I can echo the same sentiments. Have been using a DXA-4 with my SONY VX2000 since day one (going on 8 years!) and wouldn't be without it.
Tom

Thanks for the posts...

The FX1 has on-board LED meters, so I was actually thinking about the DXA-6vu's big brother, the DXA-6HD. It has pre-amps, but no VU meter--and they advertise that it is "made for the FX1." I think that's simply a reference to the fact that 1) the size is nearly identical to the base of the FX1, and 2) the absence of VU meters is irrelevant, simply due to the fact that the FX1 does have the LED meters. http://www.beachtek.com/prod.htmlHere[/link] is Beachtek's product information page, for reference.

So I guess the next question is how are the pre-amps in the FX1, and how do those in the Beachtek unit (-6HD, none of their other units have pre-amps) compare to the FX1's?

I did see that someone commented in the B&H "customer feedback" section, that the threaded rod is a bit on the short side on these Beachtek units. That would be a potential concern of mine--especially given that the FX1 isn't exactly a featherweight camera.

Thanks again for your posts--they are very helpful...

TB

I don't have an FX1 or the DXA-6HD so can't tell you if you add an active unit with a
preamp it won't raise the noise floor. My camera had an ALC that I turned off
because it would raise the noise floor on quiet times. My Beachtek was "passive"
with just a wire transformer to couple the signals.

Since you have an LED bar (I hope with at least clipping indication) you don't
need the VU unit.

Depending on your needs for XLR mics I'd use a strong output condenser
so you don't need a preamp. (experience with mic placement will also help
in output levels)

As far as the 1/4-20 rod issue I recommend you look at shoulder stradling braces
for two reasons. First the weight of the camera and xlr unit will kill your wrist!
Secondly you will get smoother video using one or when you can, a tripod.
You can always gaffer the unit to a leg on the tripod.

There was a company that made a bracket that also held a spare battery
along with your sound adapter. Can't think of the name right now.

Has anyone tried Studio 1's XLR-MIX adapter? It seems quite versatile........up to 3 inputs at one time, including 1/8", so you'd be able to use both a wireless mic (1/8") and a boom mic (XLR) at the same time.

http://www.studio1productions.com/xlr-mix_pro.htm


Edit: Just noticed the XLR-MIX is only for cameras that already have XLR inputs. But the XLR-BP3 for 1/8" connection looks pretty good as well.

http://www.studio1productions.com/xlr-bp_3_pro.htm

i have and use 2 Studio 1 XLR boxes for my 2 Sony VX2000 cameras and also my Sony HD-1000u. I much prefer to have my XLR inputs mounted to the bottom of the cameras, as opposed to buying a camera that has the inputs up on top of the handle. They always work great and I use them when the audio matters.

http://www.avantibiz.com

**I guess what I am asking is about an impedance mismatch. I've never used such an adapter,**

No one really answered this question for you. The short answer is no, impedance matching is not a concern the way you are going (from a low impedance mic to a high impedance input).

The one thing to consider, and you didn't mention what kind of mic you are considering, is getting power to the mic. Your safest bet is to use a mic that has its own battery. Your camera may or may not supply enough voltage (if any), and your adapter may not pass that voltage to the XLR jack.

As an example, your Sony FX1 does not supply phantom power for professional condenser microphones, but the BeachTek DXA-6HD or BeachTek DXA-6A XLR adapter, designed specifically for the FX1, does supply 48v phantom to the mic with its own 9v battery. However, if your microphone has its own battery, you certainly don't need a $400 phantom adapter!

If you are considering a dynamic microphone, that is not an issue (phantom won't hurt balanced dynamic mics), but you may not get the audio levels you want.

So, once you have picked your mic, work backwards to adapt it to your specific camera. The direction you are going (choosing an adapter for your camera without considering the mic) is a bit like backing up a hill.

I have a matched pair of http://www.audixusa.com/docs/products/SCX1-C.shtmlthese babies[/link] that I would use with the Beachtek unit. I haven't decided that I even need to go with an XLR adapter yet mind you, but anticipate that I will. But I will definitely use the Audix mics--although I do have a couple Audix i5 mics if I wanted to go with a dynamic mic. They are basically the same as a Shure SM57, although there are subtle differences and many people have told me they sound better on a snare drum. I bought a whole "pack" of Audix mics, and that's what came for the snare. (I was just going to use an SM57, but the i5 mics sound great--so I bought another for an accessory snare...)

But as far as recording with the FX1, I will likely get one of these adapters but need to do some research first. The majority of my videos now do not require the audio to be of a professional nature--however I am learning videography by leaps & bounds, and thus anticipate I will decide to upgrade the audio at some point. And since I already have the Audix mics (which are as good as I've ever heard for drum overheads), I may as well try them for video recordings as well. I wish they were slightly larger in terms of diaphragm sound and frequency response, but they do surprisingly well on the lower frequencies. You aren't going to like them on a kick drum of course, but for most human vocal work, they do great in the 3-5KHz range. So I reason that they should do just fine in that respect. But my concern is that the 3.5mm plug (from the XLR adapter to the camera) is a weak link, however I have no evidence to back this up...hence my asking here.

Thanks for the input.

TB

**I have a matched pair of these babies . . **
Right. Then you would need a camera or adapter that supplies 48v minimum phantom power to the mics.

**But my concern is that the 3.5mm plug (from the XLR adapter to the camera) is a weak link, . . .**
I've never heard anyone who said they like these connectors, and I'd certainly prefer to do without them, but for many audio / video applications they are simply a fact of life. I keep half a dozen spare 3.5mm stereo plugs and a soldering gun in my kit at all times . . .

It would be better if those Beachtek units had a 3.5mm stereo jack rather than an attached output cable. That way, you could afford to throw a cable away for the advantage of being able to replace it on the spot.

I have been using an XLR Pro from Sign Video for a number of years. Studio 1 used to re-badge the unit as their own a number of years ago. They now have a different supplier. It has worked very well for me and is extremely well made. Mounts on the bottom of the camera. I use it mainly for an analog Hi8 camera for shooting rehearsals and dubbing them onto VHS tapes for the actors to take home to study their work. Occasionally I use it to mix mono mikes for my VX2000.

John

craftech,
Does the adapter you referenced supply 48v phantom power? I couldn't see anything in the specs to indicate that it does.

Roger on the phantom power issue--I am well aware of that. I have a Mackie 1640 Onyx board in my studio, and have been recording for a couple years now. Both the Beachtek units I referenced provide 48v to the mics.

What I meant about the 3.5mm plug from the XLR adapter, was that I wondered if the extra money spent on the XLR adapter (the -6HD unit is $450; the -6vu is about $350) is money well-spent? Obviously it would be better to simply buy a camera with XLR on-board XLR inputs and phantom power, but I didn't go that route (with a Z1u, for example) simply because I am just learning the art of videography and quite frankly, the money I saved *not* buying the Z1u is money I can use to upgrade my tripod or buy more Vegas-related training material. But if the time comes in a year so that I feel an upgrade is warranted, then any camera I buy will indeed have on-board XLR inputs.


TB

I have 1 Sign video and 1 Studio 1, neither has phantom power.

http://www.avantibiz.com

I just watched (and listened to) the video comparison of various XLR adapters on the JuicedLink website. All I can say is....WOW! If that is a true and accurate representation of the differences in the various brands of XLR adapters & pre-amps, the difference is incredible. Amazing sound.

TB

In general the audio section of all cameras leaves a LOT to be desired. Once you get into HDV and it's audio compression there really isn't too much point sweating over what goes into the camera although the lossy compression used in most HDV might benefit from keeping the noise down.

I'd also caution that the 'balanced' inputs in most cameras don't seem to be that 'balanced' either. RFI in common mode seems to sail right through them and there's more and more of that around today. Last thing I shot it took real (and expensive) transformers at both ends of my XLR lead to get rid of a certain "something" that was getting into the camera from the desk. Right behind the desk was 4 TOA wireless mics that were left on for the whole show and a number of RF remote mice. Oddly enough even the remote mice flipped out from whatever was in the ether.

Decades ago I worked for Muzak (I've done me penance for that) and our senior engineer was an old school radio guy who insisted that any input had to be transformer isolated. Me being the young turk insisted they were a waste of money, these new fangled things inside tiny chips were much better and cheaper. I have to admit my boss was right, nothing seems to beat a good transformer for getting rid of the nasties. I'm now rescuing every one I can from old audio gear.

Bob.

craftech,
Does the adapter you referenced supply 48v phantom power? I couldn't see anything in the specs to indicate that it does.
==========
No it doesn't. When I need phantom power I use my mixer. I use battery mikes with it.

John

I have SignVideo XLR-PRO -- because it was the cheapest of the sort. I have Rode VideoMic (with XLR adapter) and Rode NTG2 mics.

When picking XLR adapter make sure that you get:
- a mic with battery power (since most of the cheap ones don't provide phantom power).
- you camera has manual audio gain control that you can lock because with out it the camera will attempt to gain your audio and it will sound horrible.

Patryk - YES!" you camera has manual audio gain control that you can lock because with out it the camera will attempt to gain your audio and it will sound horrible. "

IMO this is THE one main "feature" overlooked by enthusiastic purchasers of XLR adaptors. I have the option to engage OR disengage the AGC. And for me this means MANUAL Audio, not AUTO audio. Without it I can see no way a camera will not keep "reaching" for a peak! Horrid!!

Grazie