Re: 442 return monitor

Hi Jay,
Im in total agreement with you. That was kinda my point.
I adjust my return volume to match my "mixer" volume because same as you
I'm constantly switching between L, R, ST, and camera throughout my day.
If I had to "adjust" my headphone volume everytime I wanted to monitor the
camera,
well that just wouldn't work for me.

With what Eric says he does (which perhaps im mistaken) he likes to "see"
the camera return in his meters, but at the same time he likes to see it
"match" the camera levels.
So when he is looking at the "camera" levels on his mixer the meters would
be below zero, and perhaps more in the range of -20 to -10'ish? (he might
run hotter levels).

We already established that there are many ways of doing things, I just
personally
wouldn't want to trust my levels going on what's being sent back to me via a
crappy
headphone amp. And many people seem to like using the 5pin or 3 pin outputs
on the back of cameras as well, and I seem to recently have read on here
about there being
output limiters on those.
So in theory the levels being sent back to the mixer could be compressed
showing
lower levels then what's going to tape. Or the fact that some camera
headphone amps
have a loss of low end which could change the ballistics of the return
levels as well.

Obviously just my opinion. If it works for these guys seriously more power
to them.

Chris Ripper






"Jay Farrington San Francisco" <jayREMOVEIT@xxxxxxxxxxxxxxxxx> wrote in
message news:1144731929.139699.189730@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
Chris Ripper wrote:
Once again since I don't do this I don't know, but what happens when you
switch your headphones from "return A" to the mixer? Wouldn't there be a
huge
volume difference between the 2?

Hey Chris,

Not being a 442 owner, I'm just curious. Why would there be ANY volume
difference between the mixer level and your adjusted return level?
Isn't that why you're adjusting the return level monitoring in the
first place? So that what's coming back from camera matches the same
level that your mixer is putting out?

I do this with my Cooper CS104 every day. Tone out to camera (-8 on my
PPMs), then set -20 or 0 or whatever's appropriate at the camera, then
headphone monitor return up full at the camera, then adjust my
headphone return monitor at the mixer so that my return level matches
my output level (-8 again on my PPMs) and all is good. Headphone
levels are exactly the same for monitoring the mixer or the return.

I like being able to hear exactly what's happening at the camera at all
times. This is the only way to do it that I know of in an ENG setup.
I can't imagine NOT doing it this way. How do you know what's
happening at the camera if you don't? Not being critical, just curious
how others do it differently.

-Jay

Jay Farrington
Video/Sound Engineer
San Francisco Bay Area



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