PART 9: SOUND

It is quite easy to concentrate so hard on getting the pictures right that you end up forgetting about the sound. Remember no matter how exciting the pictures are if there is no accompanying sound the impact will be lost.

MICROPHONE INPUTS

The camera comes with one microphone. But, it is possible to plug in two microphones into this camera. The two microphones can be recorded on the two separate sound tracks simultaneously. They are plugged into the microphone sockets behind the input selector console.

On the other side of the sockets is a bank of switches. This table is supposed to represent each switch position and explain what it is for...

INPUT 1	INPUT 1	INPUT 1	INPUT 2	INPUT 2
REC CH SELECT	INPUT LEVEL	+48v	INPUT LEVEL	+48v
CH1+ CH2 = the mic plugged into CH1 will be recorded on to BOTH CHANNELS	LINE = The input into CH1 is NOT a microphone. It is a higher level source coming in at 0dB	ON = power will be supplied to the microphone (so, no need for a battery)	LINE = The input into CH1 is NOT a microphone. It is a higher level source coming in at 0dB	ON = power will be supplied to the microphone (so, no need for a battery)
CH1 = the mic plugged into CH1 will be recorded on CH1 ONLY	MIC = The input into CH1 is a microphone. The mic level is coming in at around –60dB	OFF = no power is supplied to the microphone.	MIC = The input into CH1 is a microphone. The mic level is coming in at around –60dB	OFF = no power is supplied to the microphone.
	MIC ATT= The input into CH1 is a high level microphone (or other source). The attenuation will cut the level by 20dB		MIC ATT= The input into CH1 is a high level microphone (or other source). The attenuation will cut the level by 20dB
INPUT 1	INPUT 1	INPUT 1	INPUT 2	INPUT 2

Back to the top.

SOUND LEVELS

The recorded sound can be adjusted by the AUTOMATIC GAIN CONTROL (AGC) to a predetermined level. But, AGC does have problems - if your subject is talking - the level will be set by the camera, when they stop talking the camera will then raise the background sound level. This raising and lowering of the background sound every time your subject stops then starts talking is called pumping and it is at its most objectionable when the background sound is noisy e.g. a crowd at a football match or by a busy road. You will have more control over sound levels if you adjust them manually.

First you must go into the menus...

Switch the camera on
Press the MENU button
Turn the SEL/PUSH EXEC dial until the CASSETTE icon is highlighted
Push the SEL/PUSH EXEC dial in to select the CASSETTE sub menu
Turn the SEL/PUSH EXEC dial until the words AUDIO SET is highlighted
Push the SEL/PUSH EXEC dial in to select the AUDIO SET options
choose either AGC CH1 - OFF
Push the SEL/PUSH EXEC dial in to select the mode option
REPEAT FOR AGC CH2 - OFF
You have now selected manual sound
Next select MAN GAIN ….. SEPARATE (to enabled each channel to be adjusted separately)

To adjust the sound levels….

Press the silver AUDIO LEVEL button. The viewfinder/LCD will show the recording levels.
You can adjust the incoming sound levels using the SEL/PUSH EXEC dial.
Use the headphones – (the headphone own volume level can be adjusted using the controls on the edge of the LCD screen.)
Peak levels should not exceed minus 3dB voice levels should be around minus 20dB
Generally, it is better to record slightly too low than way too high.

To clear the display (so you can see your shot!) just press the silver AUDIO LEVEL button.

Back to the top.

HINTS AND TIPS

Use headphones. It is the only way of really knowing if the sound is being recorded at the right level/any level!.
Get the microphone as close as possible to the sound source - this may mean the microphone will be in shot.
If you have time, at each location record 30 seconds of 'atmos' i.e. the natural background sounds of the location.
If you must record in a noisy area (e.g. beside a busy road or in a factory) make sure you have a shot of the source of the noise. Viewers will put up loud background noise if they know where the sound is coming from.
When working outdoors on a windy day use a wind gag over the microphone to reduce wind noise.

Back to the top.

The sound facilities on this camera are a vast improvement on the old VX1000. However there were reported sound problems in the first batch of cameras produced. If you want to know more go to...

THE LATEST NEWS ON THE HISS PROBLEM

Back to the top.

Move on to...: Part 10: LIGHTING
Or back to...: Part 8: TIME CODE

Christina Fox

Reader's Comments

I have the pd150 and always seem to get bad sound at events. of course,the dj is always playing load with subwoofers so that doesn't help. i have the audio technica stereo mic that i use attached to the cam. e.j.

The trouble with microphones strapped to the top of the camera is they tend to pick up anything and everything - rather than being selective. what you really need is a clean feed of the sound from the desk in one channel and general "atmos" (or other sound sources) in the other channel.

For the "clean sound" a radio mic kit would be ideal. But don't use the mic!. Plug the output of the DJs desk (usually line level) into the radio mics transmitter. Then plug the receiver into Channel 1 of the camera. A radio mic kit is best for this sort of thing because you can take a cleen feed from the desk and still be free to roam around getting shots.

Now Channel two is free for general "atmos" or interviewing people at the gig. But if you're going to interview people you must get the mic off the top of the camera - attach a 1 meter cable - and get the mic up close. Especially important in a noisy environment. Now when you come to edit you can choose the best sound channel that goes with the shot.

Plus, when at any location always get a bit of "wild track" ie about a minute or two of sound, that you can use in the edit, that will get you over a noticeable change in sound. I used to cover public events like this all the time. e.g. press conferences - Radio mic kit taking the output from the PA system and a hand held mic for the reporters questions. I'm a big fan of radio mics they're an invaluable piece of kit. As I've said you don't just have to plug a mic into them and they allow you to roam around. If you try it - let us know how you get on. Christina

From: Paul - Date: 23 February 2001 14:28 Subject: PD-150
Hello, I read on your site that the PD-150 comes with a stereo microphone. I read differently elsewhere. I'm curious if the camera is capable of producing stereo audio. Thanks, Paul

Hi the microphone supplied with the PD150 is the ECM-NV1 - I double checked and you're absolutely right it's mono. My mistake. I've corrected the site - so, thanks for pointing that out.
As far as recording in Stereo. In the Sony manual for the camera it says you can select between...

recording in Fs32K (12 bit) mode (two stereo sounds) or
recording in Fs48K (16 bit) mode (one stereo sound with high quality).

From what I've read the PCM Digital Stereo gives you either two 12 bit stereo tracks (as mentioned in the manual)- which is near CD sound quality. The one 16 bit stereo track can be used for DAT quality recording. You could take a look at http://www.shortcourses.com/video/chapter07.htm and Digital Idiots for more info (I'm afraid I'm a bit of a Stereo Idiot).

However, for the best advice you could contact Sony - I've attached the Sony PD150 blurb which has the UK phone numbers. If you're outside the UK you could try their website - although you'll need patience their website is very badly organised and searches don't always give useful results. All the best. Christina