Camera XLR Adapter
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Koss SB-45 Communication Stereophones $23.99 Communcation Stereophones 18-20,000 Hz stereophone; 100-16,000 Hz microphone frequency response|100 ohms stereophone impedance; Microphone: same as load resistance|103dB SPL/1mW stereophone sensitivity; -56dB +/-3dB per 1V/1KHz microphone sensitivity|… |
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Matrox MXO2 LE Max with Thunderbolt Adapter $1,495.00 The MXO2 LE with MAX (Thunderbolt) from Matrox is a device designed to provide all the features of an I/O card in a sturdy, portable breakout box. It’s got connections for both professional audio and video, including an input and output each for HD HDMI, component video, composite video and Y/C (S-Video); for audio, there’s dual XLR ins and outs as well as stereo analog audio I/O. In addition, you… |
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HOSA 5-Foot REAN XLR3F to 1/4-inch TS – HMIC-005HZ $9.50 Hosa Pro Microphone Cables are engineered to deliver years of rock-solid reliability. Combining REAN connectors by Neutrik AG with world-class manufacturing techniques, they re-define what performance and value are all about. Conductor – 20 AWG x 2 OFC Connector – REAN XLR3F to 1/4 in TS Length – 5-foot (up to) Shield – 90% OFC Braid… |
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Midland AVPH8 Acoustic Throat Mic for GMRS Radios with PTT/VOX Compartment $24.40 Here’s a single action throat microphone headset that’s perfect for the paintball/airgun afficionado. Never let them hear you coming. Throat Mic Throat microphones pick up sound directly through vibration sensors against your neck, and transmit via an acoustic sound tube. It’s an ideal setup for loud environments with lots of background noise, and will also pick up whispers, for communicating … |
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Midland Consumer Radio WR-120B NOAA Weather Alert All Hazard Public Alert Certified Radio with SAME, Trilingual Display and Alarm Clock – Gift Box $27.64 This radio features All-Hazards Alert as well as S.A.M.E. (Specific Area Message Encoding) technology, allowing you to limit broadcast warnings to your immediate area. It’s also an an alarm clock with time display. Includes 25 programmable counties, alert over-ride, modifiable alert list, continuous backlighting option, event expiration indication and 7 NOAA channels. The 3-option user-selectable … |
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Audio-Technica ATR-3350 Lavalier Omnidirectional Condenser Microphone $19.85 Audio-Technica’s newscaster-style Omnidirectional ATR3350 Lavalier is engineered for intelligible, accurate voice reproduction. This high-quality condenser is ideal for video use, and is a favorite choice for aerobics/dance/sports instructors. Its low-profile design assures minimum visibility. FEATURES: Newscaster-style miniature mic is perfect for video use Ideal for aerobics/dance/spor… |
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NADY SP-4C Dynamic Microphone $14.75 The models in the Starpower Series represent today’s excellent cutting edge in price/performance value for vocal and instrument dynamic microphones. All of the models offer high-quality rugged construction and excellent reliability, and superior performance to that of some of the best known, most popular classic microphones and at a fraction of their cost…. |
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Pioneer TS-D1720C 6.75-Inch D-Series 280-Watt Speaker Package $245.00 Pioneer’s TS-D1720C 6¾ In. Component Speaker Package with 260 Watts Power has a dual-layer IMX (Injection Molded Matrix) Aramid/Basalt fiber composite cone. These speakers feature an exclusive rear chamber tweeter enclosure that extends mid-range frequency for improved vocal imaging and staging. The built-in -12dB/Octave HPF and LPF crossover improves the transition from mid to high frequency, fo… |
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Pioneer CD-IU230V Ipod Audio/Video Direct Cable For Avic-F900Bt & Avic-F700Bt $9.95 For Car Stereo system. iPod is not included…. |
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Kenwood CA-SR20V Sirius Connection Cable for 2008 Video Unit $29.50 The Kenwood SiriusConnect CA-SR20V adapter lets you control a SIRIUS satellite radio with select Kenwood multimedia receivers. This adapter works with newer Kenwood stereos that use the KAB Bus system, letting you control either of the following: the SC-C1 SiriusConnect universal tuner a compatible SIRIUS portable radio, like the Sportster, Starmate, Stratus, or Stiletto, together with a SiriusCon… |
Would this cause my mic to hum/buzz?
Alright, so I have this mic. http://www.amazon.com/Technica-ATR-55-Condenser-Shotgun-Microphone/dp/B00006J04Z
This mic is very cheap, but works great up close! However, far away, its terrible. So we need an extension cable. So I have two options.
1. Get a 3.5 mm ten foot extension cable
2. Get an xlr to 3.5 mm adapter, get a 10 foot xlr cable, then get another xlr to 3.5 mm adapter to plug into the mic.
Which option is better? I can’t afford a beachteck, so please don’t recommend them.
Also, if it matters, my camera is a kodak zi8
Well…
Your first option runs the risk of the extension cable turning into an antenna and picking up all sorts of interference. But you did not tell us what the recording environment is – whether there are lights, stage lights, or any other equipment around that might emit Radio Frequency or Electro-Magnetic Interference (RFI and EMI).
Your second option has the weight of the XLR connector and shielded cable causing stress on the 1/8″ (3.5mm) plug going into the camera – and if that breaks in the camera, you have WAY bigger (and more expensive repair) issues.
So… you can’t afford the XLR adapter – but don’t want to compromise audio quality… and in addition to all the advantages the XLR adapter provides, it also can give manual audio control that the Z18 does not have.
I don’t have enough information to know which of the two bad options you are letting us choose from is less bad.
Review of the Studio 1 under camera XLR Adapter (XLR2)
Better Audio For a YouTube Video
Audio is one of the most frequently over looked, but one of the most important parts of a video for YouTube. Almost anybody can post a video online now but one thing that will help that video stand alone in the crowd is high quality audio. When squaring audio there are 3 main things to consider; audio source, audio levels and ambient noise.
The most important thing to consider when recording audio for video is the audio source. Be it a built in microphone, an external microphone or a feed from a mixer the source will be the biggest determining factor of audio quality.
Almost every video camera has a built in microphone, and almost every built in microphone will produce sub-par audio. The audio from a built in microphone will often pick up the noise from the camera itself, the noise made by operating the camera and not to mention they are not usually very direction so they pick up a lot of ambient noise.
If there is no other option but to use the built in microphone the best solution is to get close to what ever audio is being recorded. If it is a person speaking, zoom out and move the camera closer to the person. If it is the sound of a saw cutting, again zoom out and move it. The closer the microphone is the better the audio will be.
An external microphone will almost always give better audio quality than a built in microphone. Many video cameras will have an external audio jack that will either be a stereo mini jack or XLR plugs on high-end cameras. Almost all microphones will work with any camera that has a microphone jack, either directly or with the use of adapters.
When interviewing a person, or having a person speak to camera a lav microphone will help eliminate unwanted noise by putting the microphone very close to the persons mouth. This is how all TV News and Sports anchors audio is captured.
When working in noisy areas or performing on the street interviews a stick mic will often be the best choice. Stick mics are what you will often see on-sceen reporters using with a mic flag that shows what station they work for. This type of microphone is good at eliminating unwanted noises and is easy for a person to point back and forth from themselves to another person.
In high end productions a boom mic is often used. The boom mic requires an operator and can be complicated. But in skilled hands it will acquire the best possible sound. They are highly directional and very sensitive. A good boom operator can acquire sound from multiple people and other sources at the same time.
Audio levels are just as important as the audio source. If there is a great audio source but the level is being over driven the audio will be unusable. Many cameras that have an external audio jack will allow the operator to control the levels of the audio. If the camera does not have controls, it will have automatically adjust the levels for the operator.
When using a camera with manual controls, it is always better to set the levels than to let the camera do it automatically. When a camera sets the levels automatically it will adjust the audio level to the loudest sound.
Many times, between sentences of a speaker there will be a pause. During this pause the camera will then adjust to the loudest sound, which could be something like the air conditioner, which is pretty quiet. When the speaker starts to talk again the first work will be very loud and then the camera will adjust again.
When setting the levels manually it is best to have the peak of the meters at about the mid range. That will assure that the audio will be clear and if the source gets louder it will not distort. If the camera has decibel (db) meters, on a digital camera set the peak at -20db and on an analog camera set it at 0db.
Ambient noise is often the biggest problem for audio. Ambient can range from a loud bird chirping to a plane flying overhead to a loud street. Avoiding ambient noise is always the best idea, but if not possible there are a few things that can be done to help reduce it.
When in a noisy area try to always use an external mic. In very noisy areas a stick mic is the best option, but if the look of a stick mic is not welcome a lav will work fine. If an external mic is not an option always face the camera mic away from the noise source.
Here are a few tricks to help avoid ambient noise.
- Use natural barriers, such as houses, trees, walls and cars
Now Pay Close Attention –
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