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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 :)

XLR Adapter for Epic

Jeff Kilgroe said:
Wooden Camera A-Box is nice.

Personally, I'm using the Mogami 1/8" to XLR adapter cables - 18" long, can order them from Amazon or B&H and they're top quality too. About $40 each with free shipping. :)
Click to expand...

Hey Jeff - I'm curious how you're mounting and strain relieving those cables?
I like the idea of using adapter cables - but I'm tempted to go with something like the Action products XLR adapter due to the cables being integrated to the plate and taking any strain off the inputs.

Any chance we could get a pic of your setup when you get some time?
 
I don't thing this set up is good. Id suggest eh best way to do this is 3 x 3.5 minijack to Tajimi connector instead of XLR on the camera, then a long strait 5M cable back to the audio mixer. The recordist can easily unplug then and the Tajimi connector is the most used standard connector. A strain relief should be fitted to the camera or better to the tripod to avoid putting strain on the connector. I use a plastic dog clip attached via cable tie to the audio cable on the mixer side of the cable joint, its plastic so as not to scratch the camera. The output of the mixer is line level to the camera in puts and theres a return feed back to the mixer on the third mini jack. You need one easy disconnect connector to make thing practical. Standard wiring can be found on www.sqn.co.uk site.
 
Luis Caffesse said:
Hey Jeff - I'm curious how you're mounting and strain relieving those cables?
I like the idea of using adapter cables - but I'm tempted to go with something like the Action products XLR adapter due to the cables being integrated to the plate and taking any strain off the inputs.

Any chance we could get a pic of your setup when you get some time?
Click to expand...

Usually it's not an issue as the onboard connectors are connected to a shotgun or small mic for scratch audio, which is on the cam. If I need a longer cable run, I just loop the cable and tie it off to a rod or other solid piece of the camera. Typically if I'm running longer audio cables I will have other cables coming off the camera as well to manage and they are usually secured much the same way, often together.

Wooden Camera adapter is nice, I highly recommend it. I just already have these other cables and they work great too.

@Dave Blackham, which Tajimi connector are you talking about using? Tajimi is a brand, not a specific type.
 
Stuart English said:
If you have a stereo microphone make sure you have a cable that breaks the signal out to two 3.5mm jacks and then select UNBALANCED audio on the EPIC. If you enable BALANCED audio on such a cable configuration either your + or - signal will short to ground and you will appear to have no signal i.e. BALANCED mode is for differential audio signals as you'd more typically find on an 3-pin XLR.
Click to expand...

Stuart, I'm planning on running just such a config and I don't understand why a stereo mic should required unbalanced audio to be set, could you clarify?

My stereo mic has a 5-pin XLR on the back, the connections being balanced audio L + & -, balanced audio R + & -, and a common ground/screen. It comes with a breakout cable which breaks this to two standard balanced XLR connectors. I hook these into the RED ONE with a pair of standard RED XLR -> mini XLR adapter cables. I run this BALANCED with phantom power on both channels and everything is peachy.

If I use the same setup with Scarlet, using either XLR -> 3.5mm adapter cables, or a custom made 5-pin XLR -> 2 x 3.5mm adapter cable, why should I not be able to run balanced with phantom power exactly as I do on the RED ONE?

Mike
 
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