C100: Recording one XLR to both channels - how to adjust levels independently?

M

mtnski

Active member
I know how to record one XLR input to both channels but how do I adjust levels independently?
Adjusting the channel one dial changes the level on the meters for both channels.
 
Burners said:
I recently posted about this but got no suggestions, I cant work it out.
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On the xf100 and 300 you are merging both tracks and as i remember can't independently tune them. You can break them out in post,if need be. But if you need to do this, to say record a backup track at a lower volume, try gettingthe new Tascam.
 
indiawilds said:
This is pretty interesting. If we split the signal as you are suggesting, then will the overall signal strength get divided. That means, do I then need to increase the gain in channel 1 to get the same level as I was getting before splitting?
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I am not sure to be honest, though I had seen it done before back when I was using the AF100. It didn't seem to cause any issues, but I may not be the best person to ask.
 
Using a splitter like that is murky territory. It can mess with the impedance balance between the microphone and the camera, and lessen the quality of the audio. Different mics have different impedance ratings, so what works with one model of microphone may fare differently with a different mic. I would also be hesitant to use a microphone that required phantom power with a splitter like that. The proper way to do something like this is with the routing options on an external field mixer.
 
Passive mic splits are every day devices in broadcast, and live sound. The only issue that we worry about is the phantom issue - but in practice there is no trouble with using a Y split on two mixer channels even if phantom is turned on on both - because the power supply rail is the same one, and the only real difference is the 6.8K resistors are paralleled, adding a small extra load, and allowing more current to be drawn than usual. In practice, it just works. From time to time with certain mixes of equipment each accidentally providing phantom to a common microphone, strange audio noises are heard, but they're obvious and easily sorted by turning off phantom on one device. The change in level that occurs is so small, most people don't even notice. Ideally, we use powered, isolated and expensive splits, but more often than not, it'll be passive. Some people actually swear by passive splits because of reliability. I have one regular live sound client who likes the sound people to have his one hand-held mic split with a Y-split to two adjacent mic channels on the mixer, with each one eq'd differently for different effects, dropping one and raising the other to create the sound of a phone call, for example.

I can state, hand on heart, after doing this for over twenty years that there is no detectable difference to the sound on any equipment I have owned, with the exception of an old studio mixer that had a much lower input impedance, and the use of a passive split on this made the sound duller - but that was easily solved by a bit of HF boost. The physics is straightforward, and using a split for me has proven itself a useful problem solver. For a few dollars, it's more cost effective than an external mixer, too. Why not try it and see?
 
I had one of these Y cables from a previous Sony V1U which had the same issue, no way of independently controlling a split mic. When I puzzled over this issue with the Canon for a while, I found this cable and I'm now using it quite successfully with the Canon C100. I don't perceive any difference in sound quality or performance nor did I with my V1U back several years ago. Until Canon resolves this issue (which is a pretty big omission, in my opinion) I think the passive splitter is the way to go. I just have Channel 1 providing the phantom, channel 2 phantom power off.
 
I'm curious why you want to do this? Is it so you can have a second channel recorded at a lower level, giving you some protection from clipping?
 
I sometimes use a simple splitter with an NTG1 on an XF100, must say I didn't consider the implications, and it just works. You get two consistent set audio levels and can cut between them. For me it's mainly just a safety thing, one track you get normal levels and don't clip, the other picks up on quiet stuff.
 
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