Eric Toline
Forum Replies Created
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All directional mics color the sound a bit by enhancing the low end compared to an Omni pattern mic. Directional mics are basically only directional at the mid & higher frequencys. Look at a frequency response graphs of any mic that’s available in an Omni & Cardioid or hyper cardioid pattern and you’ll see the difference.
Eric
“I push the RECORD button and hope for the best”
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The change in pattern is caused by the size of the opening in the directional cap and the caps length. Be aware that directional microphones are more prone to “P” pops & breath blasts than Omni pattern mics.
OTOH the headworn mics like the Countryman E6 will get you 8-10db more gain before feed back in a live PA environment because of the proximity to the mouth.
Eric
“I push the RECORD button and hope for the best”
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Do you have phantom power turned on? Are the inputs set to mic level?
Eric
“I push the RECORD button and hope for the best”
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There are no headphones just for editing. You should be monitoring on speakers. That said the Sony 7506 phones have long been the defacto standard, about $100usd.
Eric
“I push the RECORD button and hope for the best”
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You’re comparing apples & oranges. A boom mic will almost always have a more natural sound over a lav mic. Actually they both hear the same background noise except that the lav is closer to the main sound source and the proximity of mic to mouth works in your favor with the lav.
Eric
“I push the RECORD button and hope for the best”
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What lav mics are you using with what wireless? Sanken COS 11 lavs are the de facto choice in the production sound community. You’ve heard them on just about every movie & TV show that you’ve seen and didn’t know it. More details about how they’re being used in your situation would help.
Eric
“I push the RECORD button and hope for the best”
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The A, B & G bands only designate different frequency blocks. Everything else is the same. Putting two transmitters on the same frequency will cause nothing but headaches as it’s the RF circuits beating against each other and causing problems at the receiver.
You can get more than acceptable audio from a DSLR like a Canon 5D if you set up your feed properly. The Sennheiser ME2 mic that is included with the set is adequate nothing more. Be prepared to spend $200+ for a very good lav mic.
Eric
“I push the RECORD button and hope for the best”
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The output on the G series receivers is an unbalanced mono connection which means it will work best with a 3.5mm tip/sleeve cable at both ends if the input on the camera is a 3.5 mm mic level connection. The mono tip/sleeve connection will only feed the left channel of the DSLR.
For feeding a DSLR such as the Canon 5D I have found that setting the rx output level to -20 and the DSLR input level to -12 returns very acceptable results. Without a mixer between the rx and camera to control the level to the camera a -20 level on the tx does the job just fine although adjusting levels as you record does create some problems.
Eric
“I push the RECORD button and hope for the best”
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You could use the 3.5mm cable from the tape out on the 302 to the Tascam but depending on how you plan to use the setup it’s not the most secure connection. Personally I always prefer a more secure locking connection such as you would get with a TA3 to XLR. Why not call me and we can discuss your requirements. 954-255-7628.
Eric
“I push the RECORD button and hope for the best”
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Going in line level bypasses the mic preamps. I have a DR 40 and it works fine with a line feed from a mix out or any line level source from -15 to +4. All you do is adjust the recorder level to where you want the reference level to be. Usually -20dbfs. Don’t overthink the line feed setup. this is not brain surgery.
Eric
“I push the RECORD button and hope for the best”