Mini XLR Connectors / RED Camera

[Ty Ford]

Thanks Brian,

Considering how grossly unobservant the people at RED have been about ANY audio issues, this would be a help. Before you nail down YOUR standard, however, it would be nice to know what their pinouts are at the moment.

Regards,

Ty

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar

[Jordan Wolf]

I should hope that such a professional device would be “Pin 2 Hot”, but as we know the “standards” are always set in stone. I wouldn’t mind if it were switchable – my Klark Teknik parametric EQ is…and that’s quite handy sometimes.

I’m glad the pinout is the same as many (most?) XLR-type connections…at least in the United States. TAF connectors seem like a pain to me, but I guess if you can squeeze more into the same space, why not.

Anyways…thanks for the info Brian – I’m sure it will come in handy to people as the mini-connectors become more widespread in their usage.

Wolf
<><

[Ty Ford]

Jordan,

As I was saying, the RED people have shown themselves to be relatively clueless and unconcerned about audio. Before you work with a red camera, please do yourself a favor and check this link out.

If Sony, Panasonic, Ikegami or JVC came out with a camera with this many problems, they’d be the laughing stock of the industry.

https://www.trewaudio.com/audioflow/2008/03/12/are-you-redy/

Regards,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar

Some contents or functionalities here are not available due to your cookie preferences!

This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.

[Jordan Wolf]

Interesting read, Ty. I’m glad that SOMEONE is investigating the correct pinouts – that will definitely come in handy if I ever encounter one of these cameras.

I don’t think a video camera that skimps on video quality for the sake of audio quality would do well at all, after all, that’s not the point of a VIDEO camera. That’s how people like us get jobs – our expertise is in capturing the desired audio using the correct equipment so that when the excellent video from the nice camera and the excellent audio from the recording(s) are combined, they create a stunning sensory experience.

Wolf
<><

[Ty Ford]

Wolf,

I emailed the author about it yesterday, given it’s age. He said there had been some changes and that he might revisit the issue.

About the audio video thing. RED was so far off base it was silly.
Getting audio right isn’t that hard, but the big guys managed to screw up HDV by making the audio mpeg. Go figure.

REgards,

Ty

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar

[Greg Curda]

Hi guys,

Having worked with the RED for a while, I would never consider recording only single system to the camera. It’s a camera, not an audio recorder.

The line inputs are non adjustable and nominally -10, so get your pads ready. The pin-outs are correct on the website, and wrong in the manual, or is it the other way around? Also the cables from RED are padded, so check that out.

There was a new sound card build, but they are replacing it by serial number, so it will be another 6 mos before any of my cams get upgraded. This supposedly fixes the level problem… I haven’t investigated yet…

Check for more issues at:

https://reduser.net/forum/forumdisplay.php?s=a9513b6ce589815cdd787b3114c59c15&f=32

I record guide track (mix) to CH1 for the editor to cut with, and then have a sound editor following the cut and laying in the multi-track
…pain in the ass… but that’s also because FCP will not carry source TC in an OMF export, so it’s manual syncing… What fun…

Great for picture, bad for sound…

G

[Ty Ford]

Hello Greg,

The Sound Devices 442 mixer outputs can be adjusted to 0 VU, -10 or mic level.

I wasn’t sure why I’d need -10 several years ago when I bought the 442, but I has served me VERY well on half a dozen occasions. This is one of MANY features the 442 has. Too many to mention here.

Thank you for your thoroughness, Sound Devices.

Regards,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar

[Greg Curda]

Hi Ty,

A little off the topic, but…

There aren’t enough good things to say about that mixer. I have always been so into my CS104, but almost traded for a 442, after using the latter a few times. Now the CS104 is a collector’s item, so I’ll never sell it. The 442, however, has complete flexibility, if you know how to apply the features. I thought nobody could ever beat Andy’s limiters, but SD’s dual limiter system makes it almost too easy!! I have the MixPre and MP1 and love those for almost no weight run and gun EFP, or MS SFX recording. If they ever come out with a panel mixer, they will rule!

If anyone were to buy a new mixer now, I can’t imagine buying anything other than a Sound Devices. I’m told that the SD team is comprised of a bunch of engineers from Shure. Rock on, guys…

[Bill Kaplan]

Hi Ty. Do you know the pinouts for the 5 pin line level out. May need to make one. I would guess that it would be 1 shield, 2 and 4 hot and 3 and 5 neutral? Did a web search but did not find it. Hope all is well. Cheers BK

[Ty Ford]

Hey Neighbor,

For what device?

Regards,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar