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I've had the same problem off and on for a while. I'll eventually have to have the screw replaced inside the mic, but I've always done a quick tightening after opening the back shell and that solves it. I've also recently done what others have said here and just taped the connection together so my shock mount will stop loosening the mic backing from the shell. Gotta love the small adjustments we all know and make.

Thanks for all the help and support from you and the community, Jeff. $10 is well worth it!

On 4/5/2016 at 10:56 PM, Philip Perkins said:

So you don't get this sound when plugged into other cameras, recorders etc?  Are you sure?  If this is true then the most likely answer is that this particular camera has an issue with its audio circuits.  I've heard sounds like what you sent caused by remote focus units, HD accessing (not something this camera would be causing), faulty power wiring in a building or lighting gear, and various sorts of motion detector kinds of systems, but if the sound goes away when you unplug this camera then...   Can you get together with the owner of this camera and do some tests under controlled circs?

Yes, I'm hoping its some heavy power lines just interfering with cables and not anything with the camera. It's always a weird conversation when you point something like this out to a camera person lol. I will definitely do some tests in the garage with the camera next.

On 4/5/2016 at 2:07 AM, Jaymz said:

I've heard very similar sounds when plugging headphones directly into cheap laptops (with headphone amps that are not isolated properly from the processor, harddrive etc). 

I thought it was this at first, but the sound is actually on the recording from the camera media and not just return. I'll have to keep doing additional tests.

Thanks for all the suggestions all!

So I've been driving myself crazy lately with an audio issue that's really not an issue. I work with the same C300 very often, and I've been noticing some strange interference just recently.

I notice it during sit down interviews when I listen to the camera return...I hear little blips like digital crickets. the thing is, audio from the mixer is clean, so it's not the mics picking up interference. I've swapped out my cables and breakaways to the camera, so it's probably not them. Every so often I just start hearing these blips, very very softly in the background. It's not something you would notice unless you're listening for it, but I hear it loud and clear now. This problem also doesn't occur on other C300's (not that I've seen yet). I also know it's not the return cable picking up interference because the crickets are on the recorded clip (I've attached that below). The clip is room tone with the chirps on it from the last shoot.

Any ideas?

Thanks all!

AA279501.MXF

Thanks! I'll take your advice on the jumper wire. Is 22 gauge hookup wire appropriate as a jumper?

Hello again everyone,

I'm brand new to soldering XLR cables, but I have some extra laying around and I want to practice. I opened up a star quad cable and noticed 2 cables for each connection on the xlr plug.

I'm trying out soldering a 3 pin female to 5 pin male (for a camera top mic to play the same mono in both stereo tracks). Would i be able to just split these cables up and solder each of the 5 wires (including shield) to the 5 connections on the 5 pin male end? would this effectively send the mono track and split it to both channels on a camera? or will I have to create a connection wire instead?

Thanks for the advice!

Thanks, will do

true, i just dont have a dead one. unless someone here has one I could buy off you?

I recently dropped and NP1 on a shoot, and found a crack on the shell that exposes a bit of the battery near the connections. For now, I've carefully super glued the thing together, but I know that wont last.

Is it possible for me to just buy another NP1 plastic shell to re-house the battery? Is that even possible to swap it?

Anyone ever have a problem with the powder on these non-lubed condoms? I worry about it getting into the mic and messing things up.

I haven't found any discussion in other threads, but I'm curious if anyone has heard any news of the Wisy remote control supposedly being developed. I would definitely be interested in that.

Thanks, I'll try a reset. I'm not too optimistic either.

A few days ago my 664 decided to get grumpy with me (and I only show the lil bastard love).

The 10 pin Output A sends audio at unbalanced levels to the camera. Channel 2 will send audio at about half the level of channel 1. This only happens for about 10-15 minutes though, then it pops back up without reason. Sometimes it will pop back down randomly too. I've already tried swapping out my snake and pig tail to the camera. I've also tried different cameras, so I've eliminated the possibility of it being other gear. Also, Output B works just fine. 

Nothing is visibly wrong, but I'm wondering if it's been damaged. I'm going to bring it in to the shop for a look-see, but I just wanted to see if anyone else has experienced this before.

Thanks in advance y'all

The only issue with feeding audio back like that is just the time it takes to set up. I usually wont have the time to set up a comtek or IFB wireless, so that's why i was thinking setting up a mini speaker.

Hey all,

I was searching around before posting this, but I couldn't find it immediately (I hope I didn't miss a big thread on it). I notice that I'm recording audio from laptops more often than I thought I would be (all for broadcast work where a subject is sitting at a laptop listing to some random audio). The producers/camera man just ask me to lav the laptop speakers, but that creates various other problems including just bad quality.

I would love to find if there's an aux > lemo5 or aux > TA-5 so I could just get direct audio out of the laptop and hook that up to a transmitter. Now, I know that would stop audio from coming out of the speakers, so I would also have to find a solution for that. I was thinking of also having this Aux out cable split so that I could hook up a small speaker and have the audio come out of that for the person at the laptop.

Normally I would be fine with just securing a lav to a laptop to allow a bit of reality with shitty speakers, but I had some weird sounds because the speakers were hidden underneath the laptop on the last shoot. I just want to have a cable as an option in case that happens again.

Also, what are your favorite ways of mic-ing up a computer if you want to include some of the ambient room noise?

At the end of the day, it's your responsibility to get clean audio. It doesn't matter if the AD or producer didn't do their job. You'll still get blamed for any noises that could have been cut before rolling. You did the right thing by getting on it and reminding this guy.

Often times I'll be doing an interview where I'm told not to switch off AC because talent will start to sweat and be uncomfortable. All I can do at that point is make a note to the person in charge that you will hear the AC. That same talent wouldn't even take off her dangling necklace -___-

Could even plant a half empty ketchup bottle next to that one so people will naturally want to go for the open one.

Thanks everyone, this is good to get advice of many different people. It does confirm some of the thoughts I had.

And also thank you, Ninjafreddan. I'll look at the 5 pin return. I'm always having to listen to the F800 return with its noisy amps.

Quick question here because of some advice I overheard.

I do a lot of 1 and 2 Camera interviews for broadcast, and normally I use a 10 pin snake connection to a 664. I listen to return coming back through the snake, but a much more experienced sound man suggested I start listening to return through a separate 3.5mm extension cable going directly to the camera. His reasoning was that the mixer could have setting where the return isn't true.

Does anyone else do this? Anything to add to the reasoning or is it overkill?

​Has anyone actually used an RFI Choke on a wire? What were the results?

Is it just me, or is that Constantin at 2:39?

"So as to be absent from the shot...as close to the source as possible" *talks directly into the mic while holding it*

This still definitely sounds interesting! I'm looking at a new harness right now and I want to make sure I'm protecting myself, so this is perfect.

Thanks for all the info everybody. The cameraman I'm working with is looking at buying an FS7 (with attachment) as a B Camera to his F5. I'm just trying to learn as much as I can about it now and hope there are no surprises (there will be).

From the picture, it looks like the second microphone on the right was higher up. Is this to capture a little more reverb and different tones, or is it just focused on the back row of singers?