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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 :)

Use of Y-adaptor needed?

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Nicholas Shields

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Would I need a Y-adaptor to send a single mic to two channels on the Red or is the camera able to do this (like the HVX does)? I ask this b/c without pots, I'd like to cover my butt with two channels of the same source at two different levels. Thanks in advance.

Nick.
 
Y cable ?

Y cable ?

Would I need a Y-adaptor to send a single mic to two channels on the Red or is the camera able to do this (like the HVX does)? I ask this b/c without pots, I'd like to cover my butt with two channels of the same source at two different levels. Thanks in advance.
Click to expand...

Nick, if you want to do that trick you will need a Y cable...
 
It's best to use a Microphone splitter box, Whirlwind makes a few models.
Check out the B&H website.

Better yet if your onset, use a mic to line amp and feed both inputs line level.

Dave
 
I don't get why this wasn't programmed in. It was definitely mentioned over and over during the design phase and I know I was assured by someone this was "of course" going to be in there. I know RED changes specs, but it just kinda kills me that they could get this right on a DVX-100 5 years ago and it's not in this camera.

Is it even possible via firmware someday?

The manual basically says - this camera is so friggin' quiet and has 24 BIG bits to work with so all YOU need to do is avoid peaking and you're good to go! (no really, it says that) Is the signal to noise ratio really that good?
 
What does a mic splitter box do that a y-adaptor doesn't? Is there a signal quality difference? Thanks in advance.

Nick.
 
joelnet said:
I don't get why this wasn't programmed in. It was definitely mentioned over and over during the design phase and I know I was assured by someone this was "of course" going to be in there. I know RED changes specs, but it just kinda kills me that they could get this right on a DVX-100 5 years ago and it's not in this camera.

Is it even possible via firmware someday?

The manual basically says - this camera is so friggin' quiet and has 24 BIG bits to work with so all YOU need to do is avoid peaking and you're good to go! (no really, it says that) Is the signal to noise ratio really that good?
Click to expand...

In answer to the question is it possible via firmware; the answer is no, its not. This would require a different hardware configuration. Keep in mind, the DVX had only two audio channels (which could be linked via a switch to one source). The RED ONE offers four channels and while a link would be a nice 'feature' frankly, I will trade off not having the link feature for four full audio channels any day. This is a much more flexible solution.

Kevin Halverson
 
AngusChandler said:
I didn't know people seriously used cameras for sound recording. I've always used a crummy on-camera as a sync aid and a guide track, but nothing more to the camera.
Click to expand...

When the camera's performance equals or exceeds that of stand alone audio recording solutions, why not consider using it? With four PCM audio channels there are a lot of possibilities. You can use a field mixer and send line level back to the camera (in parallel to an external recorder if you wish) and have the advantage of reliability by redundancy as well as synced audio for on set playback. You can mix it up and have some channels used for mic level and some used for line level. The higher channel count and the fact that they are all high quality PCM makes for a very versatile solution.

Kevin Halverson
 
AngusChandler said:
I didn't know people seriously used cameras for sound recording. I've always used a crummy on-camera as a sync aid and a guide track, but nothing more to the camera.
Click to expand...


You mean like new crews? Documentaries? EFP? Reality TV?

Red's got 4 24 bit uncompressed tracks onboard and they are synced.

Read Scott Billups' book Digital Moviemaking and he spells out why recording on camera and in sync is far superior to dual system sound for avoiding difficulties in post provided the sound quality is good enough. For vocal tracks - well there's plenty of room in a 24 bit uncompressed stream for that.
 
chuck colburn said:
Hmmmm...mayby not. As I recall a good mic. splitter uses a transformer to isolate the split signals.
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True. A really good splitter uses a transformer with a single primary (connected to the mic) and a pair of secondaries (for connection to a pair of inputs). This provides the advantage of not elevating the noise floor and properly loading the mic. The disadvantage of this type of configuration is that phantom power can not be supplied from the recording device (as the transformer isolates it) and must be supplied upstream of the splitter.

Kevin Halverson
 
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