craigbowman
Veteran
Exactly.
160 dollar mic -- 3 choices
- Thread starter Chamber005
- Start date
Exactly.
JordanBlock
Well-known member
I'm hoping this is posted in the wrong thread, because I really can't believe anyone would recommend sticking a large-diaphragm condenser on a boom.
The B1 isn't a bad mic, but it's a side-address LDC tipping the scales somewhere in the neighborhood of 2lbs.
Not to start anything, but there's also the cost of rental insurance. If you don't have permanent gear insurance (like me) then you're paying for production insurance for every shoot date which can easily comes to several hundred dollars before you even rent anything.
Some places does that, and I love those. But many others requires proof of insurance before renting (at least all the places I can find in the Bay Area anyway). I don't mind putting things on a credit card or putting down a deposit, but having to get insurance when the shoot lasts just part of a day really sucks.
Chamber005
Carbonite Member
I thought about renting -- that was the route I was going to go originally. But 160 bucks would have gotten me about 6 days total. That means if I just wanted to record some cool ambient sound in a pinch, I couldn't because I've got nothing to record with.
I think if you're going to shoot for a week or two straight, that makes sense. The schedule for this piece is very specific at one to two Saturdays per month. These are shoots using one actor who has to go through 4 hours of make-up. And since it's a web series, not a film, this is a year-long process -- so renting just really isn't viable.
I picked up the two CAD drum mics that were suggested here. We'll see how they fare.
In the end, though, with using an inexperienced person on the boom, I think the former suggestions were correct in having me choose a mic that might be a little lower quality but is more forgiving than some of the mid-grade professional stuff.
And, I mean, in the end, this piece is strictly meant for viewing on a computer. I think the budget and the format are geared towards those CAD mics -- or something comperable.
The only thing that's really gnawing at me is not having a lav -- but I just think it would be an unnecessary risk because the odds of any lav mixing well with the CADs seems pretty slim. And while I have access to some mixing software, I would be completely bummed if I stretched my budget to include a lav and then was unable to really utilize it.
My plan is to have the overheard boom and then hide the second mic on the other channel behind books or just off frame pointed at the actor.
I think if you're going to shoot for a week or two straight, that makes sense. The schedule for this piece is very specific at one to two Saturdays per month. These are shoots using one actor who has to go through 4 hours of make-up. And since it's a web series, not a film, this is a year-long process -- so renting just really isn't viable.
I picked up the two CAD drum mics that were suggested here. We'll see how they fare.
In the end, though, with using an inexperienced person on the boom, I think the former suggestions were correct in having me choose a mic that might be a little lower quality but is more forgiving than some of the mid-grade professional stuff.
And, I mean, in the end, this piece is strictly meant for viewing on a computer. I think the budget and the format are geared towards those CAD mics -- or something comperable.
The only thing that's really gnawing at me is not having a lav -- but I just think it would be an unnecessary risk because the odds of any lav mixing well with the CADs seems pretty slim. And while I have access to some mixing software, I would be completely bummed if I stretched my budget to include a lav and then was unable to really utilize it.
My plan is to have the overheard boom and then hide the second mic on the other channel behind books or just off frame pointed at the actor.
j1clark@ucsd.edu
Veteran
For where I live, and how much in 'hassle' to get to a rental place, pickup equipment, drop off equipment, or pay for shipping, there is a price at which 'buying' just is easier... and I don't live in the middle of nowhere... I live between nowheres...
Sure I can go to LA... if I want more of a headache than just those associated with setting things up for a shoot... or I can go to San Diego, and perhaps have more limited choices, and still a hassle these days...
So, if I hire someone to go fetch... what $100 + gas, for running around... $30/day for a Sennheiser NKH-416 or $25 for an ME-66, at the nearest rental shop to me. (They do have weekend and studient rates, and will 'wink' on students paying for the additional days on three or four day weekends (like thanksgiving or Christmas...) rate...)... Or I could send the Wife... no... that would be even more costly than a courier pickup...
The point being, very quickly, a $250 used mic may be a better choice at the moment than the rental. (As far as I can tell, for most 'business' activities, given the usual IRS regulations, sure rentals can be deducted fully in the year, capital equipment have amortizaiton schedules, and so depending, may not be as advantageous... hence the buy/rent/lease choices may be made based on what one wants to do in the way of taxes...)
And so, yeah, having bought the equipment, I can 'learn' how to use it when The Wife is asleep and I have have time on my hands... usually about 3 AM Monday morings... but I digress...
JordanBlock
Well-known member
I wouldn't worry about not having a lav in your situation. As you've said, you're only shooting inside, so chances are you're not going to frame anything so wide that you can't boom it. Also, positioning a lav to get decent sound while remaining concealed and avoiding clothing noise would just be one more thing for you to deal with on set.
Chamber005
Carbonite Member
Hey, thanks so much for all your great advice. Can't wait to show you what I've done with it!
I decided on using a painter pole for the boom. I'm curious -- is the threading the same on a mic clip as it is on a painter's pole? That seems unlikely. Is there a DIY post on here somewhere?
Also, when purchasing the shock mount, do I just take the dimensions of my mic and apply accordingly? I see lots of shock mounts that list numerous (specific) mics that they can house.
Noiz2
Sound Ninja
No they are not the same threads. The US larger diameter one (mic mount threads) is some obtuse hard to find on but the smaller standard one for boom poles etc is 3/8 - 16 (national course) and that you can get at any hardware store. For some shock mounts you may need an adapter but many come with the adapter and they are cheap if you need to buy one. A good relatively cheap shockmount is the Audio- Technica AT8410a. But there are some lighter ones that are basically a tube with rubber-bands at the ends. You can buy an "adapter" for the painters pole or make one or attatch a hunk of 3/8-16 threaded rod to the end with epoxy, tape, whatever. WE are talking low tech low cost compromise here but it will get by.
JordanBlock
Well-known member
The threads on a painter's pole are different from either of the standard mic threads.
To adapt, there are a couple options. You can buy an adapter off of ebay, or you can modify the pole yourself. To do the later, you can track down a hanger bolt of the appropriate size. There are two standard mic threads, 3/8"-16 and 5/8"-27.
You'll want a 3/8-16 hanger bolt and a couple nuts. You can then screw the hangar bolt into the end of the painter's pole and use a nut or two to secure it. Obviously this method is easier on a painter's pole with a plastic end. You then take the 3/8-16 to 5/8-27 adapter that comes with virtually every mic and thread that onto the end of the hangar bolt and the shockmount goes on there.
For your shockmount, just take the dimensions and work from there. Most mics used in production tend to have a pretty similar diameter, so you're main concern is the length of those little CAD mics. I'd think that the cheap Audio Technica mount should work. The XLR connector will help make the assembly a little longer, and worst case you can always pick up XLR barrel adapters to make the mic a little longer.
To adapt, there are a couple options. You can buy an adapter off of ebay, or you can modify the pole yourself. To do the later, you can track down a hanger bolt of the appropriate size. There are two standard mic threads, 3/8"-16 and 5/8"-27.
You'll want a 3/8-16 hanger bolt and a couple nuts. You can then screw the hangar bolt into the end of the painter's pole and use a nut or two to secure it. Obviously this method is easier on a painter's pole with a plastic end. You then take the 3/8-16 to 5/8-27 adapter that comes with virtually every mic and thread that onto the end of the hangar bolt and the shockmount goes on there.
For your shockmount, just take the dimensions and work from there. Most mics used in production tend to have a pretty similar diameter, so you're main concern is the length of those little CAD mics. I'd think that the cheap Audio Technica mount should work. The XLR connector will help make the assembly a little longer, and worst case you can always pick up XLR barrel adapters to make the mic a little longer.
Noiz2
Sound Ninja
OT comment.
There have been accusations that starting a thread like this on this forum will get you nothing but "hire a pro" and spend $$$$$.
A difference with this thread is that the OP did not go on a rand that you could/ should be able to do perfect sound with no experience and no money. He presented a budget and asked for the best solution in that range and understands that it's a compromise. The result is a lot of good suggestions on ways to get by for very little $$$. If you can your still better off generally hiring someone because your getting better equipment and more experience than you will end up with on your own. But that isn't always an option for various reasons. And if your willing to compensate with sweat equity you can get good results.
There have been accusations that starting a thread like this on this forum will get you nothing but "hire a pro" and spend $$$$$.
A difference with this thread is that the OP did not go on a rand that you could/ should be able to do perfect sound with no experience and no money. He presented a budget and asked for the best solution in that range and understands that it's a compromise. The result is a lot of good suggestions on ways to get by for very little $$$. If you can your still better off generally hiring someone because your getting better equipment and more experience than you will end up with on your own. But that isn't always an option for various reasons. And if your willing to compensate with sweat equity you can get good results.
JordanBlock
Well-known member
I was just thinking the same thing, Noiz.
Doc Bernard
Indie Arms Member
Well put! I have been there, and done that ( and sometimes still doing it) budget wise. Sure, it's nice to go out a spend top shelf money for top shelf equipment, but today, that is not an option for many people/companies. So we look for field expedient methods and products. The OP is where a lot of us are or were. Personally, without my experience using those methods, I wouldn't have half the knowledge I do today. It teaches you. And as you progress, you start to understand more on the gear and it's benefits.
Okay, now you guys have had it. I am the Soap Box!
My apologies to the OP, sir.
For those who don't know me, I am a degreed audio engineer (I usually try to hide it, though that's where I started out) and my day job is as a QC and Repair Engineer for a studio microphone manufacturer. I struggled financially through school, but studied along side a bunch of students whose parents paid for everything. They got their l'il darlings the best money could buy or find. And you know what? I still graduated 3rd in my class out of 60+ students. I used cheap equipment exclusively on home projects for school. Cheap equipment rules when starting out. It makes you learn the gear. Find it's weaknesses, and your weaknesses, as well. Then, you step up to the pricier stuff, because then you will appreciate what it can do for you. Believe me, someone new to it won't really be able to tell what a $2,000 mike sounds like in comparison to a $100 mike (and with a little work, I can make that 100 mike sound just like the $2 000 one, either in post, technique, or with a little modding to the mike. Or a combo of all three. (I took an Avlex and made it sound like a Schoeps, so don't tell me it cant be done. A couple of changes on the inside, finding the sweet spot, and a bit of a tweak in post........mmmuahhh! a thing of beauty!)
So, those of you who cannot afford all the pricey gear, don't sweat it. By going the "cheaper" route, you will be better for it, as you will learn a helluva a lot more. Gear-snobbery sucks, and those that do it really show their ignorance. I am proud of what I can do with lower end gear, and yet I do appreciate high end gear. That's what going to the "School of Hard Knocks" gets you.
And the next time I see a thread where some guy says "Hire a Professional Sound Guy", when the OP is obviously on a really tight budget and cannot afford to, I am going ask that smart-a** if they are offering their services for the amount the OP stated, otherwise stop trying to troll for work. This is NOT PanavisionUser.com
rogar-Angry(DBG):Off the box now, sorry!
Chamber005, sorry to divert your thread, but yours is a "common story". There are many Pro Sound Guys on here that have forgotten what it is like starting out. Your thread was a good reminder to all of us that many projects don't have the money to hire professional sound people, but still want the best they can get. And so, they ask advice from reputable sources, like here at DVXUser. And I still pick up "free jobs" just for fun, because I love the message they are trying to send.
I do well at my other stuff, so I can afford to help out occasionally. As well as actually helping a fellow DVX'er with some free advice. I have gotten some help here that made my life easier. We are a community, like it or not. But then again (addressed at certain individuals), if you don't like helping your community, maybe you shouldn't be a part of it. But that is your choice.
If we cannot give good advice under the parameters the OP describes, STFU! Help or be quiet. This is about Indie productions, for the most part. Stop the Union Protectionism BS.
BTW, my vote is for the NTG-2. I like it, though just a touch brittle (bump it down about 1 to 1 1/2 db in the 16-18k range), but still the best, given the choices, IMO. I'd buy it, if it is in the price range..
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j1clark@ucsd.edu
Veteran
You wouldn't happen to have, have a pointer to some resources, some digital examples of differences between 'cheap' mics, mid-range mics, and expensive mics???
Chamber005
Carbonite Member
Well put! I have been there, and done that ( and sometimes still doing it) budget wise. Sure, it's nice to go out a spend top shelf money for top shelf equipment, but today, that is not an option for many people/companies. So we look for field expedient methods and products. The OP is where a lot of us are or were. Personally, without my experience using those methods, I wouldn't have half the knowledge I do today. It teaches you. And as you progress, you start to understand more on the gear and it's benefits.
Okay, now you guys have had it. I am the Soap Box!
My apologies to the OP, sir.
For those who don't know me, I am a degreed audio engineer (I usually try to hide it, though that's where I started out) and my day job is as a QC and Repair Engineer for a studio microphone manufacturer. I struggled financially through school, but studied along side a bunch of students whose parents paid for everything. They got their l'il darlings the best money could buy or find. And you know what? I still graduated 3rd in my class out of 60+ students. I used cheap equipment exclusively on home projects for school. Cheap equipment rules when starting out. It makes you learn the gear. Find it's weaknesses, and your weaknesses, as well. Then, you step up to the pricier stuff, because then you will appreciate what it can do for you. Believe me, someone new to it won't really be able to tell what a $2,000 mike sounds like in comparison to a $100 mike (and with a little work, I can make that 100 mike sound just like the $2 000 one, either in post, technique, or with a little modding to the mike. Or a combo of all three. (I took an Avlex and made it sound like a Schoeps, so don't tell me it cant be done. A couple of changes on the inside, finding the sweet spot, and a bit of a tweak in post........mmmuahhh! a thing of beauty!)
So, those of you who cannot afford all the pricey gear, don't sweat it. By going the "cheaper" route, you will be better for it, as you will learn a helluva a lot more. Gear-snobbery sucks, and those that do it really show their ignorance. I am proud of what I can do with lower end gear, and yet I do appreciate high end gear. That's what going to the "School of Hard Knocks" gets you.
And the next time I see a thread where some guy says "Hire a Professional Sound Guy", when the OP is obviously on a really tight budget and cannot afford to, I am going ask that smart-a** if they are offering their services for the amount the OP stated, otherwise stop trying to troll for work. This is NOT PanavisionUser.com
Off the box now, sorry!
Chamber005, sorry to divert your thread, but yours is a "common story". There are many Pro Sound Guys on here that have forgotten what it is like starting out. Your thread was a good reminder to all of us that many projects don't have the money to hire professional sound people, but still want the best they can get. And so, they ask advice from reputable sources, like here at DVXUser. And I still pick up "free jobs" just for fun, because I love the message they are trying to send.
I do well at my other stuff, so I can afford to help out occasionally. As well as actually helping a fellow DVX'er with some free advice. I have gotten some help here that made my life easier. We are a community, like it or not. But then again (addressed at certain individuals), if you don't like helping your community, maybe you shouldn't be a part of it. But that is your choice.
If we cannot give good advice under the parameters the OP describes, STFU! Help or be quiet. This is about Indie productions, for the most part. Stop the Union Protectionism BS.
BTW, my vote is for the NTG-2. I like it, though just a touch brittle (bump it down about 1 to 1 1/2 db in the 16-18k range), but still the best, given the choices, IMO. I'd buy it, if it is in the price range..
Hup! No apologies ness!
I wholly agree about what (typically) happens to these threads. Glad to see people took into account what I'm trying to do, starting out.
I think the problem has been and will always be ego, IMO. I mean, how many different camera forums are there where people are denouncing all cameras save the one that THEY own? Same goes with anyone who is a professional at ANYTHING. I've had mechanics tell my girl that she shouldn't change her own oil or filter! lol! It's silliness.
I think the same goes for sound, lighting, set design, make-up, costume, etc. In some instances you definately need a professional if you want your car to run effectively. But I'd say that 60% of things that could go wrong on my Toyota *I* can fix. I'm not a professional mechanic, I just picked up a couple books, asked some advice, and there we are.
So am I going to have anything remotely resembling a professional piece of filmmaking at the end of this process? Of course not. Like my car, if I hit 60% of what comes out of a no-budget indie (professional) I'll be over the moon. I'm doing make-up, set design, lighting, writing -- I even have to do some voice work for the project. Luckily I have a few really cool friends who are helping this thing see the light of day -- and it gives us a reason to get together and have some fun on a Saturday.
I SO cannot wait to show you guys my freshman effort! Besides the various readings I've done, this forum has been the best community a no-budgie guy could ask for! And what's more, as I was mentioning in a make-up-related post, the best thing about coming here is that I can *****, moan and complain about the challenges and stumbles I've encountered along the way -- something I can't do in any of the production blogging or tweets or what-have-you, because in art, as far as the viewer is concerned, it really needs to always appear effortless on our part. The moment we forget that is the moment we become lame.
But yeah -- we're launching our little intramedia thing at the end of the month. I'll definately let you guys know when it's up. And then you can be kind and sweet and encouraging and not at all cruel, as I'm sure I'll be getting enough of that from complete strangers!
Gohanto
Veteran
For those who don't know me, I am a degreed audio engineer (I usually try to hide it, though that's where I started out) and my day job is as a QC and Repair Engineer for a studio microphone manufacturer. I struggled financially through school, but studied along side a bunch of students whose parents paid for everything. They got their l'il darlings the best money could buy or find. And you know what? I still graduated 3rd in my class out of 60+ students. I used cheap equipment exclusively on home projects for school. Cheap equipment rules when starting out. It makes you learn the gear. Find it's weaknesses, and your weaknesses, as well. Then, you step up to the pricier stuff, because then you will appreciate what it can do for you. Believe me, someone new to it won't really be able to tell what a $2,000 mike sounds like in comparison to a $100 mike (and with a little work, I can make that 100 mike sound just like the $2 000 one, either in post, technique, or with a little modding to the mike. Or a combo of all three. (I took an Avlex and made it sound like a Schoeps, so don't tell me it cant be done. A couple of changes on the inside, finding the sweet spot, and a bit of a tweak in post........mmmuahhh! a thing of beauty!)
So, those of you who cannot afford all the pricey gear, don't sweat it. By going the "cheaper" route, you will be better for it, as you will learn a helluva a lot more. Gear-snobbery sucks, and those that do it really show their ignorance. I am proud of what I can do with lower end gear, and yet I do appreciate high end gear. That's what going to the "School of Hard Knocks" gets you.
And the next time I see a thread where some guy says "Hire a Professional Sound Guy", when the OP is obviously on a really tight budget and cannot afford to, I am going ask that smart-a** if they are offering their services for the amount the OP stated, otherwise stop trying to troll for work. This is NOT PanavisionUser.com
Doc,
You make a lot of valid points, and for someone that really wants to learn audio that is an excellent route. I think it's safe to say though, that "most" people on the board aren't going to make a career out of audio, and are trying to focus on directing and/or cinematography, simply wanting the sound to be good without having to worry about it constantly. I don't know too many DPs or directors that tweak mics in their spare time. (Maybe they should, but alas few are that motivated)
Same for any department really...
A director learns a lot directing bad actors.
A DP learns a lot using Home Depot lights.
Sound guys learn a lot using cheap mics.
Once you can maximize the value of cheap gear, it'll almost always translate into making good gear sound great, and great gear sound f***ing amazing.
But when dealing with areas outside of their interest, the tendency (imho) is to be content with cheap gear and convince themselves it's good instead of "learning their gear" and maximizing its potential. ( I did it with lighting and now I always have a DP that I trust)
I agree with Noiz though that as long as the poster knows the limitations of cheaper gear and just wants to get the best he can for his stated budget, the replies will generally be very helpfully geared towards what he's looking for as is the case here.
Doc Bernard
Indie Arms Member
Not at this sec. The hard drive I had that had all my sound files, samples, diagrams (270 gig worth) bit the dust. Yeah, and the kicker was, I had just went out and bought a new 1TB drive to transfer and do a back up. As soon as I turned the old drive on to start the transfer, bzzzzt!
So I am pretty screwed, unless I can come up with about a grand to recover the drive.
But pointers, hmmm, first off, have a good set of cans. I love my Ultrasone HFI 700's. Great isolation. Make sure what ever you get will isolate you from the ambient noise. You need to hear the detail of what your mic is picking up. Secondly, try to isolate set noise before the shoot, do a walk and just listen. Thirdly, I can talk all evening about gain staging. Always keep in mind, every piece of equipment in the chain usually has an amp of some type in it. Mixers, camera, even the mic itself boosts the signal a bit. Watch out how you set up your gear and try not to push volumes too high. You need it clean, not really loud. Bump the audio in post, it will be cleaner.
When you have time, for any new audio guy, or gonna-be audio guy, (heck I still do it), just walk around the house with some gear if you can and listen. What would be the best way to pick up, say, the fridge? Yourself walking? The tv? This one is good, as it is a dynamic source, the volumes change with whatever is on. You might want to give a feel of someone watching intently (be a bit closer), or will it be just background noise for the scene. Just like the camera department, we need to set up our "shots" as well.
As audio people, our ears are our "eyes", so protect them! That means, wear earplugs/hearing protection when around loud noises (Concerts, parties, etc.) Once you start losing the ability to hear certain frequencies, there is nothing to be done to recover it. Yeah, I always have a set of plugs on me or nearby, wherever I am, my ears are my livelihood. A partially deaf audio engineer is like a partially blind race car driver, not much out there in the way of work.
Now on tweaking mics, I am going to have to hold off a bit on that, I got something in the works right now. There might be a new shotgun mic on the market in the next year (crossing fingers, toes and everything else that can be crossed). And I don't want to upset a few people by giving away my secrets. But it's not hard to learn, just learn basic electronics and what happens in a condenser circuit.
So I am pretty screwed, unless I can come up with about a grand to recover the drive.
But pointers, hmmm, first off, have a good set of cans. I love my Ultrasone HFI 700's. Great isolation. Make sure what ever you get will isolate you from the ambient noise. You need to hear the detail of what your mic is picking up. Secondly, try to isolate set noise before the shoot, do a walk and just listen. Thirdly, I can talk all evening about gain staging. Always keep in mind, every piece of equipment in the chain usually has an amp of some type in it. Mixers, camera, even the mic itself boosts the signal a bit. Watch out how you set up your gear and try not to push volumes too high. You need it clean, not really loud. Bump the audio in post, it will be cleaner.
When you have time, for any new audio guy, or gonna-be audio guy, (heck I still do it), just walk around the house with some gear if you can and listen. What would be the best way to pick up, say, the fridge? Yourself walking? The tv? This one is good, as it is a dynamic source, the volumes change with whatever is on. You might want to give a feel of someone watching intently (be a bit closer), or will it be just background noise for the scene. Just like the camera department, we need to set up our "shots" as well.
As audio people, our ears are our "eyes", so protect them! That means, wear earplugs/hearing protection when around loud noises (Concerts, parties, etc.) Once you start losing the ability to hear certain frequencies, there is nothing to be done to recover it. Yeah, I always have a set of plugs on me or nearby, wherever I am, my ears are my livelihood. A partially deaf audio engineer is like a partially blind race car driver, not much out there in the way of work.
Now on tweaking mics, I am going to have to hold off a bit on that, I got something in the works right now. There might be a new shotgun mic on the market in the next year (crossing fingers, toes and everything else that can be crossed). And I don't want to upset a few people by giving away my secrets. But it's not hard to learn, just learn basic electronics and what happens in a condenser circuit.
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Chamber005
Carbonite Member
Man, I am SO glad I've decided to learn all this stuff in webisode-ing opposed to going out and trying to shoot a short film, ya know? I've seen so many people do it that way and it's always so depressing because they can't really get any feedback because they can't build any kind of an audience with a crappy short film. People just plain won't watch enough of it to care.
But if you have a 3 minutes web thing that doesn't necessarily scream professionalism or good sized budget, you can still garner some feedback, learn from your mistakes and then (eventually) apply what you've learned in those 3-5 minute intervals to a longer piece.
Like I've said in previous posts, I'm just a guy who writes stories who is trying to use what he knows of photography and comic book paneling in hopes that these in any way apply to moving pictures. I think without these boards I'd be completely lost.
Oh, except for my copy of Filmmaking for Dummies.
But if you have a 3 minutes web thing that doesn't necessarily scream professionalism or good sized budget, you can still garner some feedback, learn from your mistakes and then (eventually) apply what you've learned in those 3-5 minute intervals to a longer piece.
Like I've said in previous posts, I'm just a guy who writes stories who is trying to use what he knows of photography and comic book paneling in hopes that these in any way apply to moving pictures. I think without these boards I'd be completely lost.
Oh, except for my copy of Filmmaking for Dummies.
Chamber005
Carbonite Member
Okay guys, bear with me...
I got the CAD mics, but when I plugged them into my camera nothing happened. It could be that there's something wrong with the cam (I've never used the XLR ports before), but the onboard mic jack works just fine and the meters jumps when I plug the mics into the XLR ports.
The booklet doesn't specifically say that I need power for the mics if I'm plugging them into the XLR ports, but it seems odd that the onboard mic input (1/4" or whatever it's called -- just the regular plug for cheap mics) is given power and its port is actually called "plug in power".
I've heard phrases like phantom power bantered around. Is there some sort of connector that would give the CAD mics their own power source and might that fix the problem?
Thanks!!!!!
I got the CAD mics, but when I plugged them into my camera nothing happened. It could be that there's something wrong with the cam (I've never used the XLR ports before), but the onboard mic jack works just fine and the meters jumps when I plug the mics into the XLR ports.
The booklet doesn't specifically say that I need power for the mics if I'm plugging them into the XLR ports, but it seems odd that the onboard mic input (1/4" or whatever it's called -- just the regular plug for cheap mics) is given power and its port is actually called "plug in power".
I've heard phrases like phantom power bantered around. Is there some sort of connector that would give the CAD mics their own power source and might that fix the problem?
Thanks!!!!!