FREQUENTLY ASKED QUESTIONS

Q: WHAT CAMERAS CAN I USE THE PMP PREAMP WITH?

A: All DV or Hi-8 cameras can be used with the PMP preamp. They will benefit from the more control and capabilities of this preamp. 

Q: WHAT ABOUT OTHER PORTABLE EQUIPMENT, LIKE DAT AND MD?

A: Preamps in most small portable equipment are not very good. Particularly when you want to use professional quality microphones which have balanced outputs and need phantom power to work. A quality preamp like the PMP can provide above requirements and a much better adjustment range when you set your levels. Like independent 21mm knobs that will allow finer volume adjustments. Even if noise will also depend on the recorder's preamp in the end, as you have to go through it, you can set the camera, DAT or MD lower and improve noise. 

Q: WHAT DO I DO WITH THE CAMERA MICROPHONE? WHY NOT USE IT?

A: The microphone that came with the camera will only be suitable for wide scenes, where you don't care for the dialogue. If you do think your dialogue is important you should use the PMP to connect your wireless, lapel or directional microphones. The position the camera microphone is over it is far from ideal either. On certain circumstances you may use a camera microphone as long as you can hold it higher and with a proper suspension and windshield.

Q: WHAT MICROPHONES CAN I USE WITH THE PMP PREAMPLIFIER?

A: As long as they are balanced and low impedance, you can use any microphone. You can also power phantom microphones from the preamp, by switching to "On & 48v". For dynamic microphones and wireless microphones you should put the switch down to "On". 

Beware!!! Do not connect unbalanced microphones on the PMP except if you're using the right cable. Never connect an unbalanced microphone or cable with phantom power on or it may blow the input and/or harm the microphone.   

Q: WHAT IS PHANTOM POWER AND WHEN AND WHY DO I NEED IT? 

A: Some microphones, like the directional and hyperdirectional types we use in location audio, need some power to work. They are known as capacitor or condenser microphones. Phantom power is called that way because it feeds the mic through the same wires the audio is coming, and it doesn't harm that audio. Just as if it wasn't there 

You will need to switch phantom power on on the PMP every time you use a phantom microphone. 

When using dynamic or wireless microphones you won't need phantom power. 

Q: WHAT HAPPENS WHEN I HAVE TO USE MICROPHONES THAT NEED PHANTOM POWER AND MICROPHONES THAT DO NOT NEED IT? 

A: On such cases you have two options: switch the preamp to "On" and power the phantom mics on its own battery; or power the phantom mic from the PMP and use a blocking cable on the non-phantom mic. Most professional microphones are designed to block phantom power, but you should check with the manufacturer. 

Q: WHAT INPUT LEVEL SHOULD I SET ON THE CAMERA?

A: Most quality cameras have at least two input levels: "Mic" and "Line". Some also add another attenuated option or input ("Mic Att"). You should first start with "Line", then go to "Mic Att" and then to "Mic" until you get a proper level. Be aware though that preamps inside all non-pro cameras is the same for mic and line inputs. The switch or different inputs only add a pad in-line when you use them. So the weak link continues to be the camera preamp. 

Do several tests before shooting begins so you get familiar with the equipment you are going to use. Do more when you are at the shooting place, environment, actors, etc. It's important that you get used to it all.

Q: HOW SHOULD I PROCEED TO SET THE LEVELS ON THE PMP PREAMP AND CAMERA?

A: First of all read the camera manual. Even if skimpy sometimes, it will usually show you how to basically set your audio. It will tell you where the controls are, on the camera body and on the LCD menu. There will be settings that you will have to do on the camera. Even if we may suggest some proceedings or routines, the camera should always be properly adjusted.  

The second thing you should do is line-up both equipments. This means you should find a level on the camera that will let you have a proper adjustment range on the preamp.   

Hiss and clipping are the two things you should be aware of. Using line level inputs is always preferable. The PMP preamp outputs a line level signal, but you can control that output through the individual pots.  You shouldn't have any problems with cameras having mic level inputs, as you can adjust the pots and get a working level. You can also use an attenuated cable. Connect microphone to preamp and preamp to camera. Connect a headphone on the camera. 

Make the actors speak or ask an assistant to speak, using the microphone you're going to use. Put the PMP knob (or knobs) in mid position (number "5"). The "Over" LED shouldn't light up. If it does move the "Gain" switch to "Mid" or "Low". Now adjust the camera level so most peaks reach -12dB. If you go want to be conservative adjut the camera for -20dB on the LCD display. If you want to be bold let the peaks go two or three points over the -12. 

Under no circumstances will you let your level go past the last vertical mark in the DV camera, DAT or MD. If you do you will a very nasty distortion.    

VERY IMPORTANT: after you set your recording levels for each sequence, do not change them again until that sequence is over. E.g.: you enter the room you are going to shoot at, where you set the levels for subject, ambience, etc, as well as the main speaking subject. Do not correct the levels until you're finished with that room. If you move those levels you will have a different ambience on each take that will make your editing a "level hell" when you mix them later. 

Q: HOW DO I DEAL WITH HIGHER LEVELS IF I CAN'T CHANGE THEM DURING A SEQUENCE?

A: Your main problem will be with the boom microphone, as you will have to move it farther up when the camera is in wider angles. And when you go closer your subject's voice will increase level. You should set your level for the middle, and not go too close on the close-ups.  

That's why you need to use directional mikes on booms, many times hyperdirectional. If the place you are shooting is not too reverberant, there shouldn't be much difference when you change your distance between mic and subject. 

So that's the secret once the sequence level is set: move farther and closer with your mic. 

Using a lapel microphone, hardwired or wireless, is also very handy when the camera angles are very wide. Because the lapel mic is always at the same distance from the subject's mouth, when you mix it with the boom mic it will "fill up" the largest differences in sound plane.

Q: IS IT THAT DIFFICULT TO SET LEVELS?

A: It is not as tricky as it seems, because even if you go a bit low, being a digital recording will let you increase the level digitally during editing. 

How hot this signal should be will depend on the person speaking. Most people speak quite uniformly, so you can set your levels initially and usually keep them until you change to a different subject. In such cases you can go past the -12dB level. 

Q: HOW DO I SET LEVELS WITH A WIRELESS MIC?

A: On a wireless mic, you will have to set your wireless transmitter correctly, as well as your receiver. To set a transmitter correctly means you should increase its level, with the subject speaking and the lapel mic in the right place (mid chest), so that the internal limiter briefly lights up during peaks. The transmitter's limiter will also protect you against unexpected peaks. Setting your level like that will guarantee you will have a strong carrier for your signal, which is the secret of good wireless transmission. 

On the receiver you should do the same: the limiter LED should only light occasionally. If you follow these instructions, you will have a strong mic signal. Set the camera for this mic only after doing this adjustment. Remember to put the PMP volume knob in mid position and check the preamp's LED doesn't go on. If it does light up change the PMP's gain with the switch, that is use less gain.