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REC. SETTINGS

?

REC. LOWCUT

N/A

REC. LIMITER

N/A

REC. LEVEL

AUX. SETTINGS

N/A

AUX. BASS

N/A

AUX. HIGH-LOW

N/A

AUX. OUTPUT

MIC. SETTINGS

N/A

MIC. LOWCUT

N/A

MIC. HIGH PASS

N/A

MIC. BOOST

(RFI) RADIO FREQUENCY INTERFERENCE

?

LESS THAN

1.1ft / 0.34m

?

BETWEEN
1.1ft / 0.34m -2.2ft / 0.67m 

BETWEEN
2.2ft / 0.67m -3.3ft / 1m

BETWEEN
3.3ft / 1m -4.4ft / 1.34m

Published: 

January 13, 2023 at 2:46:45 AM

 REAL  RATINGS

After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ.

Catching a Wave

LOWS/BASS

?

 DO THE "LOWS" SOUND REAL? 

Song Notes

MIDS

?

 DO THE "MIDS" SOUND REAL? 

A woman singing in a record studio

HIGHS/TREBLE

?

 DO THE "HIGHS" SOUND REAL? 

NOTES:


MICROPHONE SPECIFIC:
Just in regard to the (built-in) microphone itself, I started the test without the FURRY windscreen, and it sounded a lot better, but when I added the FURRY, the audio starts to sound strange, sort of an uneven sound, which I'm sure is going to require a complex EQ to fix. This mic (the built-in mic on the transmitter/recorder) also has way too much sibilance, meaning it struggles with the sound of "esses" and while you would think using the furry windscreen would help, it doesn't seem to do enough to make this audio useable. Both of these things are a problem, as you have to use the FURRY in most situations, as there is not another option for wind protection. So, plan B is to use a plug-in lavalier instead of the built-in mic...so I'm starting to experiment with different lav mics.

AUDIO RECORDER SPECIFIC:
As you might already know, this system is more than just a wireless audio system; each transmitter also has onboard recording. This is the feature I'm focusing on here, and so there are a number of quirks to be aware of when it comes to using this system as an audio recorder. The first is that I don't see a way to change the REC. LEVEL on the transmitter/recorder. There is a way to change the OUTPUT LEVEL on the receiver (RX) but no way to change the REC. LEVEL. What this might mean is that, if this thing isn't a 32-bit float recorder (and I'll talk about why I say IF in a second) it would seem like it's kind of limited in terms of being able to make sure the audio doesn't "clip". However, as I started testing, I realized a couple of things: 1. The record level is pretty low (so it has lots of headroom) and 2. The level indicator on the display of each transmitter says the level is higher than it really is (based on looking at the file in an audio editor). This is good, because I'm less concerned that the recording (on the transmitter) will clip, even though it doesn't seem to be adjustable. The last thing I'll say is that when I amplify the level using an audio editor such as Audacity, I'm super surprised at how clean the audio sounds...it's almost like working with a 32-bit float file on my Zoom F2 (but I haven't pushed it very far in testing yet, so I'll update this after more testing).

 

Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio.

GAFFER TAPE SUPPLIED BY
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