[Nikos Papadopoulos]

[Richard Crowley] “C) Is there any reason why I should prefer a micon cable extension instead of a proper xlr cable? Rode says that ” Like all MiConTM cables, this 3m (10) length is heavy-duty, shielded and Kevlar reinforced”.

Sure there is. If you are trying to hide a mic in someone’s costume, or even wire up someone for a casual sit-down interview, a big heavy mic cable is NOT what you want hanging from the subject’s shirt. Note that, as with the other responses, this applies to ALL lav mics, not just the Rode.”

Thank you Richard, but my question was regarding if it is a good practice to use a micon cable instead of an xlr to connect to the power source. From what I understand there is enough length between the lav and the xlr adapter, so that it can be hidden in any costume. But after that point I would think an xlr cable to the recorder/mixer would be preferred quality-wise as the micon is a non balanced cable. I am interested in using the mic for talking head interviews at about 4 meters distance and would like to eliminate any noise.

[Nikos Papadopoulos]

Thanks Ty,

You are absolutely right. I just wrote them.

I read once, that if a signal is unbalanced at its source, doesn’t matter if you connect xlr’s since it will stay unbalanced. (At the time I was thinking of pluging xlr cables to a rode videomic in order to run longer cables.) But I guess this adapter converts the signal from unbalanced to balanced.

Any thoughts regarding this and the AT899?

[Nikos Papadopoulos]

Purely theoretically for the moment, but what would the ideal gain setting on the dr60d be if I am going to use the mix pre d infront of it?

[Nikos Papadopoulos]

Thanks, I guess I’ll be using my DR-60 d hanged in front of me.
I know that the mix pre d is not a recorder, it is just more ergonomic to have it under the camera to watch the levels and send the line out to both tascam and the camera for sync later. I might buy it later on as I am investing now on the ntg3.

[Nikos Papadopoulos]

What is the recommended maximum length for an unbalanced mic on an extension?

I am in the process of upgrading from the rode video mic to ntg, but before I get it I might be doing some interviews with the mic 3-4 meters from camera.
So, I was wondering if it’s better to wait for the ntg3 to run it with balanced xlr cables.

Is there a big difference? I was also thinking of getting this extension.

[Nikos Papadopoulos]

I don’t believe it does audio very well. I haven’t used it yet. But that’s why I am considering the Mix pre D for my next documentary.
Would you think that is a better solution than the Yagh?

[Nikos Papadopoulos]

Al, I noticed that the 661 also has the dual mono mode which is important for me. Could you help me with this:

If i use this dual mono mode, recording let’s say on the left channel, the 661 will automatically record a -20db copy on the right channel, yes?

What happens if I turn the potentiometer(s) to lower the volume? I understand that unless one holds separately the right and left channels, the potentiometers for L & R are locked together, so moving the outer potentiometer knob changes the input for the both channels at once.

So do changes on the Right potentiometer (in this example) bypass the -20db level ? Or the potentiometer is irrelevant to the -20db padded channel?

I can’t figure out how this works.

thanks

[Nikos Papadopoulos]

I know there is a dual mono setting in the 661 and trying to find out if it can be done in the R26. Does anyone know?
Or at least a way to split the mono signal to left and right in order to do that manually?

[Nikos Papadopoulos]

Hi Al, I think I mentioned that mark 3 would be an upgrade for me. In any case there are many reasons why I’d need a double system.

I did shoot a feature doc with the Rode video mic and it sounded horrible. Unfortunately the rode video mic was hyped and virally advertised by the same guy who advertised H4n as must have tools for independent filmmakers…

This is why I am being extra careful where I am going to put my money in. I was really heading towards the Tascam dr-60d but after a lot of thought, the form factor looks very problematic for me. It really does not look like I can rig it comfortably for my one man stuff. I do like many of its features though.

So, I am torn between the Roland R26 and the Marantz PMD61. After a long search it seems to me that the only edge that Marantz has over the Roland is the slightly better preamps. Other than that it is:

heavier
more cumbersome menu /operating system (from what I read)
less tracks to record to (i only need 2 for now but you never know)
more expensive than R26

On top of that, it is very difficult to find reviews for the 661 whereas the R26 users are happily all over the place.

It seems that I have to understand how much better the 661 preamps are over the R26 and if this slight (or not so slight) benefit is worth the extra money…

Actually for some reason I am trying to convince myself to spend the extra money and buy the 661 !! solely because of the somehow better preamps. But I fail to convince me :))

[Nikos Papadopoulos]

Ty, yes it was perfectly clear.
That is why i started thinking to go modular… up to now I thought that a shotgun could be used all around.

On the other hand if no modular system can give a decent broadcasting quality, I guess I’ll have to get the ntg3 after all plus the Audix SCX1/HC for indoors.