Richard Crowley
1
COW Coin
Forum Replies Created
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There is no “preferred setting” because microphones and situations are all different. That is why it is adjustable. When you see that you have a loud-talker or a soft-talker, it is just part of the setup routine to test and adjust the sensitivity setting on the transmitter.
If you have a lot of experience, you can guess at the setting and probably get it right most of the time. But that is no substitute for actually testing it.
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So what kinds of sounds do you anticipate? (“Sweet 16” doesn’t really tell us much). Live band? MC? Comments from guests? (organized or random?) Will there be a reinforcement system? Can you dedicate a device to record the end-to-end feed from the PA system?
Using a clap-board/slate doesn’t really seem practical. How do anticipate editing this? Won’t much (most?) of the sound be “wild” anyway, so you don’t really care about sync?
Using noise-cancelling earphones or earbuds is a TERRIBLE idea. You are CREATING content, not CONSUMING it. You WANT to hear whatever noise you are recording. Using noise-cancelling monitoring gives you a false sense of what you are really recording. I would NEVER use noise-cancelling gadgets while recording.
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It appears that both the microphone version and the instrument version feature a sensitive (mic-level) input. The difference appears to be that the microphone version provides power (as for electret microphones), but does not have the built-in line-level input. While the instrument version has a line-level input, but does not provide power for the microphone.
So there appears nothing to preclude using the “microphone” version for a musical instrument. There may be a difference in the receivers, also, but I have not investigated that.
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From the information available on the Sennheiser website, there are two different lines of transmitters. There are transmitters intended for use with microphones (body pack as well as plug-on), and then there are transmitters designed for use with musical instruments (like electric guitars, etc.) It appears that only the instrument transmitters have the built-in pad on the ring terminal. It appears that the microphone transmitters (which you seem to have) do NOT have a built-in padded input, so they DO require attenuation external to the transmitter. It sounds like the cable you mentioned (which has no attenuation) is intended for use only with the instrument transmitters (which you do not have).
NOTE: I am trying to interpret the sparse information on the Sennheiser website and from 3rd party sources. I do not have (and have never used) a Sennheiser instrument transmitter, so I have no first-hand experience with this. Of course, since you have your transmitter(s) and you have the cable, you are in a perfect position to do the actual experiment with the actual equipment. If you start with a very low-level (mic level) signal and slowly increase it, you won’t damage your transmitter during the experiment.
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“Please note that the instrument systems use the ring of the mini TRS transmitter jack for line input, thus pin 2 of the female XLR connects to the ring of the mini TRS.”
https://www.fullcompass.com/product/270066.htmlMy reading is that the CL2 cable works only with the instrument transmitters, and not the regular microphone models. The information from Sennheiser seems virtually non-existent.
I would feel comfortable with a complete kit of adapters and attenuators, and an input cord designed for your transmitter(s).
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The frequencies within the same block are selected to be non-interfering with each other. They don’t have that kind of assurance with equipment in OTHER blocks, especially when it is some other brand.
Please be sure and TEST your equipment and confirm that it has no problems. It is not safe to assume everything is OK without testing it. Just as it is not safe to assume that everything is NOT OK just because there is a lawyer’s warning.
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It seems to me that you would be in the best position to actually try it and see if there is any problem.
As a general rule, there can be artifacts from operating wireless systems in close proximity. If I were an attorney for Sony, I would make them say that.
OTOH, many of us have seen working systems that feature an absolute forest of antennas, NOT deployed very optimally, which “violate” that rule several times over.
I wouldn’t worry about it unless it actually causes a problem.
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HDMI Splitter. passive <$5, active <$20, from many sources.
HDMI to composite/component converter <$50 from many sources.
They all have analog line-level audio outputs.Split/distribute the output of the camcorder: one side into the composite/component converter, and the other side to your switcher or your HDMI to SDI converter.
Both of these items are readily available on eBay for very low prices.
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First, help us understand WHY you think you want the audio from your camcorders? What audio is it? What are you shooting that makes the audio from the camcorders of any interest at all?
Typically, audio is handled separately and fed into the encoder (your ATEM TVS in this case) at the end of the chain.
The ATEM switchers (and most digital switchers) just ignore whatever audio is coming in with the video because it is assumed that you are handling audio in a separate control chain.
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“If I attempt to use the ZED 24 to pre-amp the Heil, I have to crank the gain way up, about 75-80% full and additional noise is introduced. Bob Heil himself told me a while back they use the Symetrix 528e to demo the PR-40 at the factory. It is a good compliment to the mic.”
That seems VERY odd. The manufacturers’ published specifications show that the PR-40 is essentially the same sensitivity as something like a Shure SM58 (-53.9 dB vs. –54.5 dBV, assuming they are both using the same method) The TWiT.TV network uses dozens of them in their studios and they plug them directly into the mixer, etc. Likely the same at radio stations around the planet.
I would assume something to be broken if I had to crank the gain up that far for the PR-40.