the equipment. And I bring batteries from home now. Bulk pack from some fast-turnover place like my big-box membership discount store (Costco).
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