Jordan Wolf
Forum Replies Created
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I would absolutely recommend JK Audio. They have a fantastic assortment of useful telco interfaces. It would also be useful for telephone recordings for effect, instead of hacking the EQ to get the desired sound.
Wolf
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From the picture provided, the microphone has a balanced connector – meaning pins for +, -, and ground.
I would assume the microphone is dynamic, as many lavalier type microphones require a bias voltage from a wireless beltpack OR can be adapted/converted for wired use via a supplied/bought external preamplifier module that will properly power the mic.
Is there any reason that you can’t use a single shotgun mic just out of frame? I understand using separate microphones for each person – it gets a nice, usable signal (sometimes).
I see no problem with the Zoom H2. Make sure you put a loop in the cable of the lavalier so that it does not become microphonic and cause vibrations to be picked up by the diaphragm.
Wolf
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I have found that the MDR-7506 headphones are usable, but am now leaning towards cans with more isolation. Check out “earphones” and also the GK Ultraphones or Direct Sound’s EX-29 headphones.
You’ll be able to hear the details without your recording environment getting in the way.
I own a pair of Shure SCL3 earphones as well as a pair of MDR-7506s. The Shure’s really let me hear JUST the recording/audio signal; the Sony’s – not so much.
When I get my pair of isolation headphones, I’ll post my thoughts/experiences. 🙂
Wolf
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Audacity is a great, free audio recording/editing program. It works on Windows, Mac, and Linux.
Wolf
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FYI – when leaving 12dB-20dB of headroom (room before distortion will set in), your camera’s meters SHOULD read around 3/4 of the way up, on average.
Wolf
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Here is my procedure for setting up the gain structure for ANY wireless microphone:
1. Put mic on talent (usually no lower than the top of the 3rd button on a button-down shirt).
2. Turn on transmitter and have talent speak at a similar level to that which they will use for the actually taping; adjust transmitter’s sensitivity so that there is around 12dB-20dB of headroom and no fear of clipping the bodypack.
3. Turn on receiver and set the camera to accept the correct level signal (Line or Mic, usually).
4. Using headphones/earphones, listen to the incoming audio, turn up the camera’s gain, if needed, and leave about 12dB-20dB of headroom – maybe a bit more if there’s yelling involved. The meters on the bodypack, receiver, and the camera should read identically IF your gain structure has been set up properly. In this way, you know exactly what levels each part of the signal chain is receiving.Wolf
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I agree with Ty and recommend that you use some sort of headphones or earphones to monitor your audio. I use Shure SCL3 earphones because they isolate me from the environment so as to let me hear ONLY the mix coming into the camera. If you prefer circumaural (around-the-ear) headphones, look into isolation headphones for drummers (specifically ones made with the Sony MDR-7506 drivers).
Prices will range from $60-$200.
Wolf
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Anchor Audio makes some good stuff – I recommend it as well. The Liberty system would be handy if you need to hook up a computer for audio playback, etc. It can also run on its internal battery or while plugged into AC power.
My only complaint is that the speaker is a weighty, so if you have to pole mount it, get a nice pole that you can crank up.
Wolf
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