Richard Crowley
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COW Coin
Forum Replies Created
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I am currently setting up an ultra-mobile HD production unit with several Sony XDCAM and NXCAM cameras. I have on order a Panasonic AW-HS50N SDI switcher ($4K) to do the live switching. And I will record the live-switched program on an AJA Ki Pro recorder ($3.5K)
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You are correct that turning off the power amp(s) first (and on last) is the preferred sequence, for exactly the reason you discovered on your own.
The slight pop when powering down is very likely “normal” and not harmful, nor a symptom of previous damage. If there is not discernable change in the performance of the speakers, then it is likely they were not significantly damaged by the power transients from previous operation.
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It looks like either would work for your application. They both provide mic inputs, phantom power (although only 15v on the Peavy), individually-adjustable gains, and USB interface. Something like the mixer would have broader application for other things (not to mention that it is less expensive). Note that the similar Behringer Behringer XENYX 1204USB mixer has real 48V phantom power at the same price as the Peavy.
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It would be helpful to know what “mixed results” means? What problem(s) are you trying to solve?
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What SIZE are the the pieces? You will likely find that they are the maximum size that the disk format will allow. That is normal for all devices, even video cameras do the same thing. Why are you recording at 96/24? That is vast over-kill for the application and a major contributor to the issue you are asking about.
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If you have to attach a panel, then PZM is not the proper choice of microphone. PZM is good if the proper place for the microphone is right up against a reflective surface (like inside a piano case or in a tiny room).
But using PZM for other kinds of things (where they must be attached to large pieces of plexiglas (perspex) was a fad from several decades ago, but most of us found that it was a gimmic that wasn’t worth the trouble.
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Just for future reference: This is the most widely-recommended reference document for how to wire audio cables and connectors:
https://www.rane.com/note110.html -
Exactly which model transmitter and receiver are you using? Lacking that information, generic advice is:
Is the audio level set properly at the transmitter?
Is the audio level set properly at the receiver?
What does the audio sound like directly monitoring out of the receiver?
Is the receiver set for mic-level or line-level output?
Is the camera expecting mic-level or line-level input?
What does the audio sound like when monitored on the camera during shooting?The audio level indicators on the camera should be a good clue that you have a dramatic level problem somewhere. But not enough information here to determine where the problem might be.
Has this ever worked in the past?
Are you using new equipment that hasn’t been set up properly? -
If you have several, you can look at the others to see how they are wired. Or you can just look at the broken one to see how it is wired.
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“when I color correct the raw files in After Effects and save them as lossless (or even quicktime animation), the footages become really big.”
Can you not just store the meta-data of what color correction you applied?