[Richard Crowley]

1) Without details (like make/model) of your microphone and “receiver” (did you mean transmitter?) it is almost impossible to respond with any kind of authority.
2) It is VERY UNUSUAL (I’ve never seen it) for any microphone with a 1/4 inch phone plug to need phantom power. Again, please identify specifically what microphone you are talking about.
3) It is VERY UNUSUAL (I’ve never seen it) for a wireless transmitter to have a 1/4 inch phone plug microphone input.
4) Most “belt pack” type transmitters which connect to the microphone with a cable do NOT provide phantom power.
5) If you are trying to extend a 1/4 inch phone connection, why would you not use a 1/4 inch phone cable? Using adapters just adds to complexity and unreliability.
6) It is not clear why you even need an extention if the transmitter is “mobile”?

Sorry, you question makes so little sense I can’t even imagine what you are trying to do here. Please give us all the necessary details and tell us what you are trying to do.

[Richard Crowley]

Broadband noise (such as “hiss” or “white noise”) is the worst case to try to remove. Because it occupies all the same frequencies as the desired signal (which you DON’T want to remove.) Consider that it may be easier to record it again (properly) vs. trying to “remove” broadband noise. It also depends on the subject matter, and your expectations of quality.

[Richard Crowley]

I don’t know anything about FCP or any other cult-of-Mac hardware or software, but any legitimate audio editing application should have a feature to filter out specific frequencies (notch filter, parametric filter, etc.) Those back-up audio alarms on vehicles are pretty much a pure tone and thus relatively easy to filter out without losing too much of the desired signal.

For example, in Adobe Audition, I can manually “tune” the notch filter up and down to identify the specific tone and completely remove it.

But as others have already mentioned, without posting an actual sample that we can hear and test, we can’t really offer you anything more than vague theoretical responses.

[Richard Crowley]

How much delay (if any) a particular application needs depends on many details of the specific situation. It is correct that the KanexPro AUA2DCV only does analog-to-digital conversion and not any kind of delay function.

I was only offering my first-hand experience that the KanexPro AUA2DCV produces a digital signal compatible with the ATEM TVS.

Certainly there are many options for audio delay, some including A/D conversion as well. But last time we put a new TVS into service we discovered that the Behringer Ultramatch Pro SRC2496 is out of stock from all the usual suspects. I suspect because of the popularity of the BMS ATEM TVS. That is why I tried using the Kanex unit. It is a fraction of the size of a full 1-rack unit device (like the SRC2496) and a fraction of the cost as well.

Note that the ATEM TVS ignores and discards any audio coming in via the digital video inputs, so I don’t really understand your question about the “camera mics”?

[Richard Crowley]

What kind of “stage noise” are you talking about? How big is the stage? Does the “stage noise” include dialog? What is your budget? What level of quality are you expecting? How much “audience noise” are you expecting?

[Richard Crowley]

It seems quite probable that the “Aux” input on the Beachtek DXA-2T is line-level and not mic-level. Alas, Beachtek seems to be following in the modern tradition of “dumbing-down” documentation to the point where it isn’t useful any more, so it is not clear exactly how the “Aux” input is designed. Yes, I realize that I am tilting at windmills and there is no hope of reversing this informational entropy.

But in any case, the Aux input will NOT work with the Sony HXR-MC50 microphone. While that microphone is NOT “stereo”, the connector is wired to send the mono signal to both the left and right channels of the camcorder. And it requires “plug-in power” from the camcorder. This power is eliminated by the Beachtek box and not passed through to any of the input connectors.

While the Beachtek box is a handy gadget, it is NOT a suitable solution for what you are trying to do. The microphone on the HXR-MC50 is a specialized design and operates properly only when plugged directly into a consumer mini-jack mic input. I have not seen ANY commercial equipment that allows use of both conventional XLR microphones AND 3.5mm mini-phone “plug-in power” microphones.

I have an HXR-MC50 and it is a very nice little camera, but I would have to build a custom version of the Beachtek box to allow that kind of “mixed-mode” use. I am actually considering doing that because I have a similar need.

Or the Beachtek box could possibly be modified to allow such use, but, of course that would void the warranty.

The Rode mic may work, but not plugged into the “Aux” input, you would need to plug it into an XLR mic-level input with an appropriate adapter.

[Richard Crowley]

How could it not give you equal parts? It seems like grade-school math.

What units are you using for “time”? Minutes? Seconds? Samples?

Give us an example of a calculation that doesn’t return equal parts. What do you mean by “not equal”. By how much are they “not equal”?

[Richard Crowley]

Seems silly of them to drop the long-established URL. Or at least have a manual or auto-forwarding page. I would describe this as “user-vicious” (the opposite of “user-friendly”).

It costs almost nothing to retain them both. Some companies retain dozens of similar URLs to capture whatever punctuation or mis-spellings people might use.

[Richard Crowley]

Can you not simply render your 23.976 timeline as-is and just call it “24 FPS”? The difference is 1/10 of 1 percent (3.6 seconds per hour) Unless you need something pitch-perfect (people will be playing live musical instruments in sync) or time-perfect (to fit a broadcast slot), is this really a big problem? Can you not just diddle the DPX header numbers?

[Richard Crowley]

The cable I am referring to is cheap/inexpensive only because of the economy of scale. Miles of this cable are purchased and installed every day. Else it would cost several times more.

This cable is made for use at higher frequencies (satellite IF frequencies) than we need for HD-SDI. To be sure, it is quite stiff and not very practical for portable use. 300ft (100m) is the textbook limit for HD-SDI through RG6. One of these days I’m going to try even longer runs just to see where the threshold is.