SONY HDR - XR160 MANUAL PDF

Summary Sony XR - page 1 Addi tional informa tion on this p roduct and answers t o frequently as ked questions ca n be found a t our Cu stomer S upport W ebsite. Record the serial number in the space pro vided below. Refer to these numbers whenever you call upon y our Sony dealer regardin g this product. Model N o. HDR - Serial No.

Author:Tor Kazigal
Country:Armenia
Language:English (Spanish)
Genre:Love
Published (Last):27 March 2015
Pages:330
PDF File Size:19.95 Mb
ePub File Size:5.80 Mb
ISBN:410-5-54609-774-2
Downloads:90488
Price:Free* [*Free Regsitration Required]
Uploader:Sazilkree



That means it accepts mic, NOT line level audio. But even if you were to find a way of attenuating the audio to match the mic input level requirements, that would necessarily mean the camcorder has to be in a fixed spot on a tripod somewhere. I have been in this exact same fix before and tried several methods. In one, I made a passive attenuator to attempt to bring down the line level by dB.

I was successful, but, as you noted, no matter that the camcorder was battery powered and the cables were shielded and ground-terminated at either or both ends, it still resulted in hum. Normal is the one that wretchedly applies AGC. The low level choice would have been good, but probably to ensure that no clipping will occur on any external mic that may be used, Sony has elected to make the gain so low that while devices like Beachtek will work, they also introduce copious hiss.

This is why pros use XLR-input camcorders, but that is another topic. In the end, two methods worked for me. With this approach I can use up to two wireless systems so up to two people onstage can have mics on them and get cleanly recorded.

The method above is OK is the camcorder is in a fixed spot and no more than two wireless mics are used. These devices have line-in, and accept the mixer outputs. The mixer output is effectively recorded onto an SD card.

In post NLE, I sync this clean audio on the video using whatever the camcorder mic picked up as cue. I currently use the second method almost exclusively, even that I often use pro camcorders with XLR inputs and can use shotgun mics with them.

Not having to worry about deliberately recording audio with the camcorder is very liberating. There is even a side benefit: the omnidirectional mics on one of the camcorders pick up audience reactions and applause, which I can still use later to mix in with the recorded mixer output in the way I want.

Other issues will crop up, like syncing the separately recorded audio with video in NLE, but on the whole, this is trivial compared to other problems concerned with using the camcorder mic input. I have discussed tips in separate posts here on videohelp.

TEMAS DE QUIMICA GENERAL EUDEBA PDF

Sony Hdr Xr160 Handbook

.

FUJI FVR K7S MANUAL PDF

Sony hdr-xr160 manual handycam

.

APOSTILA ROV PDF

Sony Hdr Pj50 Users Manual

.

Related Articles