Jordan Wolf
Forum Replies Created
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I can’t think of any “better” microphones that have 1/4″ outputs, except maybe ones intended for use with harmonica/blues harp and a guitar amp.
I would go for a mic with XLR’s so you at least know that the connector can’t be pulled out. As far as a 1/4″ plug goes, realize that there are 2 types: balanced (TRS) and unbalanced (TS)
A balanced 1/4″ has 2 connectors (the Tip & Ring) and a ground (the Sleeve) and looks like this.
An unbalanced 1/4″ has only a Tip and Sleeve, with the Sleeve acting as both a conductor and grounding connection. This is what it looks like.What is the recorder you have in mind? Name, model, etc. would help us help you more.
Wolf
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Save your money.
Buy once, cry once.
What type of microphone were you looking at? Shotgun, handheld, wireless?
Maybe we can give you some ideas to save up for.
Wolf
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On page 18 of the manual (click here to download it), it mentions in step 10 that you can set the audio output of the transmitter to either -28dBm or -58dBm. You should set your gear to -28dBm for Line Level inputs and to -58dBm for Mic Level inputs.
Wolf
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Could you give us the brand, model, etc. of your radio mic? A link to the product’s webpage would be helpful.
They would let us see what settings you have at your disposal and if/how they could be used in your situation.
Wolf
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You are correct, sir. 🙂
I thought I added it in, but I guess I forgot. I was going to put in how you could adjust the AF OUT on the receivers to compensate.
Wolf
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The only way to truly take care of the problem is to remove its source – either have them turn their devices completely off or leave them way off set with someone who can notify them if a call/message/whatever comes in.
Some of the concerts,etc. I have done FOH/Monitors for, performers/speakers forget to turn theirs off or leave them off their person and…***NOISE***…the only way to “remove it” is to mute the channel it’s coming in on.
As was mentioned in the last post, a noise removal program could help – make sure you use a clip with ONLY the interference on it as a sample for the program to know what constitutes as “bad” audio.
Wolf
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Aha…there’s a problem I’m familiar with.
You need to set the camera’s input to LINE when using the wireless microphone. If you don’t, you’ll overload the input with too strong of a signal. We have the Sennheiser ENG wireless kit and I noticed this exact problem.
The Sennheiser 416 shouldn’t be too hot since it’s going direct, but if that’s what you experienced, I guess that’s how it is.
Here is what I usually do: Shotgun Mic–>Shure FP24–>Camera Inputs (LINE LEVEL). If we need a wireless, I’ll go directly to the camera since the receiver’s output is too hot for the camera’s inputs to handle even at LINE level. I guess I could pad it down/reduce the AF OUT, but this keeps it easier for those times when I’m not on the set.
Best of luck!
Wolf
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**ADDENDUM TO PREVIOUS POST**
One of the guys who uses our portable rig has used:
2 AKG C414B-XLS
2 Crown PCC160Maybe you can look in to renting from a local production house? That would be cheaper and could be built into your bill.
Wolf
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Shotguns will cover most of the audio spectrum, as will boundary microphones like the Crown PCC160.
Wolf
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Could you clarify your signal chain more?
This is what I gather from your description:
EITHER Microphone–>Camera Input (XLR) @ Mic Level
OR Microphone–>Mixer–>Camera Input (XLR) @ Line Level
Which, if either, is correct?
Wolf
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