[Richard Crowley]

Yes, I concur. Naiant is a good source for a semi-custom adapter like that.

However, I question the larger-picture wisdom of spending that kind of money on an adapter to enable you to continue to use a cheap consumer microphone with an up-scale camera. Especially an on-camera microphone of limited usefulness.

[Richard Crowley]

It comes down to two major factors:
1) The judgement and perception of the person doing the mix.
2) The ability of that person to properly hear the mix.

There are likely to be problems for BOTH issues. But if they are using inadequate monitoring speakers/headphones, then they can’t really hear what they are doing. Many “computer speakers” have extremely distorted frequency response which makes any kind of editing or mixing decisions quite faulty.

[Richard Crowley]

As Mr. Reynolds said, it would probably be cheaper to just buy an XLR microphone than to try to retro-fit the old one.

While it is not rocket-surgery to turn the 48V phantom power into 5V “plug-in power”, there seem to be almost no commercial adapters widely available.
Perhaps because if you have a camera with XLR and 48V phantom power, few people try to use cheap consumer 5V plug-in power mics.

And especially because newer technology has made made significantly better microphones since that Sony model was designed. Take a look at the various models of Rode on-camera microphones available. https://www.rode.com/microphones/video

HOWEVER, what are you shooting/recording where a camera-mounted microphone is desirable? There are almost NO situations where a micrphone mounted ON the camera produced suitable results, at least IME.

[Richard Crowley]

How big is your production space? How reverberant is it? vs….

How big can you make a vocal booth? What is your budget for treating it so it doesn’t sound like you are in a box?

I would carefully consider what it would take to treat your existing production space vs. spending money on a booth which is guaranteed to sound horrible unless you put considerable effort into eliminating near reflections.

[Richard Crowley]

Recording a scratch track for animation and then going back and doing ADR for animation just seems insane. Why not simply record the final dialog tracks to begin with and be done with it? Is there some piece of the puzzle missing here?

Far and away the top three factors in getting good dialog recording are:
1) Good voice talent
2) Suitable recording environment
3) Microphone suitable for the talent, environment, style.

If you have voice talent that can produce in a professional manner, and a suitably quiet and non-reverberant environment, and a decent microphone for what you are trying to do, then the mic preamp, and processing, etc. are distant, almost minor factors.

All the processing in on the planet can’t make up for bad talent and/or a bad environment. If you get the very front end right, you will have little to worry about in subsequent production steps.

[Richard Crowley]

https://www.thomann.de/gb/thomann_netzteil_universal_312v_dc.htm

[Richard Crowley]

“I export *audio only* files out of my timeline if they need cleanup. Then import the processed files back into X and sync them up with the source.”

And another advantage is that you have the edited original track to fall back on if something happens during sweetening. You shouldn’t be so tight on storage space that you can’t afford to keep the original edit track plus the sweetened version.

[Richard Crowley]

The quality is remarkably good considering the dodgy recording methods. There are more kinds of distortion than clipping. Just because THIS “generation” of the waveform isn’t clipped doesn’t mean that distortion didn’t get “baked in” at some previous step.

There are “clipping restoration” functions now available in Adobe Audition which are made specifically to attempt to “restore” flat-top peaks by “rounding off” the sharp edges. There appear to be MANY demonstration videos on YouTube how this works, here is one picked essentially at random:
https://www.youtube.com/watch?v=PK6nBp-_qKo

HOWEVER, you have done a great job to create a reasonably clean track. The main distraction that I hear is the reverberation and bit of “boominess” from the casual mic placement. You can’t do much about that without spending thousands of $$$ and lots more time which doesn’t seem worth it, IMHO.

Remember that the more processing you do to remove all those noises, etc, the more “metallic” and almost “crunchy” the remaining audio becomes. IMHO, you have reached the “happy medium” between “just enough” processing vs. becoming annoying to listen to.

I would leave it as-is and pronounce it “good”. But certainly you should experiment with the clip restoration function just so you are familiar with what it can do for you.

[Richard Crowley]

It seems quite possible (probable, even) that you have an RF interference issue. We don’t know what frequency band(s?) you are using or where you are. Have you done any kind of spectrum survey to confirm that you aren’t trying to operate your wireless devices in places where others are trying to use the same channels?

[Richard Crowley]

That seems rather difficult to believe, especially since we don’t know the nature of the “noise cancelling” scheme.

But, if that is the case, it would appear that you must simply work around it.