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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Recording Stereo using Mono Shotgun Microphones

Tom Visser said:
I would just contact Remote Audio, who make the best camera breakaway cables in my opinion, and have them custom fashion you an extra tail that terminates to 3x mini stereo (one for return monitoring and two for balanced output). Regarding that Rycote, that's the right product. Talk to Rycote directly or a dealer to figure out the maze of size / configuration options.
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Okay, so that would be a cable with two XLR's on one end (one for the left channel output and one for the right channel output on the mixer) to three mini 3.5mm connectors (one for the left channel input and one for the right channel input on the Scarlet; then a third connector which is a mix of both left and right channels for return monitoring). Do I have that correctly?
 
Brian Iannone said:
Can I use and adaptor like the Wooden Camera A-Box in between the mixer and the Scarlet? So, I'd have both XLR outputs from the mixer connected to box XLR inputs on the adaptor, and then both 3.5mm outputs from the adaptor into the two inputs on the Scarlet? Is that what you meant when you were referring to the action production thing?

Also, would anyone happen to have a preference on XLR cable manufacturers? :-)
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The adaptor is fine I think. Id build you own cables assuming your soldering skills are good. If they are not good, learn its a skill you will need. We use Neutrik connectors. You can dismantle them and reassemble by jand with out tools if its suspect. if you near salt water get the gold plated pin versions. And make sire the 3.5mm jacks are the best you can buy. Its a crap conector to start with you need the best you can get, following wind and good luck long term with these things.
 
Elsie N said:
This triggered a thought... if I have two different subjects miked with lavalieres, will it be possible to plug each receiver to one of the two ports on the Epic and record passable audio? I foresee a situation of doing a long shot where characters are moving and without the obligatory mixer, I would like to record directly to camera.
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Yes. It will be fine.
 
Brian Iannone said:
Okay, so that would be a cable with two XLR's on one end (one for the left channel output and one for the right channel output on the mixer) to three mini 3.5mm connectors (one for the left channel input and one for the right channel input on the Scarlet; then a third connector which is a mix of both left and right channels for return monitoring). Do I have that correctly?
Click to expand...

Yes. Keep the monitoring feed away from the programme audio lines though, ie in in a seperate screened core. SQN use a quad core balanced cable for this ie 4 pairs in seperate screens in one cable. If you going to do this the standard multi plug is a Tajimi plug, cant remember how many pins but look on the SQN site and it will tell you wiring config. Id build a cable that runs mixer out with what ever output socket is on the mixer to Tajimi then have a short tail which is Tajimi to 3 x 3.5mm jacks as you describe. This is so you can easily disconnect from the camera when you want to easily and quickly and not disturb the 3.5mm jacks.

If this isnt in SQN's parts list it should be quite soon I think, also Wooden cameras and Action Products.

With any camera Umbilical it needs to be about 4 to 5M 3M is too short. Don't use the curley springy lead type cable or you get accused of reframing the camera by pulling on the heavy lead, just use strait cable and make sure you control it well and not annoy the camera department.

Buy a plastic, not metal (they scratch) Dog lead clip and put a spit key ring on the camera, the clip goes on the camera end of the lead close to the Tajimi plug, clip the dog lead clip on the the split ring so as to take the strain and not to pull the cable out of the Tajimi plug which it will over some months or when some one trips over it. I have a photo of a racoon hanging by its paws and teeth from my mixer to camera cable in Canada, its teeth got he better of the cable in the end, so expect the unexpected.....

Make spares of both tails and cable. Also build a long 20M cable so you can work remotely when needed.
 
Dave Blackham said:
Yes. Keep the monitoring feed away from the programme audio lines though, ie in in a seperate screened core. SQN use a quad core balanced cable for this ie 4 pairs in seperate screens in one cable. If you going to do this the standard multi plug is a Tajimi plug, cant remember how many pins but look on the SQN site and it will tell you wiring config. Id build a cable that runs mixer out with what ever output socket is on the mixer to Tajimi then have a short tail which is Tajimi to 3 x 3.5mm jacks as you describe. This is so you can easily disconnect from the camera when you want to easily and quickly and not disturb the 3.5mm jacks.

If this isnt in SQN's parts list it should be quite soon I think, also Wooden cameras and Action Products.

With any camera Umbilical it needs to be about 4 to 5M 3M is too short. Don't use the curley springy lead type cable or you get accused of reframing the camera by pulling on the heavy lead, just use strait cable and make sure you control it well and not annoy the camera department.

Buy a plastic, not metal (they scratch) Dog lead clip and put a spit key ring on the camera, the clip goes on the camera end of the lead close to the Tajimi plug, clip the dog lead clip on the the split ring so as to take the strain and not to pull the cable out of the Tajimi plug which it will over some months or when some one trips over it. I have a photo of a racoon hanging by its paws and teeth from my mixer to camera cable in Canada, its teeth got he better of the cable in the end, so expect the unexpected.....

Make spares of both tails and cable. Also build a long 20M cable so you can work remotely when needed.
Click to expand...

Thank you very, very much for all the advice. I really appreciate it a lot! =)
 
Dave Blackham said:
For Planet Earth most audio was recorded wild or sourced from library, though the presenters links were recorded sync. I believe there was some specialist species and Wild track recording also.
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Completely off subject, but would you happen to know what frame rate Planet Earth and/or Life was shot at?
 
25fps for onspeed footage, I think mostly on Pana 2700 and 3700
 
Why don't just use a single "all in one" MS micro, such the SHURE VP 88, or the AKG C 426 ?
If I understand well they are both bi-directionnal + supercardioid...
so less weight, and don't need to use a huge XLR x3 preamp.
Just have to find a way to split the 2 mono channel to the 2 mini-jack, and everything will be fine... no ??
 
This reply is a bit irrelevent but probably serves as a comparison example of why not to misuse shotguns for stereo. The C74 mikes are slightly more directional than the Sennheiser 416.



The project opportunity arose very quickly and caught me wrongfooted and unprepared. I was counselled quite appropriately to respect the orchestra and use proper mikes for the job and mad-scrambled to get hold of the mikes in time and was glad I did. The first clip was the first actual playthrough of the piece by the orchestra on a rehearsal night so it is a bit ragged.


http://www.youtube.com/watch?v=IPsmk_ijz2k


One NT2a as omnidirectional in centre. One directional Sony C74 each side facing outward for inclusive angle of approx 90 degrees which made the orchestra offmiked by the directionals.

You will hear some not very nice phasing artifacts.


http://www.youtube.com/watch?v=TWpBhIyuq8k&feature=relmfu


One NT2a as omnidirectional in centre. One NT2a as figure 8 each side in recommended decca tree arrangement. Except for the awkardness and lack of wind protection, I have been tempted to try that setup outdoors one day, maybe at an event or outdoors concert.





Mixing was three channels into two with the centre channel linked to the left and right channels.
 
Jack Colquitt said:
Why don't just use a single "all in one" MS micro, such the SHURE VP 88, or the AKG C 426 ?
If I understand well they are both bi-directionnal + supercardioid...
so less weight, and don't need to use a huge XLR x3 preamp.
Just have to find a way to split the 2 mono channel to the 2 mini-jack, and everything will be fine... no ??
Click to expand...

You could do this but the thread mentioned Planet Earth so implies best quality kit. Id still suggest Sennheiser MKH30/40 for wild tracks and MKH 30/50 or 30/60 for any closer work. From Shoeps range the CCM8 and CCM40 or 41 or CCM 8 and CMIT are very good options. The Sennheiser MKH418 is good but phases on pans.

Selecting a mic or suitable pattern is what will define perspective and particularly so in a stereo pair so Id get this right. Wild track on a cardiod figure 8 pair is completely different to a short gun figure 8 pair. Much fuller sound and much better stereo sound stage.
 
Sorry, I didn't knew the VP88 was so bad.
But, for my understanding, if you have to rate it...
like 10/10 for the Sennheiser MKH30/50, what will be the VP88 ?
Because I don't want to hijack this thread but I want a Seinheiser combo too,
for documentary on bad condition (war, refugee camp), and it's impossible for me to use 2 mic + a big preamps, etc.
Too heavy, too large...
So, one "all in one" MS micro like the VP88 self powered looks pretty nice....
 
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