Jordan Wolf
Forum Replies Created
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Alright, this post is an addendum to my last one, so bear with me:
On page 10 of the user manual, it says…
[quote]Line level analog audio inputs are immediately digitized at 24 bits per sample at 48KHz sample
rate. Microphone level audio inputs are routed via an adjustable gain pre-amplifier before digitization;
gain is generally not applied to Line level inputs, but it may be set to +10dB if desired.
Microphone Input Levels
Recorded levels are affected by the gain setting of the microphone input preamplifier.
At +10 dB, the microphone input level equivalent to Full Scale is +3 dBu (1.1 Volts RMS)
At +54 dB, the microphone input level equivalent to Full Scale is -36 dBu (0.013 Volts RMS).
Line Input Levels
Recorded levels follow the level of the incoming signal.
The input level equivalent to Full Scale is +18 dBu (6.5 Volts RMS).
To achieve 14 dB of input headroom set the nominal input to +4 dBu (1.3 Volts RMS).[/quote]Also, on pages 37-38 of the user manual, it gives more particulars concerning the settings of the audio inputs.
Read up, experiment, and enjoy!
Wolf
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Frankly, I’d prefer a camera where there are no input level controls…I’d guess that the input is expecting +4dBu, which is pro line level (in comparison to -10dBV from consumer-level gear). I can see the TA3 (?) jacks being a bit of a pain – I’d just make up some XLR-TA3 adapters for those times when I need to put in an external source. What do you mean there is padding in the connectors? Like resistors, etc.? That might just be there to keep DC from passing out of the inputs and into the connected equipment. I also don’t see how said padding could be the cause of inputs 1 and 2 feeding into one another…
Can you post the link to the user manual? That would help us understand it better.
Also, you mentioned how in the US, we calibrate using the mixer (1kHz tone @ “0” or -12dBFS, depending on scale) and you in the UK calibrate using the camera? Am I understanding this correctly? Just want to make sure.
As I said above, the camera’s inputs might be expecting line level. Either that or the gain might be digitally controlled. I’ll try a search for the user manual to see what I can find.
Good luck!
Wolf
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Ah, I see. Interesting.
Wolf
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John,
I would HIGHLY recommend you read up on the basics of wireless microphones. You don’t have to know the theories and formulas behind RF transmission, interaction, etc. but you should know how to set up any wireless mic system – the basic rules don’t change. You need to know what type of antennas your unit uses, how to correctly set the frequencies so that intermodulation distortion doesn’t occur when using multiple mics, and how to correctly set your gain structure from the microphone all the way through to the end device, be it a camera or separate audio recorder.
Good luck and let us know if we can be of more assistance.
Wolf
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So, you’re looking for audio software that can mixdown what you’ve recorded in a faster way?
ProTools bounces audio like Avid captures video…in real time (go figure, since Digidesign is an Avid company). This is a good thing if you have the time, but if you don’t, it’s a HUGE pain. From what I can recall, Audacity mixes down its audio in faster-than-real-time, so I don’t see what the problem is.
However, BOTH programs save each track (and each take for that matter) you record as a separate wave file – or whatever format you chose for the session to use. There shouldn’t be any worry that the files won’t be there if you shutdown. As long as you’ve saved the session, everything will be there.
If you are talking about a sort of quota when it comes to recording time or data, then I know that you could manage that in the preferences. I just checked Audacity’s preferences (I’m on a MBP) and there is no option for quotas. In ProTools, however, you can set the amount of time you want any single recording to be limited to (default time allotment is 60 minutes, but the default setting is “Use All Available Space”).
Hope that helps.
Wolf
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I don’t know the answer myself, but a quick search with the words “eneloop rechargeable batteries” yielded this link as the second hit.
Wolf
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I have never heard of such a thing…in fact, a search on Google resulted ONLY in the link to your two posts on CreativeCow.
I would call what you are thinking of a pop guard/filter or a windscreen. I have two types – one is fabric and the other is metal. The metal one DOES change the character of the voice when used a certain way. Basically, the grooves that are cut into it to allow air to pass through or angled in such a way that the midrange and lows of the voice are made more or less apparent, depending on the windscreen’s orientation to the talent and microphone. Here is a link to it.
I hope that helps…maybe you could post a picture or a link to it if the one I gave you isn’t what you were talking about.
Wolf
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I tried digging around Mipro’s website, as well as it’s parent company’s site, and wasn’t able to find any links for user/operating manuals.
I would recommend that OP contact the company directly for information – they should be able to send you a PDF via e-mail and also help you with any questions you have, basic or advanced.
Wolf
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