[Ty Ford]

[Stephen Lovett] “I’ll check in with comtek. I’m heading out to NAB on Monday, and was surprised that they are listed as one of the vendors.

>>Comtek is an industry standard.

On the countryman, (for dialog) I am planning on going with the countryman E6i omni.

Have you had a chance to evaluate the newer compact model? ”

>>No.

Regards,

Ty

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[Ty Ford]

[Adam Browning] “I don’t run it through a mixer, I just go straight to camera. If I run it through a mixer, it’s no big deal getting the levels where they need to be. When running it through the camera input, I have the option of adjusting it –8 dBu to –65 dBu. It never really seems to matter how low I adjust it, it always comes out distorted if the sound is too loud (except when using the mixer). I’d prefer to use the camera without mixer.

>>And apparently, that’s not working too well for you, so you’ll have to do something different.

Is there a major difference between the Rode NTG-3, Sennheiser ME64 or ME66?”

Yes.

Ty Ford

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[Ty Ford]

[Adam Browning] “I’m currently using a Azden SGM-1X on my Sony PMW-EX1. I’ve been having some major problems with clipping, and haven’t been able to figure what the cause is. You can see this issue, and sample audio here: https://forums.creativecow.net/thread/142/862028

I’ve been thinking about an upgrade anyway, which leads me to my question about a good shotgun mic…

I’d like to get the Sennheiser ME64 or ME66, and wanted to know if anyone had any problems like described above with it (ie. clipping in loud situations). With the SGM-1X, it doesn’t seem to matter how much i adjust the input levels, the problem is always there.

>> You’re not using a mixer? Could be the camera input just can’t be adjusted properly.
Try a Rode NTG-3.

If you’ve used the Sennheiser ME64 or ME66, which one do you like better, and do you have to get the K6 powering module if your camera has phantom power (like the Sony PMW-EX1).”

>>yes.

Regards,

Ty Ford

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[Ty Ford]

Hello Patrick and welcome to the Cow Audio Forum,

No.

https://www.adam-audio.de/studio/nearfield/a5_data.htm

Regards,

Ty Ford

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[Ty Ford]

“Having looked at the comtek equipment, it appears that I’d have to run an AC powered base station for any and all applications.

This isn’t a practical solution for me as ~50% of my shoots are in the field with no reliable access to A.C. power.

>>Roy Cox out of Walnut creek had comteks and I don’t think we had any AC power. Call Comtek and see what they say.

And as a logical extension of this conversation, as I’m going to take your advice and add a couple of countryman’s to my set up, is there some synergy possible here.

I don’t use my wireless stuff much now (Senhieser G2 series) as I’m not thrilled with the sound of the lav and the SKP100 doesn’t have phantom power, so my boom is wired.

Given that the countryman is available in dozens of flavors… if it were you, and you needed to be A.C. free regularly, what would you choose.

>>What countryman?

Regards,

Ty Ford

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[Ty Ford]

Hello Stephen and welcome to the Cow Audio Forum,

Try Comtek.

https://www.comtek.com/film.html

Regards,

Ty Ford

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[Ty Ford]

Shaun,

Thanks so much for filling the details.

About the headphones. I was at a client’s studio a few weeks back giving Pro Tools training. We were recording vocals. I put his headphones on……something was definitely NOT right.

I plugged in my Sony MDR7506 and instantly the world got better. His headphones made the audio sound as if the audio was coming through six pair of sweat sox. Really dull and no top end. I don’t know what phones you’re using, or what shape they are in, but they may well have prevented you from hearing the clips.

The Sony MDR7506 ($99) while not flat, to tell you a lot about the audio. If you’re not using them, I suggest you try a pair. We location sound folks use them a lot.

Regards,

Ty Ford

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[Ty Ford]

Hello Shaun and welcome to the Cow Audio Forum.

Last month I fielded a similar question and sent a clip of clipped audio to Izotope with a heads up to them with the thought that a more powerful app would be very helpful. I don’t recall having heard back from them.

So this was mic directly into the camera?

Note to anyone else who reads this. This could have been prevented by listening to the camera headphone output. As I am so fond of saying, “When do you listen? Always.”

Regards,

Ty Ford

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[Ty Ford]

Hi Steve,

A standard mic: Hmm, you mean one that does not require Phantom?

Usually only condenser mics require any sort of powering. (Some new ribbon mics do, but they are an exception.) There are several different types of powering. Phantom Power is one type. There are two sub-types 12-18 Volt and 48 Volt Phantom Power

A dynamic mic does not require Phantom Power. It won’t harm the mic if Phantom Power is on.

Which standard mic are you considering and how do you envision using it?

Regards,

Ty Ford

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[Ty Ford]

[Michael Goldberg] “My question here is when recording bars and tone from the XHA1’s built-in oscillator (when NOT using an external mixer):
(a) when would you select -12dB, and when should it be set at -20dB,
(b) under what circumstances;
(c) for what reason; and
(d) how would you set level when playing back the tape for capture / editing?”

Hello Michael and welcome to the Cow Audio Forum.

a: Maybe as a way of distinguishing on-camera miced sections verses those sections recorded with a mixer. I don’t think -12 represents real world situations when using external mixers. I would always use -20 in a professional shoot.

As a professional sound mixer, I always use -20 for tone. My Sound Devices mixer (and many others on the market) use -20 as a reference. There are a few variations from -20 in Europe.

b: see A
c: see A
d: Playback through today’s cameras is normally done through firewire, requiring no adjustment during capture into an editing system.

I’d stick with -20 myself.

Regards,

Ty Ford

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