Ty Ford
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Hello Grant and welcome to the Cow Audio Forum,
Good suggestions from others, but how about the possibility of another system on in the room?
I ran into some weird stuff a few years ago and the problem was another mfgrs xmitters on on the same frequency (or close enough) to cause spooky action at a distance on my gear. I found one of the tech employees and he confirmed that they had multiple wireless mics. After he turned the transmitters off, no problem!
Also, I once ran into problems when hanging a wireless xmitter on a guy who was also wearing a nuclear powered smart phone. I tested and was getting 100 feet or more. My range went to 0 feet when I rigged him with a mic. As soon as he left the room, I could get 100 feet again.
Make any sense?
Please report back with with you find.
Regards,
Ty Ford
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Hi Tom,
You can certainly go from mic to 702T. It also can supply Phantom Power to mics that require that.
More info here:
https://www.bhphotovideo.com/c/product/429564-REG/Sound_Devices_702T_702T_High_Resolution_Compact.html/BI/8631/KBID/9745Regards,
Ty Ford
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Tom,
I have no way of knowing what your DSLR sounds like. I only know the 5D Mk iii can record OK audio.
If it will do that properly, I’d go right to the camera with a MixPre-D. Your postproduction life will be easier.
That way you begin to build a proper audio front end.
If your camera will not record good audio, then you have no choice but to go another way.
Regards,
Ty Ford
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Hi Tom,
As with most things in the material world, your results will only be as strong as the weakest link.
When you say you watched the videos, were you in a studio with good monitors?
Was this on Youtube, Vimeo or one of the other online video services?
In the straight to DSLR thought. Your weakest link there would likely be the DSLR, regardless of what mic you choose or what preamp. Maybe not, but probably.
The there’s the whole issue of assessing what you’re listening to. I’m not being condescending here, I’m just putting it out there that most people have to be taught the differences in sound quality. After you’ve learned what to listen for, you can increasingly differentiate the bad from the good and learn what to do to get more good than bad. A big part of this has nothing to do with equipment or specs. It has to do with how you use the tools.
“Don’t have the budget” is code for “I don’t want to spend.” If you expect to be doing this for a living or even a serious hobby, getting professional tools is the way to go. They will last longer and allow you to sound better, presuming your ability to learn how to capture the best sound continues to improve.
Good audio is not plug and play.
Regards,
Ty Ford
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The Canon 5D Mk iii (and perhaps others that may have come out after that, but I don’t know for sure.) does record 16-bit, 48 kHz audio that’s OK. Not amazing, but usable in most situations. The trick is to only open the camera audio gain one click and feed enough level from a mixer to get a good level on the cameras audio meter.
Regards,
Ty Ford
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No worries, Bruce. You are a highly respected and valued member of this community/forum.
It’s a very innovative design. The first CS3 had a problem that was fixed with the CS3e.
Lots of pros I know have made the same mistake. See a slotty tube, think it’s an interference tube shotgun.
Had I not reviewed it some years back, I’d probably would never have known.
Here’s that review: https://www.dropbox.com/s/wyg1l3hm0ddz5sd/Sanken_CS-3_Short%20Shotgun.txt?dl=0
Regards,
Ty Ford
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Tom,
Syncing is relatively easy, but still requires some attention to detail. Using Pluraleyes on a computer with good video editing software helps.
The best 2-track recorder would be a Sound Devices 702-T.
Here’s one on JW, but I don’t know if it’s still for sale.
https://jwsoundgroup.net/index.php?/topic/24157-fs-sd-702t-recorder-mint-condition/#comment-284282
Regards,
Ty Ford
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Hi Tom and welcome to the Cow Audio Forum.
First, Whoa! The Sanken CS3e LOOKS like a shotgun, but it is decidedly not a shotgun. (Sorry Bruce)
A shotgun has the mic element at the bottom of the interference tube. That’s the long tube with slots on the side.
The CS3e has the mic element at the tip of the mic and behind it are two other capsules that are under the slotted tube portion of the body. It uses the signal from the side capsules in its attempt to narrow the pattern. It’s sort of a Franken-Mic. Very functional, but it does not function the same as a true shotgun.
The last time we tried a CS3e here it was slightly noisier than the CMC641. We were in my studio which is very quiet. In the street, you’d probably not be able to hear the noise.
The Schoeps CMC641 is a super cardioid, plain and simple. I think you’ll like it. I own two. I use mine inside and outside (with wind gear). The DPA 4018 also deserves your attention. Here’s my review of the DPA 4017 and 4018 with audio/video samples. The 4018-C makes a nice package and is very light and small.
https://tyfordaudiovideo.blogspot.com/2015/09/dpa-boom-mics-4017-and-4018-with-mmp-b.html
Regards,
Ty Ford
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Hi Larry,
I’m lagging a bit, still on version 10, but I’ve been making a living with PT for about 15 years.
The Digidesign Users Community (DUC) is a good place to start.
https://duc.avid.com/forumdisplay.php?f=142
Regards,
Ty Ford
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Hi Todd and welcome to the Cow Audio Forum.
The G2 G3 series come in three flavors A, B, G.
A is 500MHz-568MHz,
B is 628MHz-668MHz
G is 566MHz-608MHz
Look on the back of the transmitter and/or receiver for an A, B or G.
My guess is, however, that you have a B and they have an A. They will not work together. If they had a G, you MIGHT get them to work together because of the slight overlap, but if those frequencies are busy, you’re still out of luck.
Regards,
Ty Ford
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