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ullanta
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Distortion can happen in many places in the signal chain. The camera preamps will distort in the input signal is strong enough. Of course, the preamp output will distort, as will the a/d converter.
Many condenser mics will handle high sound pressure levels, but the resulting strong output levels will distort at the camera preamp's input.
That's why a lot of mics have built in pads (attenuators) - and it's a good idea if you do this a lot to purchase a set of in-line pads (there are some around that switch -10dB, -20dB, -30dB, which give you a lot of flexibility).
Dynamic mics tend to have a higher SPL tolerance than condensers, reducing likelihood of mic distortion, but they also produce a lower output level, which is a blessing in some situations (like yours).
Generally, I don't think you want a shotgun - it's highly directional, and sound will definitely change a lot as you move the camera around, regardless of distortion. See my response to your other post regarding sound changes as the camera moves, omni mics, and a trick to try...
Many condenser mics will handle high sound pressure levels, but the resulting strong output levels will distort at the camera preamp's input.
That's why a lot of mics have built in pads (attenuators) - and it's a good idea if you do this a lot to purchase a set of in-line pads (there are some around that switch -10dB, -20dB, -30dB, which give you a lot of flexibility).
Dynamic mics tend to have a higher SPL tolerance than condensers, reducing likelihood of mic distortion, but they also produce a lower output level, which is a blessing in some situations (like yours).
Generally, I don't think you want a shotgun - it's highly directional, and sound will definitely change a lot as you move the camera around, regardless of distortion. See my response to your other post regarding sound changes as the camera moves, omni mics, and a trick to try...
Steve House
Veteran
If you're recording SPL in the 130dB range, you've got a lot more to worry about than distorted recordings. Levels that high are well within the range of rapid and permanent hearing loss, like standing behind a jet during its takeoff runup on a carrier flight deck. More than likely the mic is fine but you're overloading downstream in your recording chain, probably the camera's preamps.
The 94dB SPL is a standard for measuring the output voltage of a mic so when you compare the outputs of several mics you are comparing apples to apples. It is not indicative of the level at which a mic distorts. It too is very loud and recording in such an environment should definitely be an indication for wearing hearing protection.
The 94dB SPL is a standard for measuring the output voltage of a mic so when you compare the outputs of several mics you are comparing apples to apples. It is not indicative of the level at which a mic distorts. It too is very loud and recording in such an environment should definitely be an indication for wearing hearing protection.
(First of all, I hope you aren't recording directly into the cam.) Different instruments have different pressure signatures. A very high, pure sound can overload a mic in a very different way than an acoustic bass or certain percussion instruments. Stage amplification can play a role. The first thing you need is a way to lower the volume inside the mic. A preamp pad won't do you much good if the signal is already gone. You need at a minimum a mic with attenuation built-in, or a system that allows for inline pads. Certain mics are naturally more resistant to loud level distortion. The numbers on the spec sheet will not tell the whole story. Mic placement is also important. In certain cases the problem is compounded by shell or capsule resonance in the mic.
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Tainted
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I do tons of music recording, and given the specs of that mic I highly doubt that's your problem. I don't know much about your camera either, but if it will still put out phantom power when switched to line-in, that might completely solve your problem without any new gear. It's not all that uncommon to go line-in for mics in super-high SPL environments, but it also depends somewhat on your signal chain and how it's set up. In many video cameras, all line-in really does is add a pad before the camera's preamp anyway, which is exactly what was suggested above. However, the problem is, some recording devices won't put out phantom power when you switch to line-in (but many will).
Also, for music recorded "ambiently," I'll take a condenser over a dynamic any day -- and I agree with the poster above, shotguns for music = suck.
Also, for music recorded "ambiently," I'll take a condenser over a dynamic any day -- and I agree with the poster above, shotguns for music = suck.
Steve House
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Inline pads are a very common item, as standard a piece of kit as an XLR cable. Any professional audio supply house should have them or a least should be able to order one for you.
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Tainted
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Bummer, I hate it when they do that. When line-in is just a pad (that's not always the case, but on many/most videocams it is), they should make the pad independent from the phantom. I'll just never understand that.
Anyway, it sounds like you've already solved your problem, but like others said, it's still good to have an in-line pad (or two really, for hot soundboards that can't be trimmed by the FOH for some reason, among other reasons), and I bet your original mic would be fine with an inline pad, so just another couple of things to consider. But make sure the inline pad can pass through phantom. I have two that were pretty inexpensive and are switchable from 15/25/35 db. I don't use them too often, but when you need them, there's no substitute.