Harry Bromley-davenport
2
COW Coins
Forum Replies Created
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Dear Mr. Ford,
Ah. I see. No transformer.
It looks as if I will give it a shot by making up a simple Y cable as you suggest. I will live in the hope that the camera is not generating any of these mysterious bias voltages to which you refer.
If I hear nasty noises, I will have to look into the blocking capacitor solution.
And I have found out about the AGC. The two channels are linked when AGC is active.
Thank you very much for the assistance and suggestions.
Harry.
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Dear Mr. Toline,
Thank you again for the response.
The receiver output is unbalanced – that much I know. But I have the impression that the external audio input to the Canon T3i is also unbalanced, no? It’s a 1/8th inch tiny little stereo jack input.
I really can’t tell from the camera’s manual or the Canon specs whether this little stereo audio input is balanced or unbalanced.
I guess that if it is indeed unbalanced, it would be a simple matter for me to solder up a Y connector which takes the mono signal from each wireless receiver and connect the signal to the tip and ring of a stereo mini 1/8th inch jack plug.
Do you reckon that’s the correct drill for my situation?
The only thing I am still vague about is whether the camera’s external audio input (the 1/8th inch stereo socket) is balanced or unbalanced.
Thank you again for taking the time to help me with this matter which I am sure, to you, is very simple.
And yes – I can wield a soldering iron after a fashion.
Best wishes,
Harry.
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Dear Mr. Ford.
Thank you very much for your prompt response.
I am currently feeding the 1/8 inch output from my little Audio Technica Pro88 wireless receivers into the XLR inputs of my Canon XLH1 using two accessory cables that Audio Technica call “CP8306 Transformer balanced adapter cable to use PRO 88W receiver with XLR-type balanced microphone inputs.”
So I imagine that if I connected the above XLR balanced outputs from the receiver to the Canon T3i’s 1/8 inch stereo input via the cable that you have kindly suggested, the trick would work.
But I can’t help feeling that going from the unbalanced output from the wireless receiver, through the Audio Technica transformer, and then into the Y adapter in your link (which has another transformer) might be a bit of overkill – and might perhaps introduce noise/hums and whatnot. But perhaps I am wrong?
Also $72 is not cheap. But if you think it will be satisfactory, I will take your advice and buy it.
Might it not be simpler to connect direct from the two wireless transmitters which have 1/8 inch mono outputs to a 1/8 inch stereo jack, with one mike on the tip and the other mike on the ring?
As you can no doubt tell, I am not an audio professional. So I am not familiar with this field.
If you have any further comments or ideas that might help me achieve my goal with the maximum sound quality and, perhaps, a little less expensively, I would be most grateful.
With thanks for taking the time to reply,
Harry.
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Thank you very much for your prompt reply.
I am aware that the Canon T3i is far from ideal as a sound recorder. However, on my current project there are times when I have no choice. I do use Pluraleyes normally.
Thank you for the information about the AGC being global, which is what I suspected. But I am assuming now that the 2 channels on the T3i can be used for individual recording when in manual gain control mode.
With thanks,
Harry.
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Hey, David … how ya doing?
I have one 3TB of each make – Hitachi and WD. Dueling drives. And 7200 seems the way to go.
Best,
Harry.
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With the greatest respect to Mr. Eisen (above), my own personal experience was that when I installed 7200 drives – replacing my 5400 drives, I ceased to suffer from endless crashes in FCP and my life was changed.
I used to endure many many crashes per day and now I crash maybe once or twice per day. A big deal for me.
Of course this may be due to my particular set up since I am on a 2008 8 Core 2x3Ghz Mac which is old and finicky.
Your situation is, no doubt, different.
But I have two of those drives and all is well after 2 months of use.
Best wishes,
Harry.
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I’m in a similar situation. I have HDV 1440×1080 from a Canon XLH1 and H.264 1920×1080 from a Canon 3ti. Those shot at 24p.
I also have yards of H.264 720p 30 fps from a very small Canon which has been used to film from awkward places.
Since the documentary may well be shooting for a year, I have to watch the storage issue and have elected to transcode everything to (gulp) HDV 24p for editing purposes.
I will conform back into ProRes when the material has been whittled down somewhat.
So it’s kind of like an offline in HDV and an online replacement job later.
It’s working, by the way.
When glorious FCPX comes along with its “shove anything you like into my Timeline and I’ll transcode it on the fly”, we’ll see if it really can do it as advertised without hiccuping or crashing.
Best
Harry
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Wow, Shane!
That’s a cool trick – I didn’t know that. Thanks.
I’m now going to put you in my will.
Best
Harry.
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It completely disabled my Blackmagic HD Extreme card and drivers.
Back to ProKit v 5.1 for me.
Harry.