XLR to 1/8''... for recording good sound with video

[bizarro7777]

Basically what I need is a piece of equipment that can take in an XLR audio feed and convert it to the 1/8'' jack that the mic input on my HV40 can accept. I shoot a lot of live music videos and events and I would like to get a direct feed from the PA into the camera as opposed to just picking up what all the speakers are blaring out on the camera's mic.

I'm thinking about shopping around at B&H for one. It would be even nicer to get one that can attach to the bottom of the camera and fit onto a tripod... I know these exist because I've used one before...

1. Does anyone know what these are called exactly? I've heard "DI box"...

2. What would be a good brand to go for? I'd like to keep it under 200 bucks if possible.

Hopefully somebody on here can help. I doubt I'll be able to find this at a regular electronics store.

 

[knightly]

http://www.beachtek.com/dxa2t.html

 

[Alcove Audio]

http://www.bhphotovideo.com/c/product/563045-REG/juicedLink_CX211_CX211_Audio_Mixer_and.html

 

[superamazing]

Is it true that making the switch between these two types of cables causes a drop in sound quality? Can such a drop be avoided?

 

[Alcove Audio]

What you should really be doing is using a separate recorder like the DR-100, H4n, FR2-LE, PMD-661, etc. and use that to record from the FOH console. You then match that audio with the audio from the camera mic; that way you are not tethered to the console during the performance.

BTW, when connecting directly to the FOH console you may need in-line pads.

 

[rayw]

Are there situations when a preamp is actually NOT desired between the microphone and the recording device?

Also, can you please link me to a decent site discussing how to rate or evaluate microphone performance based on technicals and capabilities?

Thank you.






Alcove -
Thank you.
You enduring contributions to this forum are immeasurable.

 

[knightly]

The purpose of XLR is to correct for the tendency of longer cable runs to act as RF antennas... allowing noise to enter your audio signal and corrupt it.

The 3 pins on the plug represent the 3 cables inside the cord... two are the same as your 1/8" cable, but the 3rd is the magic one. Before you get to the cable, circuitry in the microphone inverts the signal going across the 3rd cable... when it gets to the device at the other end of the run, it is inverted and electronically subtracted from the main signal to remove any signal that entered during its travel within the cable... it's really cool.

Technically, you could make a cable that uses a stereo 1/8" plug on either end to do the same job, but the cable isn't the part that does the actual work, it just carries signal... the "Balancing" works before and after the cable.

 

[Alcove Audio]

Are there situations when a preamp is actually NOT desired between the microphone and the recording device?

There is ALWAYS a preamp between the mic and the actual recording process. The preamp converts or "translates" the mic signal into one usable by the recording device. Where the confusion comes in is that most audio recording devices have some sort of preamp built into them to bring the signal up to a usable level. The recorder also has AD/DA (Analog to Digital/Digital to Analog) convertors. Digital audio recorders all do the same job, they convert electrical impulses into ones and zeros; the quality of the AD/DA convertors have a big influences on the quality of the sound. The quality of the preamps influence quality of the sound being converted by the AD/DA convertors. The quality of the mic influences the quality of the sound being converted by the mic pre.

Also, can you please link me to a decent site discussing how to rate or evaluate microphone performance based on technicals and capabilities?

There are two basic mic types that most filmmakers will encounter - dynamic and condenser. 99.99% of the time you will be using a condenser mic. If you work in audio post you may also encounter ribbon mics.

http://www.mediacollege.com/audio/microphones/condenser.html

Different polar patterns are used for different purposes. The polar patterns are omni, uni, cardioid (supercardioid & hypercardioid) and bi-directional (figure 8). Shotgun mics are a variation on hypercardioid mics using an interference tube to narrow the pick-up pattern.

Mic quality is extremely subjective. The manufacturers all vise the results of their tests to give the best statistical results of their products, but figures about Self Noise, THD (Total Harmonic Distortion), Sensitivity and Frequency Response have little to do with their performance in the real world.

You have to rely on user recommendations to judge the quality of mics until you actually use the mic yourself. In any given price range the differences will be minimal to the casual or inexperienced user, especially as the mic(s) in question will probably not be used to maximum effect.