[David C jones]

Great review…I hope to look at your clips as well, soon. I may be wrong about this (I’ve been known to be wrong once or twice ;o) ) but, I’ll bet Sony wasn’t expecting the EX-1 to be such a runaway hit; they made a camera for under 7k, and targeting a user that doesn’t need the quality of the higher end cameras. BUT, as I understand it, Sony (accedently?) made a camera that has an image quality as good or better then cameras two or three times the price! Users took notice, and went on a buying frenzy. What I hope they eventually do, is make a full-size version (2/3″ chips, shoulder mount, four or five card slots). I know Sony wants us all to intermingle their “disk cam” with the SXS format but, as of right now I don’t see that happening; the formats are just to different.

[David C jones]

Are you using a windscreen on the 674? Even if you are, you will still get wind noise in most situations where wind is present; that’s why you see sound guys and network cameramen using Rycote softies (or equivalent) on their mics. That’ll set you back another $120 but, it’s the only way to stop the wind. The mic built into the camera is not as susceptible to wind as a shotgun is.

[David C jones]

Well (as a sound pro), it sounds like you are describing two different problems. The vibrating is being caused by a certain frequency(s) (by the music you’re recording) at a very high volume. As far as the distortion, you probably need to add a pad since you are recording sound at high volumes. The EX-1 is a full-blown professional camera which means you have to set everything manually (and you have a lot of options). Go into the audio setup section of the camera (page 101 in the instructions) and adjust, what they call, the trim. This setting allows you to add pads which reduces high volume inputs. You also might be using a mic that can’t handle the SPL’s of the concert you’re recording, but if you have used it before with success, I would try adjusting the audio trim settings on the camera.

[David C jones]

Ok, I see what you’re saying…

Hopefully someone who knows more than I, will post here (I have very little experence with sound reinforcement). For me, anyway, I would need to see the setup; if you are using the main out for the house, does the record out have seperate faders and/or a way to add gain or switch between line/mic out? In other words, is there a way to seperately control the record out? If not, then I think your first instinct was right; you need some sort of pre amp. Again, hopefully someone else can give you a specific answer.

[David C jones]

What is it you are recording (what is your source)? Are you saying that you are sending a mic level to a house PA system, but you need to also send a line level feed to a CD recorder?

[David C jones]

My understanding is it shoots 1080i and 720p; wouldn’t that make it a CineAlta (if it records 24p…or doesn’t it)? Anyway, I was shocked at the price; for months we’ve been led to believe it would be around $40,000. Now, it’s listed for less than $29,000. How can it be less than the stand def version that’s been out for years? Is it because it won’t do 1080p? Or perhaps because it doesn’t have other options that even the EX-1 has? I’m very much interested in this camera if the image quality blows everything else out of the water but, I’m a little concerned about the lack of options it offers.

[David C jones]

Sound blankets AKA: furniture pads can cost as little as $5.00 or as much as $50.00. Though, buyer-beware: depending on the blanket, you might get what you pay for; little or no actual padding. That said, here are a couple of moving supply companies you might check out: http://www.dial-a-box.com. They have pads for around $20.00. You can also try http://www.cameronpackaging.com/premium_pads. One pad from them is $15.95 but, the more you buy the less they are. If you bought just 6 from them, they would only be $8.33 each. The other option is to get the sound blankets offered by Matthews (through B&H or filmtools.com) at around $45.00 each. The one thing the Matthews pads have are grommets so you can hang them (via rope or s-hook).

In terms of mounting them (those without grommets), I would recommend getting what are called Pony Clamps. You can get these at The Home Depot or on line at filmtools.com. You should also invest in some c-stands with arms.

[David C jones]

Unfortunately, as far as I know there’s really no way to fix over modulated audio. Even if you adjust (or lower) the levels, it will still “sound” distorted. It would have been better if you had levels that were to low than to hot. It’s like over exposing video; you can’t fix that ether. Maybe someone with more post-sound experience, though, will post here with a solution.

[David C jones]

I stand corrected on the 500; there are indeed two inputs on the front; the 2000/3000 has one 5-pin. Based on all cameras before the p2’s, you could never have more than two independent channels of audio (the Sony BVV-5 was the only exception). As to the original question here: in terms of the wireless slot, there’s no way to have more than two independent channels. This is something that would have to be changed by the camera manufactures, first. Then, maybe companies like, Lectrosonics will come up with a four channel receiver…we can only hope :o)

[David C jones]

There are indeed, four channels of audio, but their are only two inputs you can use at once; in other words, you can’t, for example, use the wireless slot for channels 1 & 2, and the two rear XLR inputs as 3 & 4. You CAN record four channels of sound but it’s done in a mirror sort of way.