Best external microphone setup for Nikon D810?

[pontus_wallst_n]

<p>Hello Everyone,</p>

<p>I would like some advice on the best external microphone setup for my Nikon D810,<br>

Currently, apart from the inbuilt mic, I use a radio mic adapter box (the model DXA-5Da, for those who know it,) On it I use my senheiser radio mics. However, when used with my Nikon D810 and also my canon 5D Mk3, sound is ok, but there is a very faint "hissing" sound in the background. I have tried all possible settings, and even when levels are 100% fine, you still hear this faint sound, which is annoying.<br>

I believe these radio mics (the 2009 model) were really made for use with video cameras, DV..etc, where this hissing sound was not present, and that they might not be fully adapted for use with the new DSLR technology, and getting a bit old. I also use my H2 zoom recorder to record sound separetely on sd cards for syncing in post, but on some shoots, editing has to be done quickly and there is no time for syncing separetely recorded sound.<br>

Any of you who have experience recording good sound on the D810 with external mics? imput would be greatly appreciated, thanks.</p>

<p>Pontus</p>

[eric_arnold]

<p>most DSLR video shooters i know use <a href="http://www.amazon.com/Rode-VideoMic-Compact-VMP-Microphone/dp/B004K8WPUQ">Rode </a>mics.</p>

[richsimmons]

<p>Rodes are good, but I would do what you're already doing. It's very difficult to get rid of all the noise. That's when something like Adobe Audition comes in. It has a noise/hiss/click/pop/ reduction that's very controllable. The free way would be to use Audacity. The important thing for both is to get a clean sample of the noise to remove.</p>

[Ed_Ingold]

<p>I can't imagine the mic preamps in the D810 are anything to write home about. An external mic pre and a line input to the camera might be better. If there is a line setting (-10 to +4 db), what happens to the hiss level? Be sure to turn automatic gain control off for lower noise.</p>

<p>The catch-all solution is to record separately (e.g., using a Zoom H2) and feed the line level output to the camera. That gives you quick results with the option to clean it up in post. The recorder can be attached to the bottom of the camera, or in a shoulder bag (or pocket) for active shooting. I would have to be desperate to mount a microphone on the camera. The best recording distance is nearly always closer to the subject than the camera, and you should avoid noises from the camera or operator.</p>

<p>For minimum noise, you must normalize the audio chain. Normally, this will be zero gain (in = out) for everything except the mic pre. The recorder should peak at about -12 db, and the camera the same as the recorder. Unbalanced cables should not be longer than about 15 feet, or as short as possible.</p>

[Ed_Ingold]

<p>I can't imagine the mic preamps in the D810 are anything to write home about. An external mic pre and a line input to the camera might be better. If there is a line setting, what happens to the hiss level?</p>

<p>The catch-all solution is to record separately (e.g., using a Zoom H2) and feed the line level output to the camera. That gives you quick results with the option to clean it up in post. The recorder can be attached to the bottom of the camera, or in a shoulder bag (or pocket) for active shooting. I would have to be desperate to mount a microphone on the camera. The best recording distance is nearly always closer to the subject than the camera, and you should avoid noises from the camera or operator.</p>

<p>I use a variety of microphones for live recording, including Schoeps, Sennheiser and Neumann. On-camera or boom mics usually have a hypercardioid or shotgun pattern. An handheld or lavalier wireless mic is good for interviews. Use windscreens outdoors.</p>

[rodeo_joe1]

<p>White noise (hiss) is present on all mics to some degree, and can come from a number of sources. Elecret capsule mics are notoriously noisy, especially cheaper ones, followed by phantom-powered direct-coupled condenser mics, with transformer coupled condenser and dynamic/ribbon mics being potentially the least noisy.</p>

<p>However, getting a low-noise signal also depends on good impedance matching between source (the mic) and input (the camera), and on good quality cabling.</p>

<p>I've Googled the Beachtek DXA-5DA and it appears to be a discontinued item - probably for a good reason. It's billed as a "passive" adapter and yet is obviously powered in order to be able to show the signal level on its LCD display. It apparently also injects a near-ultrasonic signal onto one channel of the mic input in order to defeat the AGC control of the camera. And it obviously adds attenuator potentiometers between the XLR inputs and the camera jack.</p>

<p>As someone who's designed electronic circuits for a living, my opinion is that this Beachtek device is ill-conceived and possibly a source of added noise. Adding passive "gain" pots into the audio chain will almost certainly alter the effective source impedance and may well create a mismatch between source and input. The pots themselves could be a source of noise if not of very high quality. I'm also doubtful that the injected 20kHz oscillator is noiseless. A simple screened box with 2 XLR sockets as inputs and a stereo jack output would be a better and much cheaper solution IMHO. The 20kHz AGC-killer injection is a good idea in theory, but has to be very well implemented if it isn't going to add extra noise. As well as being sure that the frequency chosen isn't going to alias with the camera's A/D sampling frequency. A subsonic injection would be a smarter choice.</p>

<p>Anyhow, that's just my opinion on the Beachtek box. The noise may well originate somewhere else entirely, as in the mics themselves, the radio Tx/Rx equipment, or a basic impedance mismatch somewhere in the chain. However, if you're getting noise-free audio into the Zoom recorder from the same mics and radio gear, then the hiss must originate with the Beachtek box or the camera. Try various settings of "gain" (actually attenuation) control on the Beachtek box and with the AGC-defeat switched on and off. Maybe you can minimise the hiss that way.</p>

<p>Eliminating the camera itself as a source of noise would require finding out its input impedance and connecting suitably matched low-noise resistors across its inputs. If there's still unacceptable hiss under those test conditions, then the culprit is the camera and nothing can be done about it, apart from recording wild sound.</p>

[Matt Laur]

<p>I agree that this is all about gain matching. The harder that pre-amp onboard the camera has to work, the quieter things are going to be. Hand it a line-level signal from a quality external mixer that has better pre-amps (indeed, test the Zoom's line output, keeping with a high quality and physically short cable, as is reasonable).</p>

[User_6502147]

<p>My go-to faultless shutgun mic would be Senn 416 w/wind screen....and echo pretty much what Edward said. Not sure what <em>zoom</em> has as capabilities, but a good porta mixer (Shure FP33) is often essential....I din't say reasonably priced. I'm guessing that Beachtek was a lower priced answer to the mix issue.<br>

<br>

Overall, I'd find out where the "buzzing/hissing" originates is and remove that....even if you have to go through an expert.<br /><br>

<br>

Indeed, separated recording equipment is always preferable....eliminating the strap flapping in the wind, metal to metal touches (wedding ring touching lens or tripod) or anything else...MHO.<br /><br>

<br>

Les<br /></p>

 

[doug_armstrong]

<p>As some have said, DSLRs are not high-quality audio devices and at the very least you need not just an actual pre-amp, which the DXA-5Da is not, but a pre-amp with some omph. Many pros who decide to use a DSLR for video use a real audio recorder and just use the audio recorded by the camera to synch the sound from the recorder with the video.</p>

<p>I strongly recommend going to Transom.org and clicking on the "Tools" tab. Or search for "good, better, best" to find an article describing their opinion of what minimum level of equipment does acceptable audio capture. I also found a column by Martha Smith to be helpful, although I don't work anywhere near her level of professionalism: http://digitaljournalist.org/issue0105/videosmith.htm</p>

[studio460]

<p>I think the best bang-for-the-buck in a short-shotgun mic is the Audio Technica AT-835b (now replaced by the <a href="http://www.bhphotovideo.com/c/product/97711-REG/Audio_Technica_AT8035_AT8035_Shotgun_Microphone.html">AT-8035</a>). It runs on a single 'AA' <a id="itxthook4" href="/nikon-camera-forum/00a70D?start=10" rel="nofollow">battery<img id="itxthook4icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" alt="" /></a>, and doesn't require phantom power. At under $300, it's a pretty good mic for the money (I have mine on a Rycote shock-mount on a short carbon-fiber fishpole). If price is no object, then choose either the Sennheiser MKH-416 or MKH-60, or if money is <em>really</em> no object, a Schoeps.</p>

<p>I have a TechNec passive XLR adapter (similar to the Beachtek), and haven't noticed any noise. I assume you're using Sennheiser EW100-series RF packs. We have some of those where I work and they can be bit hissy. I have an old VHF Lectrosonics plug-in transmitter and receiver that sounds great (purchased used for $300). I would look into used Lectrosonics gear if ever upgrading your wireless (industry-standard for broadcast ENG outlets).</p>

[Ed_Ingold]

<p>Zoom recorders are definitely worth consideration. I'm using a Zoom F8 recorder for field work, as a backup for a Sound Devices 788T. Both are 8 channel recorders, up to 192/24 sampling. Zoom mic preamps are very quiet, and seem to have a good dynamic and frequency response. (That's hard to quantify without a full-blown test, but they sound natural in my application. I have some hot brass to record this weekend, which is a good test subject.)</p>

<p>Zoom hand-held recorders have the same basic specifications, plus built-in microphones or microphone modules, and mic/line balanced input ports. It's easy to get in close with one of these small devices. Put it on a boom, tripod, mic or lighting stand. Shotgun mics work just well enough to keep out of the frame on a boom. For speaking voice, you need to be within 3-5 feet. They're not really useful for music, but acoustic music can be mic'd much further away (q.v., reverberant radius) with standard pattern pickups.</p>

<p>+1 on Lectrosonics wireless, if your budget allows. They are as good as it gets for music, and almost free from interference. Sennheiser sets are good for speaking, at a fraction of the cost. Caveat! The FCC is preparing to auction most of the remaining wireless spectrum to big cable companies and homeland security.</p>

<p>Industry lawyers pointed out that wireless users were not licensed. Low power transmitters were never licensed, but the FCC said "okay," and proceeded to demolish the industry. Before you know it, we'll be back to using soup cans and a string, until the cable companies want the string.</p>

[studio460]

<p>I like the Marantz portable digital recorders because they're among the few which also have +48V phantom power. Here's their current model with phantom power: <a href="http://www.bhphotovideo.com/c/product/898192-REG/Marantz_pmd661mkii_Marantz_PMD661_MKII_Professional.html">Marantz PMD661</a>. Ha! I just checked B+H, and there's now a slew of recorders with phantom power. I found this budget Tascam on sale for only $109: <a href="http://www.bhphotovideo.com/c/product/1134048-REG/tascam_dr_40br_dr_40_portable_pcm_recorder_xlr.html">Tascam DR-40</a>. Both have dual XLR inputs and phantom power.</p>

<p>The Sound Devices 788s are excellent machines, and are also used by a lot of reality-show sound recordists who have multiple cameras/mics to deal with. Though pricey, the Sound Devices compact two-channel field mixers are very nice, and a favorite among ENG crews.</p>