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Given the commodity pricing for Chinette electronics, someone should just do this wirelessly. 
Receiver box puts out mic or line level, switchable on box, plugs into camera and is either 
velcro/taped to camera or to the operator's jeans. The transmitter end accepts line or mic level 
from an audio source (board, remote microphone, etc). Each side could easily be powered with 2AA 
batteries these days. Could probably get a range of a hundred feet or so, depending on what format 
is used. My bet is that the whole package could be priced less than $100.

-- Tom Fine

----- Original Message ----- 
From: "Richard L. Hess" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Monday, December 20, 2010 6:00 PM
Subject: Re: [ARSCLIST] In the category of if you want it done right, do it yourself ...


> Hi, Lou,
>
> I've come up with an "accidental" solution for making a feed to video recorders. I somewhere came 
> up with four Jensen RCA-RCA stereo ISOMax transformer isolators. I took one apart and put the 
> board into a slightly larger case to act as a protection box for my Audio Technica AT822 "DAT Mic" 
> in a phantom environment. I've grown to dislike that mic a good deal, so the box is now available.
>
> It has a female XLR with unbalanced stereo on it and two male XLRs with balanced mono on them.
>
> I run the outputs of the Sound Devices 722 (which are adjustable) into the box and then run the 
> miniplug cable out to the camera, using the appropriate number of XLR cables. I need the TA3F 
> cables to XLR-M cables that I got with the 722 (and always carry with it), plus a pair of F-F XLR 
> barrels.
>
> The biggest headache is getting the levels right with their AGC, which is usually not defeatable.
>
> What I have also done is provided a "wild" recording for them to sync in, but the one time they 
> tried it, they weren't able to have their track and mine in whatever software they were using so 
> they had to do the syncing visually which took a long time.
>
> I would have thought they could have just put the two tracks together and then done small time 
> adjustment to mine, but oh well.
>
> Thankfully the orchestra member whose husband was doing this changed orchestras, so I have put 
> this "kit" away for now, but a mic in the back of my church is an invitation to muddy sound. Most 
> of the recordings are done just with the DPA pair right behind the conductor.
>
> Here you can see one of our recent holiday concerts.
> http://www.trinityaurora.ca/images/20101218/view.htm?id=0
> The main pair was behind the conductor and another omni pair was over the choir (which sang a 
> cappella) and was recorded on a separate recorder. No video feeds on Saturday.
>
> Cheers,
>
> Richard
>
>
>
> On 2010-12-19 4:21 PM, Lou Judson wrote:
>> As a live sound mixer who is often called pon to provide a sound feed to performers' cameras, any 
>> cmera with no LINE level input is a toy to me. I refuse to carry the extra gear it would take to 
>> send mic level to a video - if they don't bring professional gear just use your own mic!
>
> -- 
> Richard L. Hess                   email: [log in to unmask]
> Aurora, Ontario, Canada           (905) 713 6733     1-877-TAPE-FIX
> http://www.richardhess.com/tape/contact.htm
> Quality tape transfers -- even from hard-to-play tapes.
>