Wednesday, February 17, 2010
DN101 in stock
The DN101 is back in stock and can be found on the website in the CX Preamps section.
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# posted by JLblogger @ 10:53 PM
Saturday, February 13, 2010
DN101: New / Improved Battery Tray Modification Procedure
We have altered and improved the instructions for the modification of the CX Preamp battery tray, when attaching the DN101. This change allows for easier insertion and removal of the battery tray with the CX Preamp. More specifically, it will take less force than before to insert and remove the battery tray.
We have also made a video showing the entire Modification Procedure that is required to mount the DN101 to the CX preamp.
Watching the video gives you a much better sense for how easy it is to perform the modification. The procedure will also remain in the User Manual as well.
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# posted by JLblogger @ 8:30 PM
Wednesday, February 3, 2010
DN101 User Manual: Requesting Feedback
The DN101 is a special kind of product. We introduced it to protect the investment and add value to the CX Preamps of our loyal customers. So, the fundamental design criteria was that it needs to use the CX Preamp as its foundation.
As such, it requires some modifications to the CX preamp by the end user. This is not typical, and we want to make this experience as smooth as possible for our customers.
We would greatly appreciate any comments on our User Manual (any section) that will help make enhance the experience of DN101 users as they are bringing up their system.
Please send your comments to jl_info@juicedLink.com
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# posted by JLblogger @ 6:18 PM
Thursday, January 28, 2010
DN101: Stock, User Manual
Stock
We are going to fulfill the backlog of dealer orders, before we resume taking orders on the juicedLink website. B&H and Trew Audio currently have stock. More shipments to other dealers will continue late next week.
User Manual
We've published a PDF version of the User Manual.
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# posted by JLblogger @ 9:55 PM
Monday, January 25, 2010
DN101 with 7D ... Customer Testimonial and Field Report
Reports from customers in the field indicate that the 7D behaves similar to the 5D (need to hit the camera's RECORD to get the camera's mic input activated). See the blog post on 01/23.
Customer Testimonial with Canon 7D
Here is a direct customer testimonial on the DN101 and CX preamp solution with the 7D:
I can attest that the Canon 7D behaves the same way. Once I figured it out, everything functioned flawlessly. I spent yesterday testing the setup with different mics including my wireless, and the AGC "clamp" works flawlessly. I'm very happy with this solution ... Thanks for a great product!
I'll be shooting my first TV commercial using the camera soundtrack this week. Previously, it has only been used as a second camera. My little baby is growing up, thanks to you.
You rock!
Best,
J Brunner
www.jasonbrunner.com
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Customer Testimonial with Canon 7D
Here is a direct customer testimonial on the DN101 and CX preamp solution with the 7D:
I can attest that the Canon 7D behaves the same way. Once I figured it out, everything functioned flawlessly. I spent yesterday testing the setup with different mics including my wireless, and the AGC "clamp" works flawlessly. I'm very happy with this solution ... Thanks for a great product!
I'll be shooting my first TV commercial using the camera soundtrack this week. Previously, it has only been used as a second camera. My little baby is growing up, thanks to you.
You rock!
Best,
J Brunner
www.jasonbrunner.com
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# posted by JLblogger @ 9:19 PM
Saturday, January 23, 2010
Note on DN101 use with 5D
This is regarding the DN101 use with the Canon 5D Mark II, and perhaps other cameras as well.
After you have set everything up, with the output of the CX preamp plugged into the DN101 and the DN101 output plugged into the 5D mic input, you may notice a little problem. This is because the 5D mic input hasn't yet been activated by the camera (and it is just ... well, who knows what the mic input may be doing in this state). Once you hit RECORD for the first time, the 5D properly activates the mic input, and your headphones connected to the DN101 will be operating properly.
The next time that you turn on your 5D, you will have to once again hit RECORD on the 5D for a second to get the mic input properly activated.
Once activated, the mic input will remain activated, even while you are not recording on the 5D.
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After you have set everything up, with the output of the CX preamp plugged into the DN101 and the DN101 output plugged into the 5D mic input, you may notice a little problem. This is because the 5D mic input hasn't yet been activated by the camera (and it is just ... well, who knows what the mic input may be doing in this state). Once you hit RECORD for the first time, the 5D properly activates the mic input, and your headphones connected to the DN101 will be operating properly.
The next time that you turn on your 5D, you will have to once again hit RECORD on the 5D for a second to get the mic input properly activated.
Once activated, the mic input will remain activated, even while you are not recording on the 5D.
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# posted by JLblogger @ 3:46 PM
Tuesday, January 19, 2010
DN101 Product Release
The DN101 is now Product Released! It is available for purchase on the juicedLink Products page. Also, watch the helpful Overview Video, and more about the DN101 AGC Defeat approach and the perils of injecting tones into your camera in the "Tones are Evil" video.
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Return to www.juicedlink.com
Subscribe to the juicedLink Blog
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# posted by JLblogger @ 4:58 PM
Wednesday, December 16, 2009
New Product Preview: DN101 DSLR Audio Solution
Finally, an audio solution for DSLR cameras ... that works!You can hear a demo clip later in this article ...
Unfortunately, many DLSR cameras do not have the features needed for great audio (meter, headphone, manual override of Automatic Gain Control (AGC).
$500 camcorders have these features, and in combination with a juicedLink low-noise preamp, are capable of excellent audio.
Our favorite software genius has enabled the DSLR community to unlock the capabilities in the Canon 5D Mark II a firmware upgrade called MagicLantern. You rock Trammell!
Using MagicLantern on the Canon 5D MarkII with your juicedLink low-noise preamp, you can get outstanding audio ... just as you can with a typical $500 camcorder and a juicedLink low-noise preamp.
But, MagicLantern is 3rd party firmware, not from Canon, so you need to do your due diligence. Unfortunately, it is not available for every camera, and it's not a solution for everybody.
Recording with a separate audio recorder can work. You can sync in post. But, with a lot of short clips (my type of work), it starts to become a real pain in the butt. More importantly, I want to be able to review my audio and video together ... ON LOCATION. If you don't get this experience and you find something is screwed up with your audio when you're in post, then it's too late ... you've already torn down and sent everybody home. I like to record direct to cam.
So, juicedLink is introducing ...
DN101 DSLR Audio Accessory
The DN101 bolts on to the side of any of the standard juicedLink low-noise preamps (CX211, CX231, CX431). In the photo above, you see a prototype of the DN101 bolted to the side of a juicedLink CX231. Then the CX231 is attached to the bottom of a Canon 5D MarkII (note, you can still access the 5D battery compartment).
Choice of which juicedLink preamp to use depends on what preamp features you would like (2 vs 4 XLR inputs, phantom power).
The DN101 can be used with any DSLR camera (7D, GH1, K1, etc ...).
It screws into an existing threaded nut in the bottom of the juicedLink low-noise preamps. It utilizes the battery in the preamp (small modification to the battery tray required (cut a notch into the plastic battery tray so the wire can escape, etc)).
The DN101 adds a meter, headphone monitor, and a way to "disable" the camera's AGC to provide significantly better signal-to-noise performance.
The output of the preamp plugs into the input of the DN101. The output of the DN101 plugs into the mic input of the camera. The DN101 also has a headphone jack.
Improving SNR Performance - Audio Clip
The DN101 sends a signal to the camera, so the camera perceives that there is a large signal, and the AGC circuitry throttles back it's amplifiers. This has become known as "AGC Disable" for these DSLR cams. The camera amplifiers are very noisy, so this is good. But, it also turns down the level of the microphone signal, which is bad. But, with the juicedLink low-noise preamp at the front end, just simply turn up the clean gain of the juicedLink low-noise preamp to get the mic signal well above the noise in the camera, and the result is significant improvement in system signal-to-noise performance.
Listen to a MP3 audio clip using a juicedLink CX231 with a juicedLink DN101 along with a Canon 5D MarkII (running the standard Canon firmware):
AUDIO_CLIP
DN101 does NOT inject a tone into your camera
DANGER...DANGER: Injecting a tone into an audio system is DANGEROUS!! A tone is a coherent signal and easily picked up by the human ear, even at very low levels.
DON'T BE A FOOL: Just because you can't hear the tone, doesn't mean others don't. I've heard videos on youtube where people have purchased expensive XLR adapters designed for the 5D using a tone to disable the AGC, and the people in the video look like fools because you can clearly hear the tone.
YOU ARE DEPENDING ON NON-SPECIFIED ASPECTS OF THE CAMERA: You really need to understand digital signal processing to take the risks of using a tone. You can take a setup that works OK on one camera, and put it on another camera, and it works like crap. Typically, people will try and inject a tone around 20KHz, where most people won't hear it.
1) Cameras have an analog-to-digital converter (ADC). Unfiltered, ADC's will take signals that are out-of-band (where you can't hear them), and fold them back IN-BAND (where you CAN HEAR IT). This is known as aliasing. So, a well designed camera will have a good Nyquist anti-aliasing filter before the ADC. So, if you are injecting a tone, you are depending on the effectiveness of the Nyquist anti-aliasing filter. If the filter isn't working so well, then a harmonic of that 20KHz tone will get folded back IN-BAND where it can be heard (by anybody).
2) Also, the roll-off of these Nyquist anti-aliasing filters will typically be around 16KHz. So, you're injecting a tone on the steep slope of the filter. A small change in the roll-off frequency will result in a significant change in amplitude of your tone.
3) Additionally, crosstalk in your camera can make your tone, harmonics, or aliased artifacts jump recording channels between the camera's left and right channel.
4) ALL of these funky things are going on, while you have no way to monitor with headphones IN THE CAMERA to hear what it is doing.
5) Even after you're done, and you listen to your recording in Vegas or FCP, and you think it sounds good. You could upload your video to a service like youtube/vimeo/etc, and they could compress your file using an encoding scheme that aliases your tone IN-BAND where everybody can hear it.
Switch it on, and it works
The juicedLink approach for AGC Disable does not use a tone, so you won't fall victim to these issues that can make you look like a fool.
When you switch on the AGC Disable, the DN101 automatically re-calibrates the meter for the appropriate signal levels (you will be cranking up the clean gain in the juicedLink preamp when AGC Disable is on, which throttles back the noisy amps in the camera).
The DN101 AGC Disable will take up one of the recording channels in the camera (right). When the AGC Disable is activated, the DN101 will headphone jack will only monitor the left input channel (through both ear-cups of the headphone). So, you will not hear anything in the headphones that is sent to the DN101 right input (as this channel will be used for the AGC defeat). This keys you to make sure that you have all of your mics panned left (the clean recording channel in the camera). For example, say you are using a CX431 with 4 mics. You will set the CX431 pan switches to 'left', and all 4 mics will be recorded by the camera on that track.
The Tradeoff
The design objective for the DN101 was to make this as small as possible, so it doesn't add much to the juicedLink preamps. From the photo, you can see that we have successfully achieved this objective. But, to do this, we needed to make some compromises.
The headphone amp is not what you would consider a "low-noise" amp. Its fine for field work to make sure your subjects are miked up correctly. Obviously, the noise in the headphone amp does not get recorded by the camera. Also, the headphone is a mono monitor.
DN101 Vitals
- Pricing: TBD
- Availability: We just approved the prototype aluminum enclosure (shown in the photo). It takes about 4 weeks to get delivery of the first production run of enclosures. Shipments to customers will follow shortly after that.
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# posted by JLblogger @ 3:19 PM
Thursday, October 29, 2009
Cables: 1) Canon 5D MarkII, 2) Pana Lumix GH1
I had some cables specified for some special applications, and they were delivered and I just checked them out ...
1) Canon 5D MarkII
MagicLantern performs wonderful tasks, including providing a headphone output out of the 5D AVout jack. Unfortunately, AVout plugs are TRRS 4-contact plugs, where headphones are TRS 3-contact plugs. Plus, the output level of the AVout on the 5D is low, so you will need to use an inexpensive headphone amplifier, like a $30 Boostaroo.
This 8" cable converts from TRRS to TRS, so you can plug the TRRS end into the 5D AVout, and the TRS end into the Boostaroo headphone amp input. Here is how it is wired up:
3.5mm TRS Plug:
- T: left
- R: right
- S: shield
3.5mm TRRS Plug:
- T: left
- R1: no connect
- R2: shield
- S: right
2) Panasonic Lumix GH1
The mic input of the Pana Lumix GH1 is only a 2.5mm stereo minijack, where 3.5mm stereo minijacks are more typical. This cable is a 8" male 3.5mm stereo mini-plug to 2.5mm stereo miniplug. So, you can connect the output of the juicedLink to the input of the GH1.
WHERE TO PURCHASE:
I specified the cables through TecNec. They set up a supplier so they can be sold directly to consumers:
- Company: Bay Electronics, 731 Airport Road, Panama City, FL 32405
- Contact: Greg Johnson, 850-785-7258
- Part Number for Lumix GH1: CMC-T1772022, 8" 3.5mm to 2.5mm stereo, approx $15.95
- Part Number for 5DMarkII: CMC-T1773341, 8" 3.5mm stereo to 3.5mm TRRS, approx $16.95
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1) Canon 5D MarkII
MagicLantern performs wonderful tasks, including providing a headphone output out of the 5D AVout jack. Unfortunately, AVout plugs are TRRS 4-contact plugs, where headphones are TRS 3-contact plugs. Plus, the output level of the AVout on the 5D is low, so you will need to use an inexpensive headphone amplifier, like a $30 Boostaroo.
This 8" cable converts from TRRS to TRS, so you can plug the TRRS end into the 5D AVout, and the TRS end into the Boostaroo headphone amp input. Here is how it is wired up:
3.5mm TRS Plug:
- T: left
- R: right
- S: shield
3.5mm TRRS Plug:
- T: left
- R1: no connect
- R2: shield
- S: right
2) Panasonic Lumix GH1
The mic input of the Pana Lumix GH1 is only a 2.5mm stereo minijack, where 3.5mm stereo minijacks are more typical. This cable is a 8" male 3.5mm stereo mini-plug to 2.5mm stereo miniplug. So, you can connect the output of the juicedLink to the input of the GH1.
WHERE TO PURCHASE:
I specified the cables through TecNec. They set up a supplier so they can be sold directly to consumers:
- Company: Bay Electronics, 731 Airport Road, Panama City, FL 32405
- Contact: Greg Johnson, 850-785-7258
- Part Number for Lumix GH1: CMC-T1772022, 8" 3.5mm to 2.5mm stereo, approx $15.95
- Part Number for 5DMarkII: CMC-T1773341, 8" 3.5mm stereo to 3.5mm TRRS, approx $16.95
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Return to www.juicedlink.com
# posted by JLblogger @ 2:29 PM
Monday, January 26, 2009
Tests Show juicedLink has 13dB Advantage in Frequency Response Compared to Beachtek DXA-2S
Did you realize that in terms of frequency response, there’s about a 13dB difference between a brand new Beachtek DXA-2S Dual XLR Audio Adapter, and the juicedLink CX family of Camcorder Adapter/Preamps? Let me show you these tests …
We’re going to use the HP8903A Audio Analyzer. The first thing that it does is it has a generator that provides a signal to your device under test. Then, it has a receiver that will analyze the output of the device under test. Today, we’re going to measure frequency response.
FREQEUNCY RESPONSE MEASUREMENT OF THE BEACHTEK DXA-2S DUAL XLR AUDIO ADAPTER: The measurement shows a 15dB range from 20Hz to 20KHz (both pots turned up all of the way, mic position, mono position). Looking at the documentation that accompanied the Beachtek DXA-2S Dual XLR Audio Adapter, it specifies it’s frequency response as +/-3dB from 20Hz-20KHz. So, this is NOT EVEN CLOSE to meeting Beachtek’s own specifications.
FREQEUNCY RESPONSE MEASUREMENT OF A JUICEDLINK CX FAMILY CAMCORDER ADAPTER/PREAMPS: The measurement shows a 1.94dB range from 20Hz to 20KHz.
So, the Beachtek DXA-2S tested a 15dB range over 20Hz-20KHz, when their own specification is only +/-3dB. So, the Beachtek tested 13dB worse than what was measured for the juicedLink frequency response.
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Labels: XLR_Adapter_Preamps
# posted by JLblogger @ 10:03 AM
Sunday, January 18, 2009
juicedLink has GOBS of Headroom – Review of Beachtek’s Data on DXA-2S versus juicedLink
The video can be found here.
Here at juicedLink, we wanted to take a moment to address some of the data that is currently (as of this post) on the Beachtek website. This is regarding headroom comparison data that they provided on the Beachtek DXA-2S dual XLR audio adapter. The same circuitry is also used on the Beachtek DXA-4, Beachtek DXA-4P, and Beachtek DXA-6A dual XLR audio adapters.
I can’t show you a closeup of their page, because of copyright. But, let me describe what they’ve done.
They’ve input a -3dBu waveform into a Beachtek DXA-2S XLR Audio Adapter and a juicedLink, and have scope pictures comparing the output.
One shows the output of the Beachtek DXA-2S XLR Audio Adapter vs juicedLink at high gain. The Beachtek DXA-2S XLR Audio Adapter shows a clean waveform, and the juicedLink’s is distorted.
Another plot compares the Beachtek DXA-2S XLR Audio Adapter versus juicedLink at medium gain. Again, the Beachtek DXA-2S XLR Audio Adapter shows a clean waveform, and the juicedLink’s is distorted.
The last plot compares the Beachtek DXA-2S XLR Audio Adapter vs juicedLink at low gain. Both the Beachtek DXA-2S XLR Audio Adapter and juicedLink plots look clean. But, the amplitude of the Beachtek DXA-2S XLR Audio Adapter is much higher than the juicedLink.
OK, so what’s going on here? Well, mixers have what is known as “headroom”. That is the maximum signal that the mixer can handle. The question is how much headroom is enough.
Let’s understand what’s behind the numbers. So, they’ve input a -3dBu signal, which is the same as about 550mVrms.
What does this mean in terms of how loud of a sound can it handle? So, we need to convert this voltage to Pa. Well, the some of the most sensitive mics that I know of are around 70mV/Pa. More typically, something like the Rode NTG2 is around 15mV/Pa.
So, Beachtek has input the equivalent of about 8-36 Pa.
So, let’s put this in perspective. My speaking voice at 1m is about 0.002 Pa. A jackhammer at 1m is 2 Pa. In fact, hearing damage due to long term exposure is 0.6 Pa.
So, if hearing damage is at the level of 0.6 Pa, and you are inputting a signal in the range of about 8-36 Pa, then you wouldn’t be using the juicedLink in the high gain or medium gain range. If you’re inputting a signal that is high enough to make your ears bleed, then I think low-gain would be your best choice.
So, the plots comparing to juicedLink at high and medium gain don’t make sense.
So, what about the plot showing the difference in the signal level between the Beachtek DXA-2S XLR Audio Adapter and the juicedLink when it’s at low gain?
Keep in mind that these are designed to interface with the microphone input on camcorders. The typical maximum signal level that they can handle is less than 30mV. Anything above that would be clipping, and sound like crap.
So, 550mV is an enormous signal level. So, it’s obvious that you wouldn’t use the juicedLink on medium or high gain. In fact, even in low gain, you’re going to be turning down the volume control to attenuate that 550mV and bring it underneath the 30mV window of the camcorder.
If you took the output of the Beachtek DXA-2S XLR Audio Adapter shown on the plot, and input it into a camcorder which can’t handle more than 30mV, then it would be completely distorted and sound like crap. On the Beachtek DXA-2S XLR Audio Adapter, you will need to turn down the volume control to attenuate the signal and bring it to the same level.
So, the data presented comparing the juicedLink vs the Beachtek DXA-2S XLR Audio Adapter basically shows that the juicedLink can have headroom up to about 8-36 Pa, well beyond the ear bleeding level of long term hearing damage of 0.6 Pa.
If that’s not enough headroom for you, you can always use the juicedLink’s mic/line switch and set it on the line setting, giving you another 40 dB of headroom.
So, with a little understanding of the meaning of the numbers, the data that Beachtek has posted shows you how the juicedLink has gobs and gobs of headroom.
Remember, a passive adapter like the Beachtek doesn’t have low-noise preamps. So, you won’t be able to use preamps to throttle back the noisy camcorder amps to get better system noise performance while recording fine audio detail, like you would using juicedLink. And now, you understand that juicedLink has gobs and gobs of headroom too.
So, I’d like to thank the folks over at Beachtek for posting that data and giving me the chance to show this to you, and I’d also like to thank YOU for watching.
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Labels: XLR_Adapter_Preamps
# posted by JLblogger @ 3:02 PM
Thursday, January 8, 2009
Using a Portable Recorder, versus Recording to Camera (via Camcorder XLR Adapter/Preamp)
First, if you're going to go directly into the camcorder, then you'll definitely want a preamp. It's already been established that you can get great audio from your camcorder using a Camcorder XLR Adapter/Preamp.
Comparing a Recorder versus a Camcorder XLR Adapter/Preamp, they each provide you with a different type of convenience.
The sync issues have already been mentioned regarding Recorders. It's just a little extra effort. It can be managed. The pain and complexity increases with shorter clips (and increasing numbers of them).
Let's consider a couple of examples ...
Say you're filming a stage performance, and they aren't using a PA system. You can put a recorder close to the stage to get great audio while you're filming from the back of the auditorium. As a performance, it's a relatively long recording, so the sync issues are fairly easy to deal with. If you were using an Adapter, then you would have to have a long cable to the front of the auditorium. So, the Recorder gives you the convenience of recording remotely and still getting great sound.
Of course, if they were using a PA system in the auditorium, you could take the feed directly into the Adapter.
Let's consider the case where you are doing indoor/outdoor booming of scenes. There's a convenience in not having to run a cable back to the camcorder if you use a Recorder.
But, there's another convenience with the Camcorder XLR Adapter/Preamp that many forget to consider. Going back and reviewing the take in the camcorder with the audio, and doing it right there on location, gives you a lot more confidence that you successfully captured the scene and it's "in the can". Trying to review the scene simultaneously (or separately) with a camcorder and recorder doesn't give you that confidence. It's harder to experience the full impact of what you've just captured that way. You won't get that experience until you're in post.
For me, I would have to have a LOT of trust that my boom op really knows what they're doing to use a separate recorder. They have to be really skilled at booming without adding handling noise, and splitting the distance between actors. I mean, this needs to be done regardless. But, if it I can't review it all together right there on location, then I really need to have a LOT of trust in their skills. I feel that using a separate Recorder like this is more typical of when you have a dedicated professional audio person in your production flow.
When you're doing voice over work in studio, it doesn't make sense to do that with a camera. A Recorder (or computer) is more convenient.
Also, if you ever have to do any run-n-gun (where you don't have a choice and have to mount the shotgun to the camera), then a device that was designed to easily mount to your camcorder will be much more convenient.
Comparing a Recorder versus a Camcorder XLR Adapter/Preamp, they each provide you with a different type of convenience.
The sync issues have already been mentioned regarding Recorders. It's just a little extra effort. It can be managed. The pain and complexity increases with shorter clips (and increasing numbers of them).
Let's consider a couple of examples ...
Say you're filming a stage performance, and they aren't using a PA system. You can put a recorder close to the stage to get great audio while you're filming from the back of the auditorium. As a performance, it's a relatively long recording, so the sync issues are fairly easy to deal with. If you were using an Adapter, then you would have to have a long cable to the front of the auditorium. So, the Recorder gives you the convenience of recording remotely and still getting great sound.
Of course, if they were using a PA system in the auditorium, you could take the feed directly into the Adapter.
Let's consider the case where you are doing indoor/outdoor booming of scenes. There's a convenience in not having to run a cable back to the camcorder if you use a Recorder.
But, there's another convenience with the Camcorder XLR Adapter/Preamp that many forget to consider. Going back and reviewing the take in the camcorder with the audio, and doing it right there on location, gives you a lot more confidence that you successfully captured the scene and it's "in the can". Trying to review the scene simultaneously (or separately) with a camcorder and recorder doesn't give you that confidence. It's harder to experience the full impact of what you've just captured that way. You won't get that experience until you're in post.
For me, I would have to have a LOT of trust that my boom op really knows what they're doing to use a separate recorder. They have to be really skilled at booming without adding handling noise, and splitting the distance between actors. I mean, this needs to be done regardless. But, if it I can't review it all together right there on location, then I really need to have a LOT of trust in their skills. I feel that using a separate Recorder like this is more typical of when you have a dedicated professional audio person in your production flow.
When you're doing voice over work in studio, it doesn't make sense to do that with a camera. A Recorder (or computer) is more convenient.
Also, if you ever have to do any run-n-gun (where you don't have a choice and have to mount the shotgun to the camera), then a device that was designed to easily mount to your camcorder will be much more convenient.
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# posted by JLblogger @ 1:17 PM
Wednesday, January 7, 2009
Comparison of Lavaliere Microphones
What's the best way to select a new mic? Listen for yourself ...
Here, we review the industry standard Tram TR-50 with an economical AT803 and a sub-miniature lavaliere AT899.
Here, we review the industry standard Tram TR-50 with an economical AT803 and a sub-miniature lavaliere AT899.
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More can be found in the Lavaliere section.
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Labels: Lav_Mics
# posted by JLblogger @ 10:56 PM
Guide for Selecting Headphones
You will need a good pair of headphones for monitoring. Remember, audio level meters don't tell you anything about signal-to-noise. You could have good levels showing on the meters, and crappy sounding audio. This could be because of echos, or other types of noise problems.
This clip shows you what to look for when selecting a pair of headphones.
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More on this topic in the Headphones section.
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Labels: Headphones
# posted by JLblogger @ 10:33 PM
Saturday, December 27, 2008
The Guiding Principle for Quality Audio
Here's the answer: Signal-to-Noise
Whether the noise is electronic, wind, background, echo, optimizing the signal-to-noise ratio is the key to quality audio.
This clip gives an intuitive example to understanding signal-to-noise, and provides insight into it's application to production audio.
The clip is part of the Tutorial series on capturing great audio ... on a budget.
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Whether the noise is electronic, wind, background, echo, optimizing the signal-to-noise ratio is the key to quality audio.
This clip gives an intuitive example to understanding signal-to-noise, and provides insight into it's application to production audio.
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The clip is part of the Tutorial series on capturing great audio ... on a budget.
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Labels: Tutorials
# posted by JLblogger @ 5:32 PM
Friday, December 26, 2008
Camcorder Selection for Audio
Before you put down some coin on a new camcorder, make sure you get one that has the right hooks and handles to get great audio.
MICROPHONE INPUT JACK:
HEADPHONE JACK:
MANUAL OVERRIDE OF AGC:
AUDIO LEVEL METERS:
FULL-SIZED ACCESSORY SHOE:
THREADS FOR WIDE-ANGLE LENS:
RECORDING MEDIA:
This article is archived in the Tutorials on capturing great audio ... on a budget.
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MICROPHONE INPUT JACK:
- Obviously. However, only the most expensive camcorders costing many thousands of dollars have XLR inputs. You will probably be looking for a prosumer level camcorder which has a minijack microphone input. Don’t worry. There are XLR Camcorder Adapter/Preamps which convert your XLR mic to the minijack input of the camcorder. Using these products allow you to use quality XLR mics with prosumer level camcorders, so you don’t need to spend many thousands of dollars for a pro-level camcorder to get good audio.
HEADPHONE JACK:
- You need to have the ability to monitor your audio. You wouldn’t shoot video without looking at the LCD screen, would you? Meters don’t give you any information about signal-to-noise. Your meter could be telling you that your signal level is just fine. But, your audio could sound like crap, because you’ve got lots of echo or background noise.
MANUAL OVERRIDE OF AGC:
- Camcorders have circuitry/algorithms which turns up the gain for low input signals, and turns down the gain for high input signals. This provides a wide range of input signal levels that your camcorder can accept, and ensure that the internal A/D’s won’t overload. This is sometimes called the “Automatic” mode, or AGC (Automatic Gain Control). This is great for environments with unpredictable and widely varying signal levels (say, a birthday party). However, camcorder amps are noisy. You can get lower overall system performance by putting the camcorder on “Manual”, and using an external low-noise preamp (such as XLR Camcorder Adapter/Preamps). So, get a camcorder that has manual override of AGC (if you already have a camcorder which does not have manual override of AGC, then that’s OK. XLR Camcorder Adapter/Preamps are still a benefit to you). The tutorials will teach you how to implement this technique.
AUDIO LEVEL METERS:
- These are not an absolute must. But, they are really nice to have.
FULL-SIZED ACCESSORY SHOE:
- If there are occasions where you will be mounting your shotgun to your camcorder, then this is nice to have. Note, some smaller camcorders have an accessory shoe, but it is not full-sized. So, you won’t be able to fit a microphone shock mount in it. It’s not a must to have, because there are some aftermarket brackets you can purchase to add it later. Remember, when your mic is on your camcorder, it is not in its optimal orientation. You should be frequently getting your shotgun mic off or your camcorder anyhow.
THREADS FOR WIDE-ANGLE LENS:
- For times when you do have your shotgun mounted on top of your camcorder, you can use a wide angle lens to get the mic closer to your subject. However, the wide-angle lens does add spherical aberrations. Remember, when your mic is on your camcorder, it is not in its optimal orientation. You should be frequently getting your shotgun mic off or your camcorder anyhow.
RECORDING MEDIA:
- DV tape drives are often make a lot of audible noise. So, when your mic is close to the camcorder, it can pick up that distinctive tape whine. Other recording media are much quieter (flash memory is silent). But, there are other considerations such as video format and compression that need to be considered with recording media as well.
This article is archived in the Tutorials on capturing great audio ... on a budget.
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Labels: Camcorders, Tutorials
# posted by JLblogger @ 3:13 PM
Tuesday, December 23, 2008
Welcome to the new juicedLink website
Thank you for stopping by the new juicedLink website. We’ve redesigned it to make room for additional Products, and an in-depth Tutorial series on audio. As before, the site is dedicated to getting great camcorder audio ... on a budget.
We are more that just a dealer. We’re committed to teaching you the right way to achieve great audio.
90% of great audio has nothing to do with the name brands on your mics. It’s about picking the appropriate tools, and using them the right way. Our Tutorial
While camcorders will change formats/compression every couple years, the designs for quality mics can last a lifetime. With audio, buy right once, and avoid buying twice to make an upgrade.
Additionally, we are going to be doing extensive product reviews, to find the best values in gear for you.
We’ve also designed the website to give you the power to provide your own inputs into the product reviews and tutorials.
So, RSS this blog, and we’ll keep you up to date on all of the latest news!
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Labels: website
# posted by JLblogger @ 1:40 PM
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