Pull the video content from camera back onto your computer and use your favorite media player to actually listen and appraise the audio recording part of the video. Give yourself PLENTY of time to connect and set everything up as described, and then make some test recordings with dummy audio material patched through the mixer. That let's you hear the signal coming out, and tell immediately if its good & clean, or if its distorted.ĭO NOT go into your live event with an untested setup. Then connect the other output port (direct box) to a small stereo rcvr and use headphones to listen to the signal coming out. Then connect the XDR signal output (direct box) to the mic input port (camera), using a 1-2 meter cable. Use a 1 meter shielded audio cable to connect the AUX SEND port (mixer) to the "signal input" port on the direct box. Let's assume the mixer dude will give you a AUX SEND port to pull your signal. My experiences, thinking, and internet research lead me to suggest the following approach:įirst, get a good audio direct box, like this one. Connecting consumer grade cameras to a mixer to try and record 'house' sound for video recording, with the goal of getting 'good clean audio'. (I've done it.) If you do go that route, still record sound into your camera if only as a reference so you'll know what you're trying to sync the external sound to. Shooting double system can have some advantages, but it's also a lot of extra work. Shooting double system in video simply isn't necessary like it is with film. Running a separate recorder as backup is a good idea, but you definitely want to be recording sound into your camera as you shoot. Their guys do this for a living every day. If he does that, that (in most cases) should be all you need. But all you have to ask the sound techician for is to plug your XLR-mini cableu into a "mike level" output. What was said above about mixing board output levels varying is correct. I believe they are selling an XLR-mini cable that will do exactly what you need without the need for more. #Audio overload sony vegas professional#They are a professional broadcast supply house and can give you what you need to connect literally anythng to literally anything. I sub mix a matrix through the Dante cards. #Audio overload sony vegas mac#On a Yamaha M7CL I use two Dante cards that have gigabit outputs that plug into a Mac Pro's two gigabit ports and 32 channels come up in the DAW. I use a Presonus FireStudio as my interface. I use a four channel matrix (drums, band, choir, soloist) and two direct outs for wireless mics. If the audio mixer has a matrix, you can set up a sub mix on the matrix, send that to your interface. If the audio mixer has a usb or firewire out, then you might be able to go straight to the DAW. The interface will more than likely have a USB or Firewire to connect to your laptop/DAW. If the mixer you want to record from has direct outputs on each channel, you can put those into your interface. The interface between the mixer and your DAW has to have enough input/outputs. It would help if you knew what kind of mixer you were hooking up to. In the past when using tape to record there could be issues as tape stretches, but now, no biggie with disc recording. #Audio overload sony vegas Pc#On a PC I use Sony Vegas and I've never had a problem there either. Just pick the audio and the video clips and click sync. #Audio overload sony vegas pro#I use Final Cut Pro X now to sync and it's built in.
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