If you’re a proud owner of a Sony a6300, you might be in desperate need of some sort of audio interface due to its lack of a headphone jack. Saramonic has your back here with the release of a very compact and very affordable audio mixer. Meet the Saramonic CaMixer. The Saramonic CaMixer This little audio interface could be just what you need if you’re after a a small, lightweight and affordable audio solution. Saramonic claims it is brand new, but actually it looks very familiar to me. Last year they released a very similar audio interface, the SmartMixer, intended to be used with smartphones. It’s a little more expensive, as it comes bundled with a smartphone holder and a grip. The new CaMixer comes in professional black rather than in consumer red. Spot the dfference! Saramonic CaMixer (left) and SmartMixer (right) Anyway, the functionality for a device like this is still very relevant, as a lot of smaller cameras like the Sony a6300 or even the freshly announced Sony a6500 lack a decent headphone jack for monitoring audio. You also get two detachable directional microphones plugged into 3.5mm mic inputs, a phantom powered mini XLR jack and of course an audio out port for connecting the Saramonic CaMixer to your camera. A lot of stuff for such a tiny preamp device, indeed. The Saramonic CaMixer can be mounted directly on top of your DSLR or mirrorless camera via the built-in cold shoe. This setup could help you get the next run-and-gun interview right, taking out the guess work when it comes to audio. It’s a bit cheaper than it’s last year twin, since it’s just the mixer itself without any accessories except a provided mini XLR to XLR adapter and a mini jack output cable. Back and front of the CaMixer. It’s powered via a standard 9V battery. On the front side you can toggle 48V phantom power for the microphone inputs on and off and there is a built-in LCD display, too. This is a very handy feature for such a tiny device, as it helps keeping your camera screen real estate as uncluttered as possible. There’s a volume control too, of course. We will take it for a test ride for sure, and I’m very curious how it performs in real life! The CaMixer weights just 156g (5.5 oz) and is powered by a standard 9V battery. The device itself is $129 and it’s available for purchase directly via Saramonic, the smartphone version is available at B&H. Might this tiny thing be your next upgrade in terms of audio? Let us know in the comments below!Read more
The recently announced Zoom F4 Multitrack Field Recorder bridges the gap between their popular H6 and flagship F8 eight input models. Read more below. The Zoom design team has been innovating in interesting directions lately, even adding cameras to their product lineup last year. The Zoom F4 Multitrack Field Recorder is a return to their indie-friendly audio mixer roots, with a compact 8-track/6-input design and portable in a 2.3lbs metal form factor. Its capability to record for over seven and a half hours at 192 kHz in 24-bit stereo on SD/SDHC/SDXC in .WAV with a 32gb card means no card dumping until the end of the shoot day at least. Featuring mic preamps of -127 Bu and the capability of adding up to 75 dB of gain, Zoom promises very low noise with +4 dB line-level inputs. You can record WAV at 44.1, 47.952, 48, 48.048, 88.2, 96, 192kHz, or MP3 at 128, 192, 320 kbps, 44.1/48 kHz. Two SD card slots can dual record, and dumping files is possible from a USB port without removing the cards. Inputs: Input 1-4: XLR-1/4″ / 6.35 mm combo jacks Input 5-6: 1/8″ / 3.5 mm stereo mini jack Each of the four Neurtik XLR/TRS connections has individual 24/48V phantom power capability. The mini jacks can be used for returning audio to the camera or for sending a feed to video village for monitoring. Outputs: Main: Balanced XLR (2-pin hot) Sub Output: 1/8″ / 3.5 mm Headphone: 1/4″ / 6.35 mm unbalanced stereo jack Four locking XLR inputs on one side of the Zoom F4 Power options are numerous. Power the F4 from 8 AA batteries, an external DC battery pack, DC-HIROSE or a wall outlet power supply. An unexpected bonus of the Zoom F4 is timecode. The ability to jam sync TC to such a compact device at a very friendly price point is a major plus. The F4 boasts a very precise Temperature Compensated Crystal Oscillator, or TCXO, that allows for 0.2ppm precision at the following frame rates: 23.976ND, 24ND, 25ND, 29.97ND, 29.97D, 30ND and 30D. Zoom mic capsules can be added to the blue port in the image giving you added XLR or 3.5mm inputs as well as other customization options. Camera operators have been enjoying more and more the freedom of modular camera designs and it’s good to see Zoom continuing to support their modular mic capsule adapters. You can easily add a wide variety of Zoom accessories with these mic capsules and here are just a few: ECM-3 mic capsule extender cable MSH-6 mid-side mic capsule SGH-6 shotgun mic capsule SSH-6 stereo shotgun mic capsule EXH-6 dual XLR/TRS combo input capsule All of the mic capsule adapters can be used on the Zoom H5 and Zoom H6. Zoom promises to bring many of our favorite features of the Zoom F8 to a wider audience of filmmakers with their new F4 MultiTrack Recorder. Features of the Zoom F4 MultiTrack Field Recorder at a glance: Six-input / eight-track field recorder with integrated mixer Timecode (TC) with little potential for drift Six inputs, including four XLR/TRS combo connectors, a stereo 3.5mm input, and Zoom mic-capsule input Weighs slightly over two pounds (without batteries) High-quality mic preamps with up to 75 dB gain, less than -127 dBu EIN, and +4 dB line inputs Support for up to 24-bit/192 kHz recording as well as 96, 88.2, 48, and 44.1 kHz, plus 47.952 and 48.048 kHz for HD video compatibility; 16-/24-bit resolution Two different power supply options: 8x AA batteries or external DC with 4-pin Hirose connector Dedicated gain control knob with 6 individual LED level meters Phantom power (+48V/+24V) on each preamp On-board limiters for both input and output Compatible with all Zoom mic capsules 1.9” white, backlit monochrome LCD Dual SD/SDHC/SDXC card slots, up to 512GB each WAV or MP3 file formats Availability: B&H is accepting preorders now and for our European audience, head to CVP by clicking here. Price: $649.99Read more
The Tascam DR-100 MK III is the latest release by one of the industry leaders in field audio recording. It comes as a new update to their flagship DR-100 recording product line, and includes a couple of very nice upgrades that allow for recording of better and longer uninterrupted audio. Long a favorite of DSLR shooters, Tascam recorders are widely known for their portability and being audio capture workhorses out on location. Look into any one-man-band kitbag out there and you’re very likely to find a Tascam recorder of some sort. As opposed to the MK II, the Tascam DR-100 MK III allows for recording onto SDXC (not SDHC!) cards up to 128GB. Given the relative size of audio versus video files, you’ll likely be recording all week on a single card if you choose, although I would recommend offloading after each shoot day. You also see a bump up in file quality with the new 24-Bit/192 kHz option, where it’s predecessor only allowed for 24-Bit/96kHz recording. A standout feature for me is the dual-battery design featuring a built-in lithium-ion rechargeable, as well as the normal capability to use AA batteries. This is perfect for long interviews or concerts: situations where you will want to swap batteries without halting recording. The Tascam DR-100 MK III is also built around an aluminium frame, giving it some added drop protection in the field. MAIN PRODUCT HIGHLIGHTS: 2 x XLR/TRS Combo Inputs A second dual-record mode captures WAV and MP3 files simultaneously Dual-battery design uses a built-in lithium-ion rechargeable and AA batteries for extended recording times On-Board A/B Stereo Microphone Records up to 24-Bit/192 kHz Records to SDXC Cards up to 128GB Aluminum Chasis Low-noise HDDA microphone preamps Phantom Power The Tascam DR-100 MK III is available now from B&H HERE, or the link below.Read more
A proper audio mixer is a feature that has been lacking so far in Final Cut Pro X. Also, Roles metadata keep your media organized, but it has always seemed that they could be better exploited. Could an FCPX Roles Audio Mixer be the answer? Roles metadata in Apple’s Final Cut Pro X is a useful feature from the audio perspective, as it allows you to easily isolate the different audio “stems”. A very common use of this is removing the dialogue stem from the final export to deliver an international version of your project for dubbing. Roles also integrate with Logic Pro X—Apple’s music production software—which arranges clips on the mixer, according to their Roles upon importing the XML file. However, it seems like Apple may actually be expanding functionality through a possible FCPX Roles Audio Mixer. A recently approved patent describes the use of metadata tags to identify and group audio signals for processing and metering. This pretty much describes the use of auxiliary buses on a traditional mixing desk, facilitated through the use of metadata. An evident advantage of a feature like this could be additional audio meters for monitoring separate groups, rather than just relying on the master output. Additionally, having a single instance of an effect act upon a group of clips is much more efficient than having effects on individual items, freeing up CPU resources for other tasks. Based on the documentation, it seems that clips within a nest will feed audio to their individual Roles bus, as well as to those assigned to their compound clip. This could potentially cause signals to end up in multiple unwanted locations. While traditional mixers and Digital Audio Workstations offer knobs to control how much of each signal we feed to our auxiliary buses, it will be interesting to see how Apple will implement this functionality without overcomplicating the minimalist FCPX GUI. An FCPX Roles Audio Mixer would be a welcome addition to a future update. It would be ideal for reducing round-tripping between various programs for simple audio routing needs, and would certainly allow for more creative audio possibilities than what the software currently offers. As a Final Cut Pro X user, would this implementation help your workflow? via http://thefcpxeditor.tumblr.com/Read more
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