NTG-2 --> DT454 --> H4N, which cables?

Well if you can only find an MP-1 used at a good price, then that sorts it. In terms of DR-40 vs DR-100 mkii, the specs in the manuals suggest pretty much identical performance (and both have +4dbu line level inputs) tho' the price differential and, more to the point, the avisoft comparison of recorder mic (but not line) inputs (http://www.avisoft.com/recordertests.htm) favour the DR-100 mkii in terms of preamp quality. Tho', as you would be getting the MP-1 to do the amplification up to line level, I am sure that the cheaper DR-40 would be more than fine for the purpose (any 'spare' cash could be spent on a better mic: I'm getting a bit lost now as to what equipment you actually have and what you are contemplating buying). Cheers. Roland
 
Throwback said:
Tho', as you would be getting the MP-1 to do the amplification up to line level, I am sure that the cheaper DR-40 would be more than fine for the purpose (any 'spare' cash could be spent on a better mic: I'm getting a bit lost now as to what equipment you actually have and what you are contemplating buying). Cheers. Roland
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Thanks Roland. Yeah, I'll be using my external preamp so I'd imagine the DR-40 will be fine. I currently have the NTG-2, DT454, and H4N. I've just purchased the MP-1 and am now looking to replace my H4N with one of the Tascams for nominal line level input.

TheDingo said:
Either one is fine for LINE level input. ( both are in the -75 dB RMS or better noise-floor range )
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A user on another forum made a quick and dirty summary of differences.
http://www.dvinfo.net/forum/all-thi...r-100-use-mostly-external-very-good-mics.html
This is what stood out to me:
"The DR100 has separate headphone and line outs, the DR40 has a combination line/headphone out"
I want to use the DR-40 to monitor through headphones. This would only be an issue if I was using the DR-40 itself to capture sound to a camera (as that is what line out is), correct?
 
Having two outputs gives more options.. if your need them.. like in the case of getting a sync track to a DSLR... but in that case, an attenuator would be needed either way. The DR-40 is a littler smaller and lighter than the DR-100. Each has different features. The line-in sound would almost identical for the most part...
 
Rick R said:
Having two outputs gives more options.. if your need them.. like in the case of getting a sync track to a DSLR... but in that case, an attenuator would be needed either way. The DR-40 is a littler smaller and lighter than the DR-100. Each has different features. The line-in sound would almost identical for the most part...
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By a sync track, do you mean direct input into a DSLR? Yeah, I won't be doing that.

Looks like I'll be going with the DR-40. A straight male to female XLR connection between the MP-1 and DR-40 makes my life 200% easier! Thanks again everyone. What would be the most efficient way to mount the DR-40 and MP-1 together?
 
MOKHAN said:
What would be the most efficient way to mount the DR-40 and MP-1 together?
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...Is this a camera mounted rig, or is this for the boom-op to have slung over their shoulder?

If it's a boom-op situation ( which would make the most sense for me ), then you just need a good padded/protective/water-resistant bag to hold everything in place.

I use small padded camera bag with a Porta-Brace padded shoulder strap as one of my audio setups, the other is a Porta-Brace bag for the SD MixPre-D with a Sony PCM-M10 tucked into the front of it. ( the Porta-Brace straps are worth it when you are wearing the audio bag around your neck for the whole day )

For non-fiction shoots, I tend to let the camera and audio recorder run for long periods of time, so everything is slated at the start and finish of a long take ( sometimes 30-45 minutes ) and then the audio/video tracks are manually synch'd up for the edit. ( synching takes less than a minute if you know what you are doing )
 
"By a sync track, do you mean direct input into a DSLR?"
-- Sort of.. as in: recoding the same audio to the DSLR, an aid to sync to the 'good' audio from the external recorder. It's easier to match the waveforms than via a camera mic's audio... either manually, or by software. PluralEyes or DualEyes for instance.
 
Dingo, I was planning on booming it so I'll definitely be looking for a bag, thanks!

One final question for you all, I promise: Connecting the MP-1 to the Tascam DR-40.

Should I get a straight Male to Female XLR connector, or should I get a Y splitter? Again, for recording dialogue.
 
MOKHAN said:
...
One final question for you all, I promise: Connecting the MP-1 to the Tascam DR-40.

Should I get a straight Male to Female XLR connector, or should I get a Y splitter? Again, for recording dialogue.
Click to expand...
I'd go with just a straight XLRM/XLRF cable, no 'Y's. The recorder can take a single input into the left XLR and send it to both tracks for dual mono if that's what you want to do.
 
The DR-40's Ext. input can accept either XLR or 1/4" TS/TRS. Mic/line selectable via a side-panel switch.
 
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