4 Mic Control (2 XLR + 3.5mm Stereo) + Meter + Headphone ///
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The DT414 is the same as the DT454, but without 48V/12V Phantom Power or AGC Disable
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4 mic channels (2 XLR, 2 unbalanced)
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Low-noise preamplifiers
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Meters
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4 segment LED (each right/left)
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2 sensitvity settings; adjustable
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Meters valuable with the new 5DMKII firmware, which does not show meters during recording
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30dB low-noise typ max gain (single ended, stereo)
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Headphone Amplifier
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Playback Monitoring
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Made in USA
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DT414/DT454 User Manual
This video shows the meter calibration procedure for use with the 5D (using the DT454, but the procedure is the same). Please follow along with the User Manual for more precise instructions.
Signal-to-Noise Expectations with Various Mics and Cameras
You can not remove noise from electronic equipment. The name of the game is to optimize the signal-to-noise performance. This becomes more important when recording things like dialogue in quiet rooms. There are many elements in the signal chain which impact this (noise in the camera, noise in the microphone, how close the microphone is placed to the source). Low-noise preamps can improve the signal-to-noise performance of noisy downstream elements such as a camera. This is accomplished by throttling back the noisy camera amps, and replacing the noisy gain with clean gain from a juicedLink low-noise preamp. The amount of improvement will depend on how noisy the camera amps were in the first place. However, a preamp can not fix poor signal-to-noise upstream that gets plugged into its input. So, low-noise preamps can not fix microphones with poor signal-to-noise, or the effects of poor microphone placement.
In practice, what does this all mean?
Run-n-gun microphones with unbalanced outputs (stereo minijack) will typically not have as good of noise performance as reasonable quality balanced XLR microphones. Plus, they are used on-camera which is further from the speaker (resulting in much less signal getting into the mic ... important in signal-to-noise), compared to booming the mic and getting it really close to the speaker. Since the signal level going into an on-camera mic will be lower, so will its signal-to-noise ratio that will be presented to the equipment downstream. This will set the signal-to-noise of the system, masking any improvement in signal-to-noise that the preamp can get from the camera.
To realize the benefits of the DT454 in improving the downstream signal-to-noise of the camera, you must use a microphone with decent SNR specs(>76dB SNR) and booming it to get it close to the source (< 1.5ft from source), so the noise from the microphone will not mask the good signal-to-noise performance achieved by the DT414. These will typically be XLR mics.
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