http://helpwiki.evergreen.edu/wiki/api.php?action=feedcontributions&user=Linnettk&feedformat=atomHelp Wiki - User contributions [en]2024-03-19T06:56:17ZUser contributionsMediaWiki 1.26.3http://helpwiki.evergreen.edu/wiki/index.php?title=Canon_Speedlite_Flashes&diff=32464Canon Speedlite Flashes2017-02-13T22:59:49Z<p>Linnettk: </p>
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<div><br />
<br />
[[Category:Media Loan]]<br />
[[File:Speedlite-top.jpg]]<br />
<br /><br />
Media Loan offers two stand-alone speedlite flashes, the 430EX II and 580EX II. These do not require a proficiency and are checked out separately, unlike the Speedlite Kit offered at Media Loan, and work with all Canon Rebel cameras. These are multi-feature flash units for Canon EOS cameras and work automatically with E-TTL II, E-TTL, and TTL autoflash systems. They both can be used as on-camera flashes and as part of a wireless, multi-Speedlite flash systems. <br />
<br />
<br />
<br />
===Basic Operation===<br />
<br />
[[File:Flash front.png|300px|thumb|front]]<br />
[[File:Flash back.png|300px|thumb|back]]<br />
'''To use:''' </br><br />
1. Attach the flash to the camera by inserting it into the hot shoe mount on top. </br><br />
2. On the mounting foot, slide the lock lever to the right until it clicks into place. </br><br />
3. Flip the switch to "on". The "pilot" indicator should light up red.<br />
<br />
</br></br></br><br />
Flashes normally automatically sync up with Rebels. If not, you can adjust the mode on the flash itself as well as on the camera's menu under "flash control". Here you can enable/disable flash firing as well as set up which type of flash mode you want to use (E-TTL II, Manual, Multi).<br />
</br></br></br><br />
To remove: press the lock release button and push the level to the left. This will release the flash and you can pull it out of the hot shoe.<br />
<br />
===Other features===<br />
====C.Fn.====<br />
Custom functions can be set up on these speedlites. These can be adjusted in the Rebel's menu under "Flash Control" > "External flash C.fn setting".<br />
====Mode====<br />
Use this button to set the desired flash mode (E-TTL II, Manual, Multi).<br />
====High-Speed Sync====<br />
This enables the flash to synchronize with all shutter speeds. This is convenient when you want to use aperture priority for fill-in portraits.<br />
====Zoom====<br />
The flash coverage can be set to match the lens focal length. This can be set manually, press the "ZOOM" button and use the dial to adjust. 480EX II adjusts from 24-105mm, and the 580EX II adjusts from 28mm-105mm. <br />
<br />
Exposure compensation can also be adjusted on the flash itself by pressing the "SET/SEL" button and turning the wheel to the dial to the desired setting. <br />
<br />
'''Access the full guides here:''' </br><br />
430EX II </br><br />
http://www.the-digital-picture.com/Owners-Manuals/Canon-Speedlite-430ex-Flash-Manual.pdf </br><br />
http://learn.usa.canon.com/app/pdfs/quickguides/CDLC_Speedlite430EXII_QuickGuide.pdf<br />
<br />
580EX II </br><br />
http://mfaphoto.schoolofvisualarts.edu/pdfs/manuals/Canon_Speedlite%20580EXii_Flash.PDF </br><br />
http://learn.usa.canon.com/app/pdfs/quickguides/CDLC_580EXII_QuickGuide.pdf</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:Speedlite-top.jpg&diff=32463File:Speedlite-top.jpg2017-02-13T22:59:37Z<p>Linnettk: Linnettk uploaded a new version of &quot;File:Speedlite-top.jpg&quot;</p>
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<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:Speedlite-top.jpg&diff=32462File:Speedlite-top.jpg2017-02-13T22:56:36Z<p>Linnettk: </p>
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<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=Parabolic_Microphone_Kit_Gear_Guide&diff=32263Parabolic Microphone Kit Gear Guide2017-01-23T19:54:21Z<p>Linnettk: </p>
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<div>[[File:Parabolic-top.jpg|left]]<br />
===INTRO===<br />
This kit requires a proficiency, which you can find [http://wikis.evergreen.edu/computing/index.php/Parabolic_Proficiency_Test here.]<br />
<br />
The Telinga Parabolic Microphones are designed to be reliable, lightweight and very easy to use. The primary use of this parabolic microphone is wildlife audio recording and it has been developed in co-operation with ornithologists, wildlife filmmakers and researchers in the field of bio-acoustics. It is specifically made to reduce wind and handling noise as well as inherent noise from the microphone and amplifiers. The dish funnels sound into the microphone, which allows for recording sources from farther distances.<br />
<br />
===CARE===<br />
'''DO NOT:'''<br /><br />
Submerge the microphone in water<br /><br />
Drop it<br /><br />
Expose it to extreme weather conditions<br /><br />
Expose it to extreme heat or cold<br /><br />
Use excessive force<br /><br />
Point the parabola towards the sun<br /><br />
Store the parabolic kit face down on the ground<br />
====Dish====<br />
Store the dish with the opening down on a flat surface. Clean the dish only with soap and water. Do not use detergents.<br />
The dish can be rolled into a “cigar-like” shape with a diameter of about 6inches. If put on a flat surface and left for a while it will regain its shape. If the dish must be used instantly, however, you can make a cross of adhesive tape over the opening.<br />
====Mic====<br />
[[File:triangle2.jpg|right|thumb|150px|Rubber Triangle]]<br />
NEVER load any microphone into the zeppelin by pushing the capsule end through the orange rubber triangle. In the forward method (explained below), with the microphone facing outward from the dish, the tip of the capsule should never extend through the triangle. The microphone should only be loaded through the back of the handle.<br />
<br />
===IN THE KIT===<br />
Omnidirectional Sennheiser ME62 w/K6 module<br /><br />
Large 22” clear parabolic dish<br /><br />
Zeppelin<br /><br />
Pistol grip handle: equipped with adjustable XLR, shockmount, and stopper<br /><br />
Windcoat<br /><br />
Dish bag<br /><br />
Tripod mount<br />
<br />
<gallery><br />
File:Mic.jpg|ME62/K6<br />
File:dish.jpg|Dish<br />
File:zeppelin.jpg|Zeppelin<br />
File:pistol_grip.jpg|Pistol grip handle, Stopper & XLR<br />
File:windcoat.png|Windcoat<br />
File:Bag.png|Dish Bag<br />
File:tripod_mount_500.jpg|Tripod Mount<br />
</gallery><br />
<br />
===SET-UP===<br />
<br />
{{#ev:vimeo|146160245|800|center|Parabolic Microphone Kit}}<br />
<br />
====DISH====<br />
# Line the zeppelin up with the circular opening on the dish on the concave side. <br />
# Place the other half of the zeppelin (the grey tube) on the opposite side. <br />
# Twist the tube until it screws into the zeppelin securely.<br />
# Fasten the pistol grip handle onto the grey tube using the wing-bolt to loosen/tighten the opening accordingly.<br />
<br />
====MIC====<br />
This parabolic microphone can be used one of two ways: with the microphone facing forwards or backwards. The different methods allow for various sound styles. <br />
=====Forwards=====<br />
[[File:forwards.jpg|150px|thumb|right|forwards]] <br />
This is the “old way” to use a parabolic mic. In this traditional way, the mic capsule will point outward from the dish. The mic should not extend past the orange rubber triangle at the front of the zeppelin. <br />
<br />
<br />
Set-up:<br />
# With the capsule facing forwards (outwards from the dish), insert the mic into the back of the handle/tube.<br />
# Push the mic into the zeppelin. Do not let it extend past the orangle triangle at the front of the zeppelin opening.<br />
# Connect the XLR to the back of the microphone and attach to recording device.<br />
<br />
=====Backwards=====<br />
The “new” way to use this mic. The mic capsule can be loaded in the zeppelin the opposite way, with the capsule pointed backwards toward the dish. Do not load the mic in through the front of the zeppelin – as with the other method, the mic should always be loaded in through the back. Note: The stopper on the handle can only be used when the mic is loaded in backwards. <br />
<br /><br />
<br />
[[File:backwards_parabolic.jpeg|150px|thumb|right|backwards]]<br />
Set-up:<br />
# Push the XLR into the zeppelin. This needs to be done before you insert the mic.<br />
# With the capsule facing backwards (towards the dish), insert the mic into the back of the handle/tube. You can use the mic to push the XLR through the end of the zeppelin. The back of the mic should extend past the rubber triangle along with the XLR.<br />
# Push the stopper into the back of the handle/tube. DO NOT FORCE the stopper against the capsule.<br />
# Connect the XLR to the back of the mic. DO NOT STRESS THE XLR CONNECTION. Feed enough of the XLR through so that it isn’t pulled tight, but also so that there isn’t too much slack.<br />
<br /><br />
<br />
Placement method will be dependent on your audio recording needs. A good way to set your microphone up is to place a constant sound source (such as a radio), stand 80 feet away, point the microphone at the source and then make adjustments with the mic back and forth until you reach the strongest signal.<br />
<br />
===ADDITIONAL INFO===<br />
The stopper prevents unwanted noise from travelling through the tube. It cannot be used in the forwards method with the include mic, as the mic is too long and shouldn’t extend past the zeppelin. <br />
<br />
You can place the windcoat on the front of the dish for further wind protection. <br />
<br />
[[Category:Media Loan]]</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:Parabolic-top.jpg&diff=32262File:Parabolic-top.jpg2017-01-23T19:53:46Z<p>Linnettk: </p>
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<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=Olympus_LS-100_Audio_Recorder_Gear_Guide&diff=32261Olympus LS-100 Audio Recorder Gear Guide2017-01-23T19:44:53Z<p>Linnettk: </p>
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<div>'''A proficiency test is required to check out this recorder.''' Schedule a proficiency at the front desk of Media Loan or by calling 360-867-6253. Read this operating guide and complete the written portion of the [[Olympus LS-100 Proficiency Test]] prior to your scheduled proficiency. Bring your answer sheet with you to the test, which should take approximately 30 - 45 minutes. (Please note: if you have a proficiency in the Zoom and Marantz recorders, you will still have to take the [[Olympus LS-100 Proficiency Test|proficiency test]] for the Olympus LS-100.) <br />
<br />
[[File:LS-100-top.jpg|left]]<br />
<br />
This operating guide is not a substitute for the complete manual, which you can download here: [http://www.evergreen.edu/medialoan/docs/audio_manual_LS-100.pdf Olympus LS-100 Manual]<br />
<br />
=== About Media Loan's Olympus LS-100 ===<br />
* 96kHz/24 bit linear PCM recording <br />
* Supports linear PCM & MP3 audio formats<br />
* Internal 4GB built-in flash memory<br />
* Two 90° stereo condenser microphones<br />
* Left & right XLR / phone combo inputs<br />
* Multi-track recording & editing<br />
:::'''DO NOT drop, submit to extreme temperatures, or get wet.'''<br /><br />
:::'''You are 100% financially responsible for all equipment checked out from Media Loan.'''<br />
<br />
===Name of Each Part===<br />
<gallery><br />
File:Ls-100 1 parts1.png|Identify Parts<br />
File:Ls-100 1 parts2.png|Identify Parts<br />
File:Ls-100 1 parts3.png|Identify Parts<br />
File:Ls-100 1 parts4.png|Identify Parts<br />
File:Ls-100 1 parts5.png|Identify Parts<br />
</gallery><br />
<br />
=== Internal Memory ===<br />
Internal Memory = 4Gb<br> PCM WAV 48.0 kHz/16 bit = 4 hours 45 min<br> PCM WAV 48.0 kHz/24 bit = 3 hours<br> PCM WAV 44.1 kHz/16 bit = 5 hours<br> PCM WAV 44.1 kHz/24 bit = 3 hours 15 min<br> MP3 320 kbps = 22 hours 30 min<br> Purchasing your own 8Gb card will give you 2X as much recording time.<br />
<br />
=== Inserting an SD Card ===<br />
If you purchase your own SD card to use with the Olympus LS-100:<br />
* Slide the lock switch to '''OPEN''' when the recorder is stopped and open the SD card cover.<br />
* Insert the SD card with the terminal face facing up, as shown in the figure.<br />
* If the SD card is inserted in the wrong direction or at an angle, the contact face may be damaged or the SD card may get stuck.<br />
* Recording cannot start unless the SD card is inserted all the way in.<br />
* After closing the SD card cover, slide the lock switch to '''LOCK'''.<br />
* When the SD card is inserted, the recording media switching screen appears.<br />
* To record data in the SD card, select '''Yes''' by pressing the '''+''' or '''−''' button.<br />
* Press '''OK'''.<br />
* To remove, push card in all the way then pull out.<br />
<gallery><br />
File:Ls-100 6 insert-sd-card.png|Insert SC Card<br />
File:Ls-100 6 insert-sd-card 2.png| 1- Left/Right, 2 - Up/Down, 3 - OK<br />
File:Ls-100 6 insert-sd-card3.png|<br />
</gallery><br />
<br />
=== Battery ===<br />
# Slide the lock switch to '''OPEN''' on the battery cover.<br />
# Insert the battery so that the direction of the arrow (label) on the recorder matches the direction of the arrow on the battery.<br />
# Close the battery cover and slide the lock switch to '''LOCK'''.<br />
<gallery><br />
File:Ls-100 3 insertbattery1.png|Unlock Battery Cover<br />
File:Ls-100 3 insertbattery2.png|Insert Battery<br />
</gallery><br />
<br />
===USB and Power Settings===<br />
The '''USB Connection''' setting needs to be changed to either connect the recorder to a computer or to power the recorder from AC while recording. </br><br />
There are 3 options:<br />
* '''PC''': allows the recorder to be connected to a computer. Can be used to charge the batteries.<br />
* '''AC Adapter''': allows the recorder to be in record mode while connected to AC. Can be used to charge the batteries.<br />
* '''Optional''': anytime the recorder is connected to a computer or the AC Adaptor it will display a menu to select '''PC''' or '''AC Adapter'''. Use this setting.<br />
<br />
# Press the '''MENU''' button <br />
# Forward through the tabs to the '''DEVICE MENU''' <br />
# Press the '''-''' button down to select '''USB Settings''' and press '''OK'''.<br />
# Select '''USB Connection''' and press '''OK'''.<br />
# Select '''Optional''' and press '''OK'''.<br />
<br />
=== Formatting the Recorder/SD Card and Erasing All Data ===<br />
Perform this function before every use to ensure maximum file space on the recorder/SD card and to erase all data before turning it back in to Media Loan.<br />
#Press the '''MENU''' button <br />
#Forward through the tabs to the '''DEVICE MENU''' <br />
#Press the '''-''' button down to select '''FORMAT''' and press '''OK'''.<br />
#Select '''Internal Memory''' or SD Card (You must provide your own card) and press '''OK'''.<br />
#Select '''Start''', and press '''OK'''.<br />
<br />
<br />
=== Connect Microphones ===<br />
<gallery><br />
File:Ls-100 2 micconnect1.png|Select<br />
File:Ls-100 2 micconnect2.png|Inputs<br />
</gallery><br />
=== Connect to Computer ===<br />
<gallery><br />
File:Ls-100 4 connect-to-computer.png|Connect to Computer<br />
File:Ls-100 4 connect-to-computer2.png|Connect to Unit<br />
</gallery><br />
<br />
<br />
===Playback===<br />
====Playback the Recording====<br />
<br />
# Press the '''List''' button.<br />
# Use the '''+''' and '''-''' buttons to select a file and press '''OK'''.<br />
# The file name will be displayed in the window. <br />
# Press the '''Play''' button.<br />
<br />
====Playback Speed====<br />
* While playing an audio file the speed can be changed from 50% to 400%.<br />
* During playback the up and down arrow button on the front right of the recorder adjust the playback speed.<br />
* Leave it set to 100%.<br />
<br />
=== The Menu System ===<br />
'''Press the MENU button'''<br />
==== Record Menu ====<br />
===== Record Mode =====<br />
*'''Normal''' - each microphone that is being used to record produces it's respective track.<br />
*'''Overdub''' - The live microphone is mixed with the file that is being played back. The original file does not get erased.<br />
*'''Play Sync''' - This allows you to playback a file and while only the live microphone is recorded. <br />
*'''V-Sync Rec''' - a feature that automatically starts a recording when the recorder detects a sound louder than the voice sync level (detection level) setting; when the sound level decreases, recording stops automatically.<br />
<br />
===== Mic Gain =====<br />
'''Mic Gain''' this option let's you adjust the sensitivity of the selected mic<br />
*Built-in Mic - Hi (preferable), Mid, Lo<br />
*External Mic - Hi (preferable), Mid, Lo<br />
*XLR L - Hi or Lo<br />
*XLR R - Hi or Lo<br />
=====Record Level=====<br />
*Manual - let's you adjust the recording manually. Preferred.<br />
*Auto - the recording level is adjusted automatically.<br />
# Press the '''REC''' button to enter the recording standby mode.<br />
# Adjust the '''REC LEVEL''' dial according to the sound source.<br />
* The '''REC LEVEL''' dial can separately adjust the level of the input source for the L/R channels.<br />
<gallery><br />
File:Ls-100 7 adjust-rec-level.png|Adjust Record Level<br />
File:Ls-100 7 adjust-rec-level2.png|Adjust Record Level<br />
</gallery><br />
===== Input Select =====<br />
*Built-in Mic - sound is input through the built-in stereo microphone.<br />
*External Mic - sound is input by connecting an external microphone to the MIC jack.<br />
*Line - sound is input by connecting an external unit to the MIC jack.<br />
*XLR/Phone - sound is input through a musical instrument or the microphone connected to the XLR/standard phone combo jack.<br />
===== Mic Power =====<br />
*Phantom power - +48V or 24V This setting sets the voltage of the phantom power. Set to +48V. <br />
*Plug in power - ON/OFF This supplies power over the stereo-mini mic input to certain mics.<br />
<br />
===== Rec Format =====<br />
*PCM WAV 48.0kHz/24bit - Ideal selection for high quality sound files.<br />
*MP3 - highly compressed and less desirable.<br />
===== Low Cut Filter =====<br />
This cuts low frequencies to reduce handling noise and unwanted bass-like sounds. Select the frequency you want the cut-off to start at.<br />
*100Hz <br />
*300Hz <br />
===== Pre-Recording =====<br />
This records 2 seconds prior to you pressing the record button<br />
*On/Off <br />
===== Rec Monitor =====<br />
*On/Off - turns On or Off the EAR jack<br />
==== PLAY MENU ====<br />
*Play Mode - one file or list <br />
*Skip Space - Forward skip, Reverse skip<br />
<gallery><br />
File:Ls-100-x-play-screen.png|Play Screen<br />
</gallery><br />
==== FILE MENU ====<br />
*File Lock - On/Off <br />
*Move/Copy - Copies and moves the files within the memory <br />
*File Divide - Divides a file recorded on this device <br />
*Property - Displays information about a file or folder <br />
*MP3 Convert - converts a PCM WAV into an MP3 format file <br />
*CD Write - Directly writes a PCM WAV format file into a CD <br />
*Bounce - Saves all the tracks in a multi-track mode project to one file<br />
<gallery><br />
File:Ls-100-x-file-screen.png|File Screen<br />
</gallery><br />
==== Metronome Menu ====<br />
*On/Off<br />
*Display - On/Off<br />
*Countdown<br />
*Tempo - lets you adjust using the + or - buttons<br />
*Sound - Metronome 1 (vibrato), Metronome 2 (moderato)<br />
*Pattern - 1/1, 1/4, 2/4, 3/4, 4/4, 6/4, 8/4, 6/8<br />
*Volume - use the - or + button to adjust volume<br />
==== LCD/Sound Menu ====<br />
*Backlight - lighting time, dim light time, brightness<br />
*LED - On/Off<br />
*Beep - lets you adjust the beep volume that occurs when any buttons are pressed<br />
*Language - let's you change the language<br />
*Voice Guide - On/Off, Speed, Volume. The recorder will talk to you.<br />
*Intro Play - 10 sec, 5 sec, 3 sec, OFF<br />
==== Device Menu ====<br />
*Fn. Setting - function key menu. Let's you assign the F1, F2, F3 keys as a shortcut to menu options that you can choose from.<br />
*Memory Select - allows you to choose from the 4Gb internal memory or to use the external memory slot in which you would provide your own SD card.<br />
*Power Save - turns the recorder Off after a selected amount of time (5min, 10min, 30min, 1hour, or OFF)<br />
*Time & Date - let's you adjust the time and date which can be helpful in file management<br />
*USB Setting - Let's you choose from PC, AC adapter, Optional<br />
*Reset Setting - Resets the settings to default<br />
*Format - Formats the selected memory and erases all files<br />
*Memory info - Displays the remaining memory and capacity<br />
*System info - Model/Version/Serial No.<br />
<br><br />
'''Press the HOME button'''<br />
=== Tuner ===<br />
*Calibration - the frequency of the reference tone A can be adjusted by 1Hz increments in the range of 435Hz to 445Hz.<br />
*Chromatic Tuner - adjust the mismatch between the one of the musical instrument you have entered and the reference tone to ensure a proper response to all the musical scales.<br />
*Guitar - tune to a guitar chords chart<br />
*Bass - tune to a bass chords chart<br />
=== Metronome ===<br />
*Let's you adjust beats per minute. You must enter the MENU system for more parameters.<br />
=== Recorder ===<br />
*Let's you access the Normal Record mode, choose your folder, and select your input source.<br />
=== Multitrack ===<br />
*This mode allows you to separately record and playback different parts/sound sources. <br />
*You can manage up to 8 tracks per project. Recorded tracks can be edited separately to adjust the output level or balance.<br />
*You can record over an existing track unlike the recorder mode. Edited tracks can be mixed (bounced) into a single file.<br />
=== Lissajous ===<br />
*You must plug in two microphones to use this feature.<br />
*This helps you obtain the optimal positioning of a microphone in order to reduce phase. Phase is the slight difference between two sound waves that is recorded by two different microphones which will produce a slight time difference between the two waveforms which could cancel out certain frequencies.<br />
<gallery><br />
File:Ls-100-lissajous1.png|Lissajous<br />
</gallery><br />
[[category:Media Loan]]</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:LS-100-top.jpg&diff=32260File:LS-100-top.jpg2017-01-23T19:44:26Z<p>Linnettk: Linnettk uploaded a new version of &quot;File:LS-100-top.jpg&quot;</p>
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<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:LS-100-top.jpg&diff=32259File:LS-100-top.jpg2017-01-23T19:43:40Z<p>Linnettk: Linnettk uploaded a new version of &quot;File:LS-100-top.jpg&quot;</p>
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<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:LS-100-top.jpg&diff=32258File:LS-100-top.jpg2017-01-23T19:41:44Z<p>Linnettk: </p>
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<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:Mamiya-top.jpg&diff=32257File:Mamiya-top.jpg2017-01-23T19:33:31Z<p>Linnettk: Linnettk uploaded a new version of &quot;File:Mamiya-top.jpg&quot;</p>
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<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=Medium_Format_Cameras_Gear_Guide&diff=32256Medium Format Cameras Gear Guide2017-01-23T19:32:33Z<p>Linnettk: </p>
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<div>'''A proficiency test is required to check out this camera.''' Schedule a proficiency at the front desk of Media Loan or by calling 360-867-6253. Read this operating guide and complete the written portion of the [[Medium Format Cameras Proficiency Test]] prior to your scheduled proficiency. (You must already be proficient in the 35mm manual Camera before obtaining this proficiency.) Bring your answer sheet with you to the test, which should take approximately 30 - 45 minutes. <br /<br />
[[File:Mamiya-top.jpg|left]]<br />
<br />
<br />
=== General Camera Care ===<br />
Do not drop this camera!<br />
Do not subject the camera to moisture or water!<br />
Do not leave this camera in excessive heat, such as a car!<br />
Do not store this camera in excessive cold! <br />
Do not use excessive physical force! <br />
Return to Media Loan for cleaning!<br />
Do not take the top off of the Pentax 6X7/67II, it will get dust inside! <br />
Media Loan currently carries six brands of Medium Format cameras. This guide will give you the general knowledge you’ll need to operate all of our Medium Format cameras. However, if there are any differences in operation between models, we have listed those differences within each section. <br />
As with all other Media Loan Equipment, the users assume full financial responsibilities when borrowing the cameras from Media Loan.When checking out a Medium Format camera, it is recommended that you also check out:<br />
•Light Meter<br />
•Sync Cable<br />
•Flash<br />
•Tripod<br />
Media Loan has a limited number of Medium Format Cameras. We appreciate your help in caring for this item to insure its long-term use at Evergreen.<br />
=== Film ===<br />
Medium Format cameras usually use 120 film, which allows 12 exposures in 2 1/4 cameras and 10 exposures in the Pentax 6X7/67II. The Pentax 6X7/67II will also accept 220 film which will produce 20 images. 220 film is not recommended as the film is quite susceptible to damage.<br />
=== 2 1/4 Cameras ===<br />
==== Loading Film ====<br />
Place camera neck strap over your head. Hold camera body, bottom-side up with the back facing toward you, with a firm grip on both sides of camera. If you are using the Seagull or Kalimar, push safety lever in and turn locking disk till arrow points to “O”. If you are using the Mamiya, turn the dial with the red dot on the back of the camera so that it points up, then slide it in the direction of the arrow. Open the back cover. Move the empty spool to the top spool chamber. Put unexposed film in the lower chamber, pulling film towards empty spool. Make sure film paper is white side up. Fit tapered end into slot on empty spool. This will help hold the film. Rotate the film-winding knob until the arrow on the film leader is aligned with the dot on the frame. (The dots on the Seagull and Kalimar are hard to see, they are located nearest to the far corners of opening.) <br />
Close the camera back and turn locking disk till arrow points to “C”. (The Seagull and Kalimar knob will click when the back is fully shut.) Wind film until crank stops and “1” appears in the film exposure counter.<br />
Rotate the film advance crank in the opposite direction (counter-clockwise) one half turn until it stops (this step is unnecessary with the Mamiya). This will cock the shutter so that the camera is ready for taking the picture. <br />
Be aware that, while Photo Services at Evergreen will process 220 film, many places may not.<br />
Make sure the camera is stored uncocked. Always load the film in shade or subdued light!<br />
==== Unloading Film ====<br />
After twelve frames are exposed, continue to turn the winding crank until there’s no more tension on the advance crank. At this point, the protective paper of the film should be rolled up to the take-up spool. When unloading the film, keep the spool rolled and hold the film tightly to prevent light exposure. Lick or peel the tab and wrap it firmly around the exposed film. Close the camera back.<br />
==== Viewing & Focusing ====<br />
Lift the back of the lid to open the viewfinder. The magnifier will spring up by pushing the viewfinder cover in or by pushing the lever in the viewfinder to the side. Use the focusing knob on the left (right on the Yashica or, if it is the Mamiya, on both sides near the bottom front) of the camera body to focus. Look through the magnifier and rotate the focusing knob until the two split-images come into one or the main subject image on the focusing screen becomes sharp.<br />
Take special consideration when focusing the Mamiya: unlike the other 2 1/4 cameras, the C33 has a bellows which is fragile and prone to cracking.<br />
The sports finder is the little square window on the back of the viewfinder. It’s used to help you align the lens with a fast-moving subject. Unfortunately, you will not be able to focus the camera while you use this feature.<br />
To close the viewfinder press the sides and fold the lid down.<br />
==== Taking the Picture ====<br />
Hold the camera at waist level. After cocking the shutter, don’t change the shutter speed! Press the shutter release button to take a picture. Wind the crank for the next exposure. Make sure the frame number in the window lines up. (With the Yashica, you must manually cock the shutter each time you wish to make an exposure.)<br />
==== Shutter Speed ====<br />
The shutter speed controls the duration of the exposure. The following table will help you determine the proper shutter speed:<br />
Camera may be <br />
Hand Held Use a Tripod or Brace<br />
Average Pictures Action Pictures Time <br />
Exposure Slow Speeds<br />
1/60 1/125 1/250 1/500 ‘B’ 1 sec 1/2 1/4 1/8 1/15 1/30<br />
<br />
==== Aperture ====<br />
The Lens Aperture controls the amount of light that will pass through the lens onto the light sensitive film. The following examples will help you determine the appropriate setting.<br />
==== Using a Flash ====<br />
To synchronize the flash with the Yashica switch the Synchro Selector MX Switch to “X”. You will need to check out a Vivitar flash and a flash sync cable. Because the Vivitar flash was not designed to be used with the Yashica, it will not properly mount on the hot shoe. Therefore, you’ll need to hold it while taking your picture. The Seagull and the Kalimar should not require a sync cable as they can mount onto the hot shoe.<br />
Caution: Avoid moving the self-timer while the flash sync is set at “M”. It may cause damage to the self-timer. <br />
==== Setting the ASA ====<br />
The ASA rating indicates the film’s sensitivity to light. The higher the ASA number, the less light required for proper exposure. <br />
Most of Media Loan’s Medium Format cameras do not have a built-in light meter. The Yashica has a reminder dial to help you remember the ASA rating, but this dial serves no other purpose. Therefore, when checking out a camera, it is recommended that you also check out a light meter. Handout for the light meter is also available from Media Loan.<br />
=== Pentax 6X7/67II ===<br />
The light meter and other features do not work on the Pentax 6X7/67II unless there is film in the camera.* <br />
This camera is not useful for shooting with flash in the daylight, as its fastest sync speed is 1/30 of a second.<br />
==== Loading Film ====<br />
Note: Make sure that the pressure plate and the film-winding knob are set to the correct film length.<br />
Placing the neck strap over your head and hold the camera body with the bottom and back facing toward you, have a firm grip on the camera. Now pull out the small metal tab on the bottom left-hand side of the camera to release and open the back cover. Turn both metal levers on the bottom of the camera to the left to unlock them (toward the white dot). Make sure the empty spool is on the right side. Put the unexposed film into the left chamber then lock the metal levers on the bottom of the camera. Pull the film toward the empty spool and fit tapered end into the slot; this will help hold the film. Rotate the film advance lever until the arrow on the film leader is aligned with the inside dot according to the size of film you are using. Close the camera back.<br />
==== Unloading the Film ====<br />
After the frames are exposed continue to turn the winding crank a few extra times until there’s no more tension on the advance crank. At this point the protective paper of the film should be rolled up to the take-up spool. When unloading the film keep the spool rolled and hold the film tightly to prevent light exposure. Lick or peel the tab and wrap it firmly around the exposed film. Close the camera back.<br />
==== Using a Flash ====<br />
Plug the flash with a flash cord into the X sync terminal. This will sync with 1/30th of a second and slower. Do not use Media Loan flashes in the FP sync terminal. This requires a special flash bulb. <br />
==== Checking the Battery ====<br />
To check the battery, press the white “Batt. Check” button on the back upper left of the camera. Above the button a red light will light up if the battery is good. If the battery is dead then bring it to Media Loan to be changed.<br />
==== Focus ====<br />
While looking through the viewfinder turn the focus ring until your subject comes into focus. An alternative way of setting the focus is to measure or estimate the distance from the camera to the subject and turn to that number of feet or meters on the focus ring.<br />
==== Light Meter ====<br />
Some of the Pentax 6x7’s have a built in light meter. To turn on the light meter remove the lens cap. Set the exposure by rotating the aperture ring (f stop) of the lens until the needle is in the center position of the meter. It is always a good idea to have a separate light meter from the one in the camera as well.<br />
==== Setting the ISO (Also called ASA) and shutter speed ====<br />
Lift the outer ring on the shutter speed dial (left of the camera), and rotate it until the ASA/ISO number of your film is on the orange arrow. Set the shutter speed by turning the shutter speed dial. Generally you should use a tripod if the shutter speed is slower than 1/30th of a second, but it is recommended to use a tripod for 1/60th of a second and below due to mirror slap and shutter vibration.<br />
<br />
[[category:Media Loan]]</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:Mamiya-top.jpg&diff=32255File:Mamiya-top.jpg2017-01-23T19:32:02Z<p>Linnettk: </p>
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<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=Light_Meters_Quick_Guide&diff=32254Light Meters Quick Guide2017-01-23T19:18:21Z<p>Linnettk: </p>
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<div>[[File:Light-meters-top.jpg|left]]<br />
<br />
===Precautionary Statements===<br />
'''Light meters are delicate instruments, handle with care!<br /><br />
'''Do not open, take apart, drop or handle roughly!<br /><br />
'''Keep the strap around your neck when using the meter.<br /><br />
'''Scratches can collect dirt which may slightly reduce light transmissions and affect the meter’s accuracy.<br /><br />
'''Do not expose meters to magnetic fields, extreme heat, humidity, leave in a locked car or expose to direct sunlight for periods of time.<br /><br />
'''Keep the meter in its case when not in use.'''<br />
<br />
===Media Loan Light Meters===<br />
Media Loan carries 3 basic types of light meters. Sekonic and Tundra analog meters, and a Sekonic digital meter.<br />
===Reflected Light Readings===<br />
<gallery><br />
File:reflective.jpg|Reflective Reading<br />
</gallery><br />
Reflected Light Readings<br />
All of Media Loan’s light meters will read reflected light, which is the light reflected off a subject (see image right). With the Lumigrid accessory, the Sekonic analog meters will measure the light reflected from a scene. The High Slide cannot be used with the Lumigrid accessory for a reflected light reading. Sekonic digital meters and Tundra meters require you to slide the sphere accessory to expose the window below. Use for landscapes and other distant objects.<br />
===Grey Card Readings===<br />
To get an accurate reflected light reading, use an 18 percent grey 'Neutral Test Card' as a substitute for your subject. This card is especially made to reflect 18 percent of the light falling on it, the equivalent of a middle grey on a scale between white and black. The meter will read the grey card as the ideal average scene. If using a grey card is not possible, measure the reflected light from an appropriately lit subject which closely approximates this middle grey tone. ('''Media Loan does not have grey cards.''')<br />
===Incident Light Reading===<br />
<gallery><br />
File:incident.jpg|Incident Reading<br />
</gallery><br />
Incident light is the intensity of light coming from the source (sun, room light, etc.) and falling on a subject that can be measured. This is the equivalent of an 18 percent grey reading. Use for people and close objects.<br />
===Measurement for Movie Camera===<br />
The procedure for taking measurements when using a movie camera is the same as for taking ambient light measurements.<br />
====Motion Picture Camera Shutter Speeds====<br />
Standard frames per second: 24 FPS<br />
Slow motion: 36 FPS or higher<br />
Fast Motion: 18 fps or lower<br />
Shutter Speeds (at 24 FPS unless otherwise noted)<br /><br />
<br />
'''Bolex'''<br />
::1/80th of a second<br />
::1/65th of a second (with RX lenses)<br />
::1/30th of a second (single frame without RX lenses)<br />
'''CP-16'''<br />
::1/55th of a second<br />
'''Oxberry Animation Stand 0.25 second''' (single frame)<br />
===Sekonic Studio Deluxe Light Meters===<br />
<gallery><br />
File:lightmeter2.jpg|Sekonic Analog Meter<br />
</gallery><br />
The Sekonic light meter functions as a dual purpose exposure meter, reading either incident or reflected (luminance) light. This professional, versatile instrument is designed, however, to give the most accurate exposure information based on incident light readings.<br />
====Accessories====<br />
<gallery><br />
File:Extras.jpg|Accessories<br />
</gallery><br />
=====Lumisphere=====<br />
Shaped like a dome, the Lumisphere attachment simulates the curvature of a human face. Position it over the light sensor on the meter’s swivel head. The Lumisphere may only be used for incident light readings.<br /><br />
=====Lumigrid=====<br />
When an incident light reading cannot be taken (distant landscapes, wild animals, etc.), use the Lumigrid accessory to measure reflected light. Reflected light measurement with the Lumigrid accessory is possible only when the intensity of the reflected light exceeds 125 foot candles.<br /><br />
Also, all Lumigrid readings are measured with the red ‘'''H'''' pointer without the High Slide inserted. This accessory works well for reading illuminated or neon subjects.<br /><br />
=====Lumidisk=====<br />
The Lumidisk measures illumination when pointed from the subject directly at an individual light source. It is often used for animation stand and light table work to measure light coming through back lit glass. The Lumidisk is also used to measure the difference between key and fill lights when trying to achieve specific contrast ratios as in close up, studio photography. Documenting these lighting ratios will allow you to control contrast for later duplication of the same scene or light quality. Knowing the contrast ratio is also important because photographic films have varying and limited light sensitivity ranges. Color film, for example, is limited to a four F-stop exposure range, the equivalent of a 16:1 contrast ratio. If the brightest area in a shot reads 160 foot candles, the darkest areas cannot read below 10 foot candles. Exceeding the 16:1 ratio would wash out highlights and blacken shadow details. To decrease contrast ratios, add light to dark areas and/or reduce light in bright areas.<br /><br />
=====High Slide=====<br />
Under brightly lit conditions (when the meter needle pegs to the right) inserting the High Slide into the slot on the top of the swivel head will convert the Sekonic to ‘high illumination measurement’ and readings will be measured in using the ‘'''H'''’ pointer. When the High Slide is not in use, readings should be measured using the ‘'''L'''’ pointer. (Except when using the Lumigrid as previously explained.) When the High Slide is not being used, store it in the meter’s back.<br />
====Zeroing the Light Meter====<br />
Before taking a reading, make sure the meter is zeroed. To do this:<br /><br />
:Hold the light meter upright and eliminate all light reaching the sensor by covering the light port in the swivel head with your hand. This may be done with an accessory installed. Press the needle lock button and release it. The needle should point to zero on the incident light scale. If it doesn’t, return the meter to Media Loan and ask to have the meter zeroed.<br />
====Taking a Light Reading====<br />
Install the appropriate accessory by matching the white dots and turning the accessory clockwise until it stops. Select the film speed by turning the center dial until the appropriate ASA is indicated in the index window ('''ASA is the same as ISO'''). Point the Sekonic’s sensor from the area you want to be ideally exposed, on a line of axis with the camera lens. Be careful not to block light from the sensor. Push the needle lock button and release it. The needle will lock into reading position.<br />
====Reading the Meter====<br />
The needle will point to a foot candle number on the incident scale. Turn the outer dial until the white ‘'''L'''’ pointer corresponds to the foot candle number indicated by the needle. If the needle moves beyond the incident scale (pegs right), as mentioned in the accessories section, insert the High Slide re-measure the light, and line up the outer dial number with the red ‘'''H'''’ pointer. To determine the F-stop consult the Shutter Speed Scale on the bottom of the meter . Choose the shutter speed at which you will shoot. The correct F-stop will be located below the shutter speed.<br />
====Filter Adjustments====<br />
When using filters on your camera, the aperture may need to allow more light onto the film plane. Find out the factor for the filter you’re using and consult the X1/2, X2, and X4 symbols on both sides of the red ‘'''H'''’ and ‘'''L'''’ pointers to increase or decrease exposure. For instance, to double exposure for a filter factor of two, rest the X2 symbol (on the right side of the ‘'''L'''’ or ‘'''H'''’ pointer) under the foot candle number corresponding to your reading.<br />
====EV Window====<br />
=====Exposure Value or light Value=====<br />
This number system is sometimes used to replace the traditional shutter speed and F-stop combinations and is used only with cameras equipped with an E.V.S. scale.<br />
===Sekonic Flashmate Digital Meters===<br />
====Setting the Film Speed====<br />
Pressing down the '''ISO''' button, push up or down buttons to change setting.<br />
====Incident Light Measurement====<br />
For measuring ambient light, mount the lumisphere to swivel head. Switch the meter ON and point lumisphere to the camera from the position where subject is to be measured. Press measuring switch then measured value of F-stop or EV is displayed.<br /><br />
For measuring illumination contrast, mount the lumidisc and switch the meter ON. Point the lumidisc directly toward center of main light. Press measuring switch in EV mode and read-out the measured value. In the same manner, read the EV number of fill-in light. Difference between EV numbers of main and fill-in lights becomes contrast ratio.<br /><br />
For measuring luminance (Lux) set the ISO sensitivity to ISO 100 regardless of your film speed. Place the lumidisc parallel with the measured surface and read EV number in the same manner as for other measurements.<br />
====Reflected Light Measurement====<br />
Mount the lumigrid and switch the meter ON, then point the lumigrid directly toward part of subject to be measured. Measure reflected light from main point of subject as close as possible to the subject. Use adequate care in this case that the meter shadow does not interfere with the light to be measured.<br />
====Post Measurement Calculation====<br />
Calculation dependent upon change of film speed can be made by pressing either side of UP/DOWN key while depressing ISO selecting key.<br /><br />
Calculation dependent dupon change of shutter speed can be made by pressing either side UP/DOWN key only.<br /><br />
Conversion of measuring mode can be made by pressing F/EV selecting key.<br />
====Measuring Range====<br />
When measuring range is exceeded, F-stop or EV number will be replaced with E.o (error-over) or E.u (error-under) mark.<br />
====Measurement for Movie Camera====<br />
The procedure for taking measurements when using a movie camera is the same as for taking ambient light measurements.<br />
===Tundra D3B Light Exposure Meter===<br />
<gallery><br />
File:tundra.jpg|Tundra D3B Light Exposure Meter<br />
</gallery><br />
====Setting the Film Speed====<br />
Rotate the inner dial knob ('''16''') until the speed ('''ISO or DIN''') of your film appears opposite the reference mark in the appropriate window ('''13''') or ('''14''').<br />
====Selecting the Correct Sensitivity Range====<br />
To measure subjects illuminated by normal or bright light sources, push the change-over switch ('''8''') and slide it to the middle position so that high light range scale ('''5''') is seen in the window. Depress the operating button ('''9''') and read the figure on the high light range scale. When metering dim or poorly illuminated scenes, the extra sensitive low light range scale ('''6''') should be used. Push the change-over switch ('''8''') and slide it to the top setting so that the low light range scale ('''6''') is seen in the window.<br /><br />
::Note that the white numbers in the window relate to the Low light range and the yellow numbers relate to the High light range.<br />
====Light Measurements====<br />
=====Reflected Light Measurement=====<br />
Ensure that the white plastic diffuser ('''2''') does not cover the CdS cell window ('''1'''). Point the meter towards the subject, tilting the meter sufficiently downwards, if used outdoors, to avoid measuring sky areas which would inflate the reading and cause underexposure.<br /><br />
<br />
Push the operating button ('''9''') and hold it until you have noted the reading indicated by the pointer.<br /><br />
<br />
Once the number has been noted by the meter pointer, move the outer dial ('''15''') so that the corresponding number around the edge of that dial is in line with the index mark ('''19'''). Any combination of shutter speed and aperture opposite each other on the dial will give the same correct exposure.<br /><br />
<br />
=====Incident Light Measurement=====<br />
With this method the light that is falling on a subject is measured.<br /><br />
<br />
The color contrast or brightness of the subject itself does not influence the reading when using this method. This type of light measurement is especially recommended when the subject has excessive contrast.<br /><br />
<br />
Slide the white plastic diffuser ('''2''') over the CdS cell window ('''1'''). Place the meter at the subject position and point the CdS cell towards the camera or light sources. Take the reading as explained in the previous section for reflected light measurements.<br /><br />
====Exposure Value Settings====<br />
For cameras calibrated in exposure values ('''EV''') readings can be directly made from the scale in the EV number window ('''17''').<br />
[[category:Media Loan]]</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:Light-meters-top.jpg&diff=32253File:Light-meters-top.jpg2017-01-23T19:17:53Z<p>Linnettk: </p>
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<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=35mm_SLR_Camera_Gear_Guide&diff=3225235mm SLR Camera Gear Guide2017-01-23T19:03:12Z<p>Linnettk: </p>
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'''A proficiency test is required to check out these cameras.''' Schedule a proficiency at the front desk of Media Loan or by calling 360-867-6253. Read this operating guide and complete the written portion of the [[35mm SLR Camera Proficiency Test]] prior to your scheduled proficiency. Bring your answer sheet with you to the test, which should take approximately 30 - 45 minutes.<br />
|content=<br />
<br />
[[File:35mm-top.jpg|left]]<br />
===Introduction===<br />
Media Loan has three basic manual 35mm SLR camera models: Pentax K1000, Vivitar V3800N, and the Promaster. All models have: built-in through-the-lens light meter; bayonet K mount 50mm lens and hot shoe for flash. Adjustable for ASA/ISO film speeds 20 to 3200. Shutter speeds range from 1 to 1/1000 second and B (for "bulb", timed exposures). No self-timer is built in, but an adaptor is available for check out.<br />
===Care===<br />
*Do not expose the camera to dust, dirt, extreme heat/cold, or mechanical shocks. <br />
*Always wear the neck strap. <br />
*Never clean the lens with anything but lens tissue and a tiny amount of lens cleaner (or bring back to Media Loan for cleaning). <b>Never touch or clean the reflex mirror inside the camera.</b><br />
*Keep the camera in its case and in a camera bag—especially around salt water (salt air mist will corrode the camera in a short period, resulting in expensive repair bills). <br />
*'''Remember: You the borrower assumes full responsibility for loss or damage when you check out equipment.'''<br />
:::'''Please Note:''' The exposure meter is activated every time you remove the lens cap. It is important you keep the lens cap on except when operating the camera. Leaving the lens cap off will gradually drain the battery, resulting in inaccurate exposure measurements. The lens cap also protects the lens from scratches.<br />
===Lens Information===<br />
<gallery><br />
File:35mm-Front-View.jpg|<br />
File:35mm-Top-View.jpg|<br />
</gallery><br />
The SMC Pentax-A Lens has an "A" setting located on the lens aperture ring next to "22" which does not function with the K1000 body. If you accidentally get the ring locked in the "A" (auto) position, push the small black button next to the "A" and rotate the ring to the aperture scale.<br />
Media Loan has a few lenses available with the K mount: several 28mm (wide angle); a couple of zoom lenses (28 - 105mm) and macro lenses. If you wish to use other focal length lenses, you must use the K to S adapter (available separately) and you must use only S (screw) mount lenses.<br /><br />
<br />
'''WARNING!''': Installing and removing the adapter is tricky. Have the procedure demonstrated for you when first using the adapter or follow the included instructions. The adapter and the camera lens coupling mechanism are easily damaged. Use care to avoid touching the mirror behind the lens. Permanent damage can result. Please keep the adapter and instructions in the protective pouch when not in use!<br /><br />
<br />
Depth of field preview is not possible with the K1000 when equipped with the standard SMC Pentax-A K mount lens. You will see depth-of-field focus when using accessory lenses in combination with the K to S adapter. The adapter does not couple to the automatic diaphragm feature, therefore optional S Mount lenses read and operate in the manual stop-down mode.<br />
<br />
===Basic operaton===<br />
Set the ISO, also called ASA (the film's sensitivity to light) by lifting the outer right ring of the shutter speed dial and rotate it until the ASA/ISO number of your film is opposite the orange dot. Always load film in shade or subdued light.<br />
====Changing the Lens====<br />
<gallery><br />
File:35mm-Lens-Change-Hand.jpg|Changing the Lens<br />
</gallery><br />
'''To remove the Lens'''<br />
# Press the '''Lens Release Lever''' toward the camera body.<br />
# Turn the lens '''Counter-Clockwise'''. <br />
'''To mount a Lens'''<br />
# '''Match the red dot''' on the camera body with the red dot on the lens. <br />
# '''Insert the lens''' into the body and '''Turn it Clockwise''' until the lens locks with a click.<br />
<br />
====Load the film====<br />
Remove the protective case; open the back of the K1000 by pulling up the rewind crank; place the film cassette in the cassette chamber (left side); push down the rewind knob. Insert the film leader into the slot of the take-up spool (right side of chamber). Advance the film by alternately turning the advance lever and pressing the shutter button until both sprockets engage the film perforations, top and bottom. Close the back by pressing it firmly. Cock the film advance lever (and release the shutter) until the exposure counter reads "1." The film is advancing properly if the rewind crank turns counterclockwise while the film advance lever is being wound.<br />
====Shutter speed====<br />
Set shutter speed by turning the shutter speed dial. Generally, you should use the fastest possible shutter speed to avoid blurred pictures caused by camera movement. When using slow shutter speeds of 1/30th of a second or slower (such as in low light situations or for purposely blurring a moving object) it is advisable to use a tripod (available from Media Loan). If using a flash set the shutter speed at 1/60th of a second. (See the Media Loan Vivitar Guide for flash instructions.)<br />
====Focus====<br />
While looking through the viewfinder, turn the focusing ring until your subject comes into '''Sharp Focus'''. <br />
Another way of setting the focus is to <br />
# Measure or estimate the distance from the camera to the subject.<br />
# Turn the focus ring to the number of feet.<br />
<br />
====Taking a Photograph====<br />
# Turn on '''light meter''' by removing the lens cap. <br />
# While looking through the viewfinder, turn the '''focusing ring''' (on the lens) until subject comes into '''sharp focus'''. <br />
# Set the '''exposure''' by rotating the aperture ring (f stop) ring of the lens until the needle on the right side of the viewfinder image is at the center position. <br />
# Hold the camera firmly and release the '''shutter''' and then '''advance the film''' advance lever for the next picture.<br />
====Rewind the film====<br />
You've exposed the last frame of film when the counter is on 20, 24 or 36 and the advance lever will not move. <br />
# Press the black film '''Rewind Button''' on the bottom of the camera.<br />
# '''Crank Your Film''' back into its cassette by flipping the rewind crank out and turning it slowly in the '''Direction of the Arrow''' (clockwise). <br />
# When you feel the tension release, '''Turn the Crank Several Additional Turns'''.<br />
# '''Pull Up on the Rewind Crank''' until the back pops open. <br />
# Remove the film cassette.<br />
# Push the rewind crank back down.<br />
# Close the back of the camera.<br />
# Make sure the lens cap is back on.<br />
<br />
===Questions?===<br />
Ask or call a Media Loan staff person.<br />
<br />
* '''Location:''' Library 2504<br />
* '''Phone:''' (360) 867-6253<br />
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[[category:Media Loan]]</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:35mm-top.jpg&diff=32251File:35mm-top.jpg2017-01-23T19:01:52Z<p>Linnettk: </p>
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<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=Bronica_6x6_Camera_Gear_Guide&diff=32250Bronica 6x6 Camera Gear Guide2017-01-23T18:46:59Z<p>Linnettk: </p>
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<div>'''A proficiency test is required to check out this camera.''' Schedule a proficiency at the front desk of Media Loan or by calling 360-867-6253. Read this operating guide and complete the written portion of the [[Bronica 6x6 Camera Proficiency Test]] prior to your scheduled proficiency. (You must already be proficient in the 35mm manual Camera and in Medium Format cameras before obtaining this proficiency.) Bring your answer sheet with you to the test, which should take approximately 30 - 45 minutes. <br /><br />
<br />
[[File:Bronica-top.jpg|left]]<br />
===Precautions===<br />
* PROTECT FROM EXTREME TEMPERATURE CHANGES<br />
* PROTECT FROM IMPACT AND VIBRATIONS<br />
* PROTECT FROM DIRT, SAND, WATER, VOLCANIC ASH ETC.<br />
* ALWAYS PROTECT THE LENS WITH ITS LENS COVER<br />
* DO NOT OVER TIGHTEN ANYTHING<br />
* DO NOT USE SILICONE-COATED CLOTH ON THE LENS OR VIEWING SCREEN <br />
* HAVE MEDIA LOAN CLEAN CAMERA IF LENS IS DIRTY, PLEASE RETURN THE CAMERA TO MEDIA LOAN IF YOU EXPERIENCE ANY PROBLEMS.<br />
* If broken, DO NOT ATTEMPT TO FIX YOURSELF! <br />
* ''You are 100% financially responsible for the equipment you check out from Media Loan.''<br />
The Bronica does not have a built-in exposure meter so you will need to check out a light meter from Media Loan.<br />
READ ALL INSTRUCTIONS AND BECOME FAMILIAR WITH THE BRONICA BEFORE USE, THE SQ-B MODEL IS PICTURED.<br />
<br />
<gallery><br />
File:Front.png<br />
File:Top.png<br />
File:Crankside.png<br />
File:Otherside.png<br />
File:Spool.png<br />
</gallery><br />
<br />
===Loading the Film=== <br />
* Open the back—squeeze the film holder release buttons (#'s 13 and 14), located on top; right behind the viewfinder (#8), toward each other; the back will spring open and the film holder might fall out, be prepared! Remove the film holder. <br />
* Gently push the top left side spool holder shaft (#27) out (a little trap door will fall open). Insert right end of film onto the right side shaft. Close the little trap door (the left side shaft) and the film spool should be engaged. <br />
* Draw the leading end across the top roller (see diagram) and in front of the pressure plate, emulsion side out. <br />
* Pull across the bottom roller and insert the leading end into the take up spool. <br />
* Wind slightly with film back winding knob (#20) until securely engaged. <br />
* Place film holder on back of camera, making sure it sits snugly. <br />
* Wind film winding crank (#18) until starting point or arrow mark is lined up with red triangle on the left side of top spool holder. <br />
* Close back until it latches securely. <br />
** '''Don't Force It!''' If it will not easily close the film holder is not snug against the camera. Re-adjust it and try again. <br />
* Wind film crank and release shutter until you see the “1” in the exposure counter (#15).<br />
<br />
===Film Advance and Shutter Cocking===<br />
Rotate the film winding crank (#18) forward (clockwise) one time; the film will advance one frame and the shutter will be cocked. You will feel resistance as the crank begins the wind; don’t panic, that’s the shutter being cocked.<br />
===Setting the Aperture and Shutter Speed=== <br />
Use the aperture ring (#4) to set the F-stop. The shutter speed dial (#10) is located on the left side. You can view the speed setting by checking the shutter speed scale (#11). <br />
=== Distance and Depth of Field Scale===<br />
Rotate the focus ring (#3) and line up the distance (the two rows of numbers circling the ring next to the focus ring) with the orange index line that reads 2.8. The depth of field scale (#5) is made up of identical pairs of numbers on either side of the index number. These pairs indicate the distance that will be in focus at these lens openings. The depth of field preview button (#23) is located on the left side of the lens. Media Loan does not have any other lenses or film backs for the Bronica so there is no need to use the lens release button (#24) or the film back release button (#31).<br />
===Viewing and Focusing===<br />
Open the focusing hood by pushing up on the catch (#9) at the rear of the folded finder. The magnifier (#12) is flipped into position by sliding the release (located inside the focusing hood on the right front) to the left, indicated by arrow. The lens is focused by rotating the focus ring (#3) in either direction, while checking the image in the split-image spot in the center of the focusing screen. A cable release can go into #28, the cable release socket.<br />
===Shutter Release===<br />
The release (#1) is located below the lens on the right. If the red dot is lined up with the red L, the shutter is locked; rotate counter clockwise to unlock. The red LED light will light up when you depress the release and the camera is loaded to indicate an exposure has been made. <br />
The LED will not light if:<br />
The shutter release is locked<br />
Film is not advanced or between “S” and “1”<br />
Shutter is not cocked<br />
Lens release button is depressed<br />
All frames have been exposed (i.e., 12 for 120)<br />
The shutter blades will close, under-exposing the film if the winding crank is accidentally rotated before the exposure is completed, as in the case of a slow shutter speed setting.<br />
===Flash Photography===<br />
Plug a flash cord into the flash plug (#2). Do not twist; straight in - straight out. The lens will automatically synchronize all shutter speed settings up to 1/500 of a second. <br />
===Film Unloading===<br />
After completely exposing one roll of film (12 exposures), continue winding until the leader paper is completely wound up, or approximately eight full turns of the advance crank. Then, open the back cover and take out the film holder. Remove the take-up spool from the film holder while holding the exposed film so that it will not unwind. Seal the exposed film.<br />
===Battery Check===<br />
A red LED is located inside the viewfinder. It lights up when the battery check button (#25), located on the left side behind the film speed dial, is pressed and when an exposure is made. Indicates battery is OK.<br />
===Multiple Exposure===<br />
To make multiple exposures, rotate the film winding crank (#18) to advance the film and cock the shutter. Rotate the multiple exposure lever (#17) clockwise, from 12 o’clock to 3 o’clock. It will lock in that position and the shutter can be cocked any number of times without the film advancing. Don’t forget to return the lever to its 12 o’clock position when your multiple exposure is finished.<br />
===Mirror Lock-Up===<br />
The mirror lock-up switch (#21) is located in front of the winding crank. It has 3 settings; N (normal—for shooting without locking up the mirror), S (single frame) or C (continuous—for shooting with the mirror locked up). Rotate the lock-up lever in a counter clockwise direction and line up N, S, or C with the dot. The lens shutter will close completely and the mirror will swing up.<br />
===Infrared Photography===<br />
The red line next to the orange distance index line on the lens barrel is the infrared index. After focusing in the normal manner, reset the distance to the red index line by shifting the distance ring. This will retain focus of the longer infrared rays. <br />
===Differences Between Models===<br />
There are three different models of the Bronica available at Media Loan: SB-Q, ETRS, and ETRSi. They are very similar exept for a few things. For example the lens release buttons are all in a slightly different place, they have different finders, and the exposures are different sizes.<br />
<br />
SB-Q: 6X6, top view, waist level finder, no dark slides available (backs can not be changed) , mirror lock up switch.<br />
<br />
ETRS: 4.5x6, prism finder, interchangable back, no mirror lock up switch.<br />
<br />
ETRSi: 4.5x6, prism finder, interchangable back, mirror lock up switch (same place as the SB-Q but not labeled).<br />
<br />
[[category:Media Loan]]</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:Bronica-top.jpg&diff=32249File:Bronica-top.jpg2017-01-23T18:44:58Z<p>Linnettk: </p>
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<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=16mm_Film_Projector_Operating_Guide&diff=3224816mm Film Projector Operating Guide2017-01-23T18:24:18Z<p>Linnettk: </p>
<hr />
<div>{{TwoColumn|lead=<br />
<br />
[[File:Eiki-top.jpg|left]]<br />
'''A proficiency test is required to check out this projector.''' Schedule a proficiency at the front desk of Media Loan or by calling 360-867-6253. Read this operating guide and complete the written portion of the [[16mm Film Projector Proficiency Test]] prior to your scheduled proficiency. Bring your answer sheet with you to the test, which should take approximately 30 - 45 minutes.<br />
<br />
|content=<br />
===Eiki 16mm Projector===<br />
<gallery><br />
File:Parts_of_the_eiki_projector.jpg|16mm Projector Parts<br />
File:16mm-2.png|16mm Function Lever Panel<br />
</gallery><br />
<br />
===Setting Up===<br />
<br />
{{#ev:vimeo|113955789|600|center|Eiki 16mm Projector - Setting up & Threading}}<br />
<br />
<br />
<br />
* Open the latch on the front of the projector to remove the side cover.<br />
* Raise both <b>Reel Arms</b> until they click.<br />
* Make sure the <b>Function Lever</b> is in the <b>STOP</b> position, then connect the AC power cord into a standard wall outlet. A small lamp located beneath the lens will light up.<br />
* Before you thread the film, you can pre-focus and adjust the size of your picture by turning the function lever to the first forward lamp position. Move the projector back from the screen to enlarge the picture and closer to the screen to make the picture smaller.<br />
* Raise and lower the picture by using the black <b>Elevating Knob</b> on the front of the projector. When the picture is correctly sized and positioned, adjust the <b>Focus</b> knob until the edge of the light is sharp. Turn the <b>Function Lever</b> to stop.<br />
* Place the film to be shown on the <b>Supply Reel Arm</b>. It should feed off in a clockwise direction; the leader of the film will usually be green.<p><br />
* Place a take up reel on the other reel arm making sure its the same size or larger than the supply wheel.<br />
* Lock down both reels by pushing down the small <b>Arm Lock Buttons</b> on the reel arms.<br />
<br />
===Threading===<br />
* Insert the leader of the film into the <b>Film Trimmer</b>.<br />
* Press down firmly on the raised end to cut the film leader to the proper shape.<br />
* Push the <b>Self Threading Control</b> into the self-thread position, then turn the <b>Function Lever</b> clockwise to the first forward position.<br />
* Insert the lead end of the film into the film insert guide where the projector should pull the film in and thread it automatically. <br />
* When enough film has come off the last roller to attach it to the take up reel, turn the <b>Function Lever</b> off.<br />
* Gently tug the end of the film against the last roller to restore the self-threading mechanism to its normal operating position.<br />
* You can also thread the film manually using the diagram on the reverse side of this operating guide.<p><br />
<br />
===Showing Film===<br />
When you've finished loading the film, turn the <b>Function Lever</b> clockwise to the first lamp position (the second lamp position is used only if you need a brighter image). Focus and frame using the controls near the lens as detailed under 'Setting Up.' Turn on the volume and adjust the treble and bass for tone. An external speaker may also be plugged into the front of the projector.<br />
<br />
===Still Frame and Reverse Projection===<br />
* To still frame the picture, depress the <b>Still Picture Clutch</b> lever. The image will be very dark in still frame. The lever must be fully depressed or film frames may get burned. If the shutter is blocking the picture, turn the <b>Function Lever</b> in either direction until the image is no longer blocked.<br />
* For reverse projection, simply turn the <b>Function Lever</b> counterclockwise to the lamp position.<br />
<br />
===Rewinding===<br />
To rewind, wait until the film has run all the way through the projector and attach the loose end to the supply reel. <br />
* Leaving the <b>Function Lever</b> in <b>STOP</b>, move the <b>Rewind Lever</b> down to the <b>REWIND</b> position. If this lever is pressed down when film is threaded through the projector, the film will tear. (To rewind when the film is threaded, turn the <b>Function Lever</b> to <b>REVERSE</b> as explained under 'Reverse Projection.') <br />
* After the film is rewound, put the <b>Rewind Lever</b> back up to its normal position to stop the motor. <br />
* After removing both reels from the arms, push the <b>Arm Lock Buttons</b> and lower the arms. <br />
* Turn off the volume control switch. <br />
* Replace the front cover and the plastic cover. <br />
* The plastic cover should be used to carry the take-up reel and the spare lamps.<br />
<br />
=== CHANGING LAMPS ===<br />
The Eiki projector has two lamps: a PROJECTION LAMP and an EXCITER LAMP, which picks up the optical audio track on the film. To change either lamp: <br />
* First disconnect the projector from the power source and pull out on the top edge of the LAMP HOUSING to remove it.<br />
* To change the PROJECTION LAMP, first pull the black HEAT SHIELD away from the projector. <br />
** Then pull the wire release lever located above the lamp toward you. The lamp may pop out, so be prepared to catch it. <br />
** Make sure the replacement lamp snaps into place; proper seating is essential.<br />
* To change the EXCITER LAMP, pull out on the black EXCITER LAMP COVER. <br />
** Push in on release lever the lamp and turn it.<br />
<gallery><br />
File:Lamp_cover_eiki.jpg|16mm Projector Lamps<br />
</gallery><br />
<br />
=== TROUBLESHOOTING === <br />
* '''No Power''' <br />
** Check power cord connection in wall outlet<br />
** Check outlet for power<br />
* '''Motor Runs but No Projection Light'''<br />
** Replace projection lamp<br />
* '''Motor and Lamp Operate, but Film Does Not Run'''<br />
** Raise Still Picture Clutch<br />
* '''No Sound'''<br />
** Turn volume switch on and increase volume<br />
** Check speaker connection if external speaker is being used<br />
** Replace exciter lamp if it does not light<br />
* '''Poor Sound'''<br />
** Check the lower film loop - rethread if necessary<br />
** Film may be defective, use new film if possible <br />
* '''Poor Picture'''<br />
** Check loops, rethread if necessary<br />
** Clean projector lens with lens tissue<br />
** Refocus lens<br />
** Film may be defective<br />
If these simple adjustments do not correct the problem, return the projector to Media Loan.<p><br />
'''Please note:''' Media Loan is not responsible for film damage. If your projector is not running properly and the above adjustments do not help, remove your film manually and ask someone in Media Loan for help.<br />
<br />
=== MANUAL UNTHREADING OF FILM === <br />
# Unplug projector<br />
# Pull lens out <br />
#Don't push operate/rewind switch <br />
# Push controls in direction of arrows<br />
# Manually thread the film from the supply reel side to the take up reel as pictured below <br />
<gallery><br />
File:Manually_Threading_Eiki.jpeg|Manual Unthreading of Film<br />
</gallery><br />
|sidebar=<br />
{{GetHelp}}<br />
}}<br />
[[category:Media Loan]]</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:Eiki-top.jpg&diff=32247File:Eiki-top.jpg2017-01-23T18:23:16Z<p>Linnettk: </p>
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<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=32057APS Sound Devices 302 Portable Field Mixer2016-11-29T00:00:21Z<p>Linnettk: /* INTRO */</p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
[[File:302cover.jpg|right]]<br />
<br />
===INTRO=== <br />
[[File:302bag.jpg|thumbnail|Look at this neat bag!]]<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio.<br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
[[File:302ins.jpg|thumbnail|Input Panel]]<br />
[[File:302outs.jpg|thumbnail|Output Panel]]<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LOW-CUT & LIMITER====<br />
Each channel has the option to apply a low-cut filter (also known as a high-pass filter). The switch is variable and can used for rolling off at 80Hz or 160Hz. This filter attenuates sound at a rate of 12dB per octave. Use this option to reduce low and unwanted rumbles that can come from wind, room noise, and other background muddiness. A low-cut filter is almost always a good choice for recording voices.<br />
<br />
There is a single limiter switch located just right of the third gain knob. It has three positions, OFF, LIM, and LINK. LIM is for dual-mono use and applies a limiter to inputs and outputs. LINK is for stereo operation. By default, the limited is set to a threshold of +20dB.<br />
<br />
===MONITORING//METERING===<br />
While a decent pair of headphones should always be used to monitor when recording audio (also available as APS and Media Loan,) a visual meter is the primary way to confirm that levels are set and being adjusted properly. This mixer has an LED array that displays the level of each channel.<br />
<br />
====LED METER====<br />
By default, the meter will display output bus levels. It is also capable of sourcing PFL (pre-fader listen) levels, and return input levels. The output bus levels will be the main source to be concerned with. The other two will not usually be necessary to view. From sourcing the outputs levels, the meter can display a variety of information. This is selected by pressing the PK/VU button. PK stands for "peak" and VU for "volume units". By pressing that button, the selections cycled are VU, Peak, Peak-Hold and VU combination,<br />
and Peak and VU combination. If these terms are arbitrary to you, stick with VU. This selection will not affect your audio in anyway, just how it is visually represented to the operator. <br />
<br />
The meter is designed to be used in all lighting situations, even outdoors. Adjust the brightness of the meter by pushing the button with a sun next to it at the bottom left of the meter.<br />
<br />
====HEADPHONE MONITORING====<br />
Headphone monitoring adjustments are made with the two knobs directly under the meter. The right knob changes the volume in the headphones. Set this to a comfortable level but '''remember that this headphone volume does not accurately reflect the output volume being recorded.''' The left knob determines what audio is being sent to the headphones. This mixer offers 11 various sources. Most of these will be arbitrary for most users and selecting '''"M"''' or '''"ST"''' will do you no wrong. See the chart below for a detailed explanation of each selection.<br />
<br />
The LED to the right of the right headphone knob labeled "HP" indicates the headphone circuit is overloading. Turn down your knob!<br />
<br />
{| class="wikitable"<br />
|-<br />
! HP Source !! Description<br />
|-<br />
| 1 (PFL) || PFL solo monitoring of the Channel 1 input signal. The channel is monitored in dual-mono. Pre-Fader, postLimiter,<br />
and post-High-Pass. Useful for setting the channel gain. <br />
|-<br />
| 2 (PFL) || Same as above, for Ch. 2.<br />
|-<br />
| 3 (PFL) || Same as above, for Ch. 3.<br />
|-<br />
| L || Left output bus, monitored in dual-mono. <br />
|-<br />
| R || Right output bus, monitored in dual-mono. <br />
|-<br />
| '''M''' || Summed mono of the left and right output bus.<br />
|-<br />
| '''ST''' || Stereo monitoring of the master output bus. This is the primary monitoring path. <br />
|-<br />
| RTN || Stereo return from the RTN monitor input path.<br />
|-<br />
| M-MS || Monitoring of the mono signal of an MS stereo signal. <br />
|-<br />
| ST-MS || Monitoring of discrete MS signals in the headphones as a decoded stereo signal. <br />
|-<br />
| RTN-MS || Monitoring of discrete MS return signal in the headphones as decoded stereo signal. <br />
|-<br />
|}<br />
<br />
===STEREO RECORDING===<br />
The 302 can record in stereo with either an X/Y pattern or an MS (mid-side) pattern. These are two different miking techniques and require different microphones and different placements. If recording stereo, the technique (X/Y or MS) must be chosen in the set-up menu of the mixer. If planning to record in stereo, please ask us how to do this and we can offer some consulting. <br />
<br />
====302 STEREO OPERATION NOTES====<br />
In an '''X/Y link''', channels 1 and 2 pan switches continue to reflect the same signal routing for each channel.<br />
Channel 2's fader controls the overall level of the stereo pair. The trim knobs and low-cut filters remain independent. <br />
In an '''MS link''' input 1 should be connected to the mid mic and input 2 to the side mic, as labeled on the side of the mixer. Channel 2's fine gain (fader) knob now controls the overall gain of the linked pair. Channel 1's fine gain knob (fader) as well as each channels pan switches are disabled. The coarse gain knob for each channel controls the mid and side levels respectively. There is also a polarity reverse switch just next to Channel 1's coarse gain knob. This flips the polarity of input 2 relative to inputs 1 and 3. This may be needed for MS stereo linking.<br />
<br />
===SLATE MIC & TONE OSCILLATOR===<br />
A cute feature of this mixer is its built in slate mic and tone feature. This is one more reason this mixer is great for film audio. Use the '''slate mic''' by holding the "MIC/1K" switch to the right. Use it to briefly notate which scene is being shot. Use the '''tone oscillator''' to set the levels on devices that are post-mixer in the signal path. The tone oscillator emits a 1 kHz tone at 0dBu. You can use this to set devices level to unity (0 dB) and ensure proper recording. This audio from the slate mic and tone oscillator are recorded on all channels.</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=32055APS Sound Devices 302 Portable Field Mixer2016-11-28T23:59:35Z<p>Linnettk: </p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
[[File:302cover.jpg|right]]<br />
<br />
===INTRO=== <br />
[[File:302bag.jpg|thumbnail]]<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
[[File:302ins.jpg|thumbnail|Input Panel]]<br />
[[File:302outs.jpg|thumbnail|Output Panel]]<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LOW-CUT & LIMITER====<br />
Each channel has the option to apply a low-cut filter (also known as a high-pass filter). The switch is variable and can used for rolling off at 80Hz or 160Hz. This filter attenuates sound at a rate of 12dB per octave. Use this option to reduce low and unwanted rumbles that can come from wind, room noise, and other background muddiness. A low-cut filter is almost always a good choice for recording voices.<br />
<br />
There is a single limiter switch located just right of the third gain knob. It has three positions, OFF, LIM, and LINK. LIM is for dual-mono use and applies a limiter to inputs and outputs. LINK is for stereo operation. By default, the limited is set to a threshold of +20dB.<br />
<br />
===MONITORING//METERING===<br />
While a decent pair of headphones should always be used to monitor when recording audio (also available as APS and Media Loan,) a visual meter is the primary way to confirm that levels are set and being adjusted properly. This mixer has an LED array that displays the level of each channel.<br />
<br />
====LED METER====<br />
By default, the meter will display output bus levels. It is also capable of sourcing PFL (pre-fader listen) levels, and return input levels. The output bus levels will be the main source to be concerned with. The other two will not usually be necessary to view. From sourcing the outputs levels, the meter can display a variety of information. This is selected by pressing the PK/VU button. PK stands for "peak" and VU for "volume units". By pressing that button, the selections cycled are VU, Peak, Peak-Hold and VU combination,<br />
and Peak and VU combination. If these terms are arbitrary to you, stick with VU. This selection will not affect your audio in anyway, just how it is visually represented to the operator. <br />
<br />
The meter is designed to be used in all lighting situations, even outdoors. Adjust the brightness of the meter by pushing the button with a sun next to it at the bottom left of the meter.<br />
<br />
====HEADPHONE MONITORING====<br />
Headphone monitoring adjustments are made with the two knobs directly under the meter. The right knob changes the volume in the headphones. Set this to a comfortable level but '''remember that this headphone volume does not accurately reflect the output volume being recorded.''' The left knob determines what audio is being sent to the headphones. This mixer offers 11 various sources. Most of these will be arbitrary for most users and selecting '''"M"''' or '''"ST"''' will do you no wrong. See the chart below for a detailed explanation of each selection.<br />
<br />
The LED to the right of the right headphone knob labeled "HP" indicates the headphone circuit is overloading. Turn down your knob!<br />
<br />
{| class="wikitable"<br />
|-<br />
! HP Source !! Description<br />
|-<br />
| 1 (PFL) || PFL solo monitoring of the Channel 1 input signal. The channel is monitored in dual-mono. Pre-Fader, postLimiter,<br />
and post-High-Pass. Useful for setting the channel gain. <br />
|-<br />
| 2 (PFL) || Same as above, for Ch. 2.<br />
|-<br />
| 3 (PFL) || Same as above, for Ch. 3.<br />
|-<br />
| L || Left output bus, monitored in dual-mono. <br />
|-<br />
| R || Right output bus, monitored in dual-mono. <br />
|-<br />
| '''M''' || Summed mono of the left and right output bus.<br />
|-<br />
| '''ST''' || Stereo monitoring of the master output bus. This is the primary monitoring path. <br />
|-<br />
| RTN || Stereo return from the RTN monitor input path.<br />
|-<br />
| M-MS || Monitoring of the mono signal of an MS stereo signal. <br />
|-<br />
| ST-MS || Monitoring of discrete MS signals in the headphones as a decoded stereo signal. <br />
|-<br />
| RTN-MS || Monitoring of discrete MS return signal in the headphones as decoded stereo signal. <br />
|-<br />
|}<br />
<br />
===STEREO RECORDING===<br />
The 302 can record in stereo with either an X/Y pattern or an MS (mid-side) pattern. These are two different miking techniques and require different microphones and different placements. If recording stereo, the technique (X/Y or MS) must be chosen in the set-up menu of the mixer. If planning to record in stereo, please ask us how to do this and we can offer some consulting. <br />
<br />
====302 STEREO OPERATION NOTES====<br />
In an '''X/Y link''', channels 1 and 2 pan switches continue to reflect the same signal routing for each channel.<br />
Channel 2's fader controls the overall level of the stereo pair. The trim knobs and low-cut filters remain independent. <br />
In an '''MS link''' input 1 should be connected to the mid mic and input 2 to the side mic, as labeled on the side of the mixer. Channel 2's fine gain (fader) knob now controls the overall gain of the linked pair. Channel 1's fine gain knob (fader) as well as each channels pan switches are disabled. The coarse gain knob for each channel controls the mid and side levels respectively. There is also a polarity reverse switch just next to Channel 1's coarse gain knob. This flips the polarity of input 2 relative to inputs 1 and 3. This may be needed for MS stereo linking.<br />
<br />
===SLATE MIC & TONE OSCILLATOR===<br />
A cute feature of this mixer is its built in slate mic and tone feature. This is one more reason this mixer is great for film audio. Use the '''slate mic''' by holding the "MIC/1K" switch to the right. Use it to briefly notate which scene is being shot. Use the '''tone oscillator''' to set the levels on devices that are post-mixer in the signal path. The tone oscillator emits a 1 kHz tone at 0dBu. You can use this to set devices level to unity (0 dB) and ensure proper recording. This audio from the slate mic and tone oscillator are recorded on all channels.</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=32054APS Sound Devices 302 Portable Field Mixer2016-11-28T23:59:21Z<p>Linnettk: </p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
[[File:302cover.jpg|right]]<br />
<br />
===INTRO=== [[File:302bag.jpg|thumbnail]]<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
[[File:302ins.jpg|thumbnail|Input Panel]]<br />
[[File:302outs.jpg|thumbnail|Output Panel]]<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LOW-CUT & LIMITER====<br />
Each channel has the option to apply a low-cut filter (also known as a high-pass filter). The switch is variable and can used for rolling off at 80Hz or 160Hz. This filter attenuates sound at a rate of 12dB per octave. Use this option to reduce low and unwanted rumbles that can come from wind, room noise, and other background muddiness. A low-cut filter is almost always a good choice for recording voices.<br />
<br />
There is a single limiter switch located just right of the third gain knob. It has three positions, OFF, LIM, and LINK. LIM is for dual-mono use and applies a limiter to inputs and outputs. LINK is for stereo operation. By default, the limited is set to a threshold of +20dB.<br />
<br />
===MONITORING//METERING===<br />
While a decent pair of headphones should always be used to monitor when recording audio (also available as APS and Media Loan,) a visual meter is the primary way to confirm that levels are set and being adjusted properly. This mixer has an LED array that displays the level of each channel.<br />
<br />
====LED METER====<br />
By default, the meter will display output bus levels. It is also capable of sourcing PFL (pre-fader listen) levels, and return input levels. The output bus levels will be the main source to be concerned with. The other two will not usually be necessary to view. From sourcing the outputs levels, the meter can display a variety of information. This is selected by pressing the PK/VU button. PK stands for "peak" and VU for "volume units". By pressing that button, the selections cycled are VU, Peak, Peak-Hold and VU combination,<br />
and Peak and VU combination. If these terms are arbitrary to you, stick with VU. This selection will not affect your audio in anyway, just how it is visually represented to the operator. <br />
<br />
The meter is designed to be used in all lighting situations, even outdoors. Adjust the brightness of the meter by pushing the button with a sun next to it at the bottom left of the meter.<br />
<br />
====HEADPHONE MONITORING====<br />
Headphone monitoring adjustments are made with the two knobs directly under the meter. The right knob changes the volume in the headphones. Set this to a comfortable level but '''remember that this headphone volume does not accurately reflect the output volume being recorded.''' The left knob determines what audio is being sent to the headphones. This mixer offers 11 various sources. Most of these will be arbitrary for most users and selecting '''"M"''' or '''"ST"''' will do you no wrong. See the chart below for a detailed explanation of each selection.<br />
<br />
The LED to the right of the right headphone knob labeled "HP" indicates the headphone circuit is overloading. Turn down your knob!<br />
<br />
{| class="wikitable"<br />
|-<br />
! HP Source !! Description<br />
|-<br />
| 1 (PFL) || PFL solo monitoring of the Channel 1 input signal. The channel is monitored in dual-mono. Pre-Fader, postLimiter,<br />
and post-High-Pass. Useful for setting the channel gain. <br />
|-<br />
| 2 (PFL) || Same as above, for Ch. 2.<br />
|-<br />
| 3 (PFL) || Same as above, for Ch. 3.<br />
|-<br />
| L || Left output bus, monitored in dual-mono. <br />
|-<br />
| R || Right output bus, monitored in dual-mono. <br />
|-<br />
| '''M''' || Summed mono of the left and right output bus.<br />
|-<br />
| '''ST''' || Stereo monitoring of the master output bus. This is the primary monitoring path. <br />
|-<br />
| RTN || Stereo return from the RTN monitor input path.<br />
|-<br />
| M-MS || Monitoring of the mono signal of an MS stereo signal. <br />
|-<br />
| ST-MS || Monitoring of discrete MS signals in the headphones as a decoded stereo signal. <br />
|-<br />
| RTN-MS || Monitoring of discrete MS return signal in the headphones as decoded stereo signal. <br />
|-<br />
|}<br />
<br />
===STEREO RECORDING===<br />
The 302 can record in stereo with either an X/Y pattern or an MS (mid-side) pattern. These are two different miking techniques and require different microphones and different placements. If recording stereo, the technique (X/Y or MS) must be chosen in the set-up menu of the mixer. If planning to record in stereo, please ask us how to do this and we can offer some consulting. <br />
<br />
====302 STEREO OPERATION NOTES====<br />
In an '''X/Y link''', channels 1 and 2 pan switches continue to reflect the same signal routing for each channel.<br />
Channel 2's fader controls the overall level of the stereo pair. The trim knobs and low-cut filters remain independent. <br />
In an '''MS link''' input 1 should be connected to the mid mic and input 2 to the side mic, as labeled on the side of the mixer. Channel 2's fine gain (fader) knob now controls the overall gain of the linked pair. Channel 1's fine gain knob (fader) as well as each channels pan switches are disabled. The coarse gain knob for each channel controls the mid and side levels respectively. There is also a polarity reverse switch just next to Channel 1's coarse gain knob. This flips the polarity of input 2 relative to inputs 1 and 3. This may be needed for MS stereo linking.<br />
<br />
===SLATE MIC & TONE OSCILLATOR===<br />
A cute feature of this mixer is its built in slate mic and tone feature. This is one more reason this mixer is great for film audio. Use the '''slate mic''' by holding the "MIC/1K" switch to the right. Use it to briefly notate which scene is being shot. Use the '''tone oscillator''' to set the levels on devices that are post-mixer in the signal path. The tone oscillator emits a 1 kHz tone at 0dBu. You can use this to set devices level to unity (0 dB) and ensure proper recording. This audio from the slate mic and tone oscillator are recorded on all channels.</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=32053APS Sound Devices 302 Portable Field Mixer2016-11-28T23:58:59Z<p>Linnettk: /* INTRO */</p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
[[File:302cover.jpg|right]]<br />
<br />
===INTRO===[[File:302bag.jpg|thumbnail]]<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
[[File:302bag.jpg|thumbnail]]<br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
[[File:302ins.jpg|thumbnail|Input Panel]]<br />
[[File:302outs.jpg|thumbnail|Output Panel]]<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LOW-CUT & LIMITER====<br />
Each channel has the option to apply a low-cut filter (also known as a high-pass filter). The switch is variable and can used for rolling off at 80Hz or 160Hz. This filter attenuates sound at a rate of 12dB per octave. Use this option to reduce low and unwanted rumbles that can come from wind, room noise, and other background muddiness. A low-cut filter is almost always a good choice for recording voices.<br />
<br />
There is a single limiter switch located just right of the third gain knob. It has three positions, OFF, LIM, and LINK. LIM is for dual-mono use and applies a limiter to inputs and outputs. LINK is for stereo operation. By default, the limited is set to a threshold of +20dB.<br />
<br />
===MONITORING//METERING===<br />
While a decent pair of headphones should always be used to monitor when recording audio (also available as APS and Media Loan,) a visual meter is the primary way to confirm that levels are set and being adjusted properly. This mixer has an LED array that displays the level of each channel.<br />
<br />
====LED METER====<br />
By default, the meter will display output bus levels. It is also capable of sourcing PFL (pre-fader listen) levels, and return input levels. The output bus levels will be the main source to be concerned with. The other two will not usually be necessary to view. From sourcing the outputs levels, the meter can display a variety of information. This is selected by pressing the PK/VU button. PK stands for "peak" and VU for "volume units". By pressing that button, the selections cycled are VU, Peak, Peak-Hold and VU combination,<br />
and Peak and VU combination. If these terms are arbitrary to you, stick with VU. This selection will not affect your audio in anyway, just how it is visually represented to the operator. <br />
<br />
The meter is designed to be used in all lighting situations, even outdoors. Adjust the brightness of the meter by pushing the button with a sun next to it at the bottom left of the meter.<br />
<br />
====HEADPHONE MONITORING====<br />
Headphone monitoring adjustments are made with the two knobs directly under the meter. The right knob changes the volume in the headphones. Set this to a comfortable level but '''remember that this headphone volume does not accurately reflect the output volume being recorded.''' The left knob determines what audio is being sent to the headphones. This mixer offers 11 various sources. Most of these will be arbitrary for most users and selecting '''"M"''' or '''"ST"''' will do you no wrong. See the chart below for a detailed explanation of each selection.<br />
<br />
The LED to the right of the right headphone knob labeled "HP" indicates the headphone circuit is overloading. Turn down your knob!<br />
<br />
{| class="wikitable"<br />
|-<br />
! HP Source !! Description<br />
|-<br />
| 1 (PFL) || PFL solo monitoring of the Channel 1 input signal. The channel is monitored in dual-mono. Pre-Fader, postLimiter,<br />
and post-High-Pass. Useful for setting the channel gain. <br />
|-<br />
| 2 (PFL) || Same as above, for Ch. 2.<br />
|-<br />
| 3 (PFL) || Same as above, for Ch. 3.<br />
|-<br />
| L || Left output bus, monitored in dual-mono. <br />
|-<br />
| R || Right output bus, monitored in dual-mono. <br />
|-<br />
| '''M''' || Summed mono of the left and right output bus.<br />
|-<br />
| '''ST''' || Stereo monitoring of the master output bus. This is the primary monitoring path. <br />
|-<br />
| RTN || Stereo return from the RTN monitor input path.<br />
|-<br />
| M-MS || Monitoring of the mono signal of an MS stereo signal. <br />
|-<br />
| ST-MS || Monitoring of discrete MS signals in the headphones as a decoded stereo signal. <br />
|-<br />
| RTN-MS || Monitoring of discrete MS return signal in the headphones as decoded stereo signal. <br />
|-<br />
|}<br />
<br />
===STEREO RECORDING===<br />
The 302 can record in stereo with either an X/Y pattern or an MS (mid-side) pattern. These are two different miking techniques and require different microphones and different placements. If recording stereo, the technique (X/Y or MS) must be chosen in the set-up menu of the mixer. If planning to record in stereo, please ask us how to do this and we can offer some consulting. <br />
<br />
====302 STEREO OPERATION NOTES====<br />
In an '''X/Y link''', channels 1 and 2 pan switches continue to reflect the same signal routing for each channel.<br />
Channel 2's fader controls the overall level of the stereo pair. The trim knobs and low-cut filters remain independent. <br />
In an '''MS link''' input 1 should be connected to the mid mic and input 2 to the side mic, as labeled on the side of the mixer. Channel 2's fine gain (fader) knob now controls the overall gain of the linked pair. Channel 1's fine gain knob (fader) as well as each channels pan switches are disabled. The coarse gain knob for each channel controls the mid and side levels respectively. There is also a polarity reverse switch just next to Channel 1's coarse gain knob. This flips the polarity of input 2 relative to inputs 1 and 3. This may be needed for MS stereo linking.<br />
<br />
===SLATE MIC & TONE OSCILLATOR===<br />
A cute feature of this mixer is its built in slate mic and tone feature. This is one more reason this mixer is great for film audio. Use the '''slate mic''' by holding the "MIC/1K" switch to the right. Use it to briefly notate which scene is being shot. Use the '''tone oscillator''' to set the levels on devices that are post-mixer in the signal path. The tone oscillator emits a 1 kHz tone at 0dBu. You can use this to set devices level to unity (0 dB) and ensure proper recording. This audio from the slate mic and tone oscillator are recorded on all channels.</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=32052APS Sound Devices 302 Portable Field Mixer2016-11-28T23:58:44Z<p>Linnettk: </p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
[[File:302cover.jpg|right]]<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
[[File:302bag.jpg|thumbnail]]<br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
[[File:302ins.jpg|thumbnail|Input Panel]]<br />
[[File:302outs.jpg|thumbnail|Output Panel]]<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LOW-CUT & LIMITER====<br />
Each channel has the option to apply a low-cut filter (also known as a high-pass filter). The switch is variable and can used for rolling off at 80Hz or 160Hz. This filter attenuates sound at a rate of 12dB per octave. Use this option to reduce low and unwanted rumbles that can come from wind, room noise, and other background muddiness. A low-cut filter is almost always a good choice for recording voices.<br />
<br />
There is a single limiter switch located just right of the third gain knob. It has three positions, OFF, LIM, and LINK. LIM is for dual-mono use and applies a limiter to inputs and outputs. LINK is for stereo operation. By default, the limited is set to a threshold of +20dB.<br />
<br />
===MONITORING//METERING===<br />
While a decent pair of headphones should always be used to monitor when recording audio (also available as APS and Media Loan,) a visual meter is the primary way to confirm that levels are set and being adjusted properly. This mixer has an LED array that displays the level of each channel.<br />
<br />
====LED METER====<br />
By default, the meter will display output bus levels. It is also capable of sourcing PFL (pre-fader listen) levels, and return input levels. The output bus levels will be the main source to be concerned with. The other two will not usually be necessary to view. From sourcing the outputs levels, the meter can display a variety of information. This is selected by pressing the PK/VU button. PK stands for "peak" and VU for "volume units". By pressing that button, the selections cycled are VU, Peak, Peak-Hold and VU combination,<br />
and Peak and VU combination. If these terms are arbitrary to you, stick with VU. This selection will not affect your audio in anyway, just how it is visually represented to the operator. <br />
<br />
The meter is designed to be used in all lighting situations, even outdoors. Adjust the brightness of the meter by pushing the button with a sun next to it at the bottom left of the meter.<br />
<br />
====HEADPHONE MONITORING====<br />
Headphone monitoring adjustments are made with the two knobs directly under the meter. The right knob changes the volume in the headphones. Set this to a comfortable level but '''remember that this headphone volume does not accurately reflect the output volume being recorded.''' The left knob determines what audio is being sent to the headphones. This mixer offers 11 various sources. Most of these will be arbitrary for most users and selecting '''"M"''' or '''"ST"''' will do you no wrong. See the chart below for a detailed explanation of each selection.<br />
<br />
The LED to the right of the right headphone knob labeled "HP" indicates the headphone circuit is overloading. Turn down your knob!<br />
<br />
{| class="wikitable"<br />
|-<br />
! HP Source !! Description<br />
|-<br />
| 1 (PFL) || PFL solo monitoring of the Channel 1 input signal. The channel is monitored in dual-mono. Pre-Fader, postLimiter,<br />
and post-High-Pass. Useful for setting the channel gain. <br />
|-<br />
| 2 (PFL) || Same as above, for Ch. 2.<br />
|-<br />
| 3 (PFL) || Same as above, for Ch. 3.<br />
|-<br />
| L || Left output bus, monitored in dual-mono. <br />
|-<br />
| R || Right output bus, monitored in dual-mono. <br />
|-<br />
| '''M''' || Summed mono of the left and right output bus.<br />
|-<br />
| '''ST''' || Stereo monitoring of the master output bus. This is the primary monitoring path. <br />
|-<br />
| RTN || Stereo return from the RTN monitor input path.<br />
|-<br />
| M-MS || Monitoring of the mono signal of an MS stereo signal. <br />
|-<br />
| ST-MS || Monitoring of discrete MS signals in the headphones as a decoded stereo signal. <br />
|-<br />
| RTN-MS || Monitoring of discrete MS return signal in the headphones as decoded stereo signal. <br />
|-<br />
|}<br />
<br />
===STEREO RECORDING===<br />
The 302 can record in stereo with either an X/Y pattern or an MS (mid-side) pattern. These are two different miking techniques and require different microphones and different placements. If recording stereo, the technique (X/Y or MS) must be chosen in the set-up menu of the mixer. If planning to record in stereo, please ask us how to do this and we can offer some consulting. <br />
<br />
====302 STEREO OPERATION NOTES====<br />
In an '''X/Y link''', channels 1 and 2 pan switches continue to reflect the same signal routing for each channel.<br />
Channel 2's fader controls the overall level of the stereo pair. The trim knobs and low-cut filters remain independent. <br />
In an '''MS link''' input 1 should be connected to the mid mic and input 2 to the side mic, as labeled on the side of the mixer. Channel 2's fine gain (fader) knob now controls the overall gain of the linked pair. Channel 1's fine gain knob (fader) as well as each channels pan switches are disabled. The coarse gain knob for each channel controls the mid and side levels respectively. There is also a polarity reverse switch just next to Channel 1's coarse gain knob. This flips the polarity of input 2 relative to inputs 1 and 3. This may be needed for MS stereo linking.<br />
<br />
===SLATE MIC & TONE OSCILLATOR===<br />
A cute feature of this mixer is its built in slate mic and tone feature. This is one more reason this mixer is great for film audio. Use the '''slate mic''' by holding the "MIC/1K" switch to the right. Use it to briefly notate which scene is being shot. Use the '''tone oscillator''' to set the levels on devices that are post-mixer in the signal path. The tone oscillator emits a 1 kHz tone at 0dBu. You can use this to set devices level to unity (0 dB) and ensure proper recording. This audio from the slate mic and tone oscillator are recorded on all channels.</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:302bag.jpg&diff=32051File:302bag.jpg2016-11-28T23:57:42Z<p>Linnettk: Linnettk uploaded a new version of &quot;File:302bag.jpg&quot;</p>
<hr />
<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:302bag.jpg&diff=32050File:302bag.jpg2016-11-28T23:52:51Z<p>Linnettk: </p>
<hr />
<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=32048APS Sound Devices 302 Portable Field Mixer2016-11-28T23:50:55Z<p>Linnettk: </p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
[[File:302cover.jpg|right]]<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
[[File:302ins.jpg|thumbnail|Input Panel]]<br />
[[File:302outs.jpg|thumbnail|Output Panel]]<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LOW-CUT & LIMITER====<br />
Each channel has the option to apply a low-cut filter (also known as a high-pass filter). The switch is variable and can used for rolling off at 80Hz or 160Hz. This filter attenuates sound at a rate of 12dB per octave. Use this option to reduce low and unwanted rumbles that can come from wind, room noise, and other background muddiness. A low-cut filter is almost always a good choice for recording voices.<br />
<br />
There is a single limiter switch located just right of the third gain knob. It has three positions, OFF, LIM, and LINK. LIM is for dual-mono use and applies a limiter to inputs and outputs. LINK is for stereo operation. By default, the limited is set to a threshold of +20dB.<br />
<br />
===MONITORING//METERING===<br />
While a decent pair of headphones should always be used to monitor when recording audio (also available as APS and Media Loan,) a visual meter is the primary way to confirm that levels are set and being adjusted properly. This mixer has an LED array that displays the level of each channel.<br />
<br />
====LED METER====<br />
By default, the meter will display output bus levels. It is also capable of sourcing PFL (pre-fader listen) levels, and return input levels. The output bus levels will be the main source to be concerned with. The other two will not usually be necessary to view. From sourcing the outputs levels, the meter can display a variety of information. This is selected by pressing the PK/VU button. PK stands for "peak" and VU for "volume units". By pressing that button, the selections cycled are VU, Peak, Peak-Hold and VU combination,<br />
and Peak and VU combination. If these terms are arbitrary to you, stick with VU. This selection will not affect your audio in anyway, just how it is visually represented to the operator. <br />
<br />
The meter is designed to be used in all lighting situations, even outdoors. Adjust the brightness of the meter by pushing the button with a sun next to it at the bottom left of the meter.<br />
<br />
====HEADPHONE MONITORING====<br />
Headphone monitoring adjustments are made with the two knobs directly under the meter. The right knob changes the volume in the headphones. Set this to a comfortable level but '''remember that this headphone volume does not accurately reflect the output volume being recorded.''' The left knob determines what audio is being sent to the headphones. This mixer offers 11 various sources. Most of these will be arbitrary for most users and selecting '''"M"''' or '''"ST"''' will do you no wrong. See the chart below for a detailed explanation of each selection.<br />
<br />
The LED to the right of the right headphone knob labeled "HP" indicates the headphone circuit is overloading. Turn down your knob!<br />
<br />
{| class="wikitable"<br />
|-<br />
! HP Source !! Description<br />
|-<br />
| 1 (PFL) || PFL solo monitoring of the Channel 1 input signal. The channel is monitored in dual-mono. Pre-Fader, postLimiter,<br />
and post-High-Pass. Useful for setting the channel gain. <br />
|-<br />
| 2 (PFL) || Same as above, for Ch. 2.<br />
|-<br />
| 3 (PFL) || Same as above, for Ch. 3.<br />
|-<br />
| L || Left output bus, monitored in dual-mono. <br />
|-<br />
| R || Right output bus, monitored in dual-mono. <br />
|-<br />
| '''M''' || Summed mono of the left and right output bus.<br />
|-<br />
| '''ST''' || Stereo monitoring of the master output bus. This is the primary monitoring path. <br />
|-<br />
| RTN || Stereo return from the RTN monitor input path.<br />
|-<br />
| M-MS || Monitoring of the mono signal of an MS stereo signal. <br />
|-<br />
| ST-MS || Monitoring of discrete MS signals in the headphones as a decoded stereo signal. <br />
|-<br />
| RTN-MS || Monitoring of discrete MS return signal in the headphones as decoded stereo signal. <br />
|-<br />
|}<br />
<br />
===STEREO RECORDING===<br />
The 302 can record in stereo with either an X/Y pattern or an MS (mid-side) pattern. These are two different miking techniques and require different microphones and different placements. If recording stereo, the technique (X/Y or MS) must be chosen in the set-up menu of the mixer. If planning to record in stereo, please ask us how to do this and we can offer some consulting. <br />
<br />
====302 STEREO OPERATION NOTES====<br />
In an '''X/Y link''', channels 1 and 2 pan switches continue to reflect the same signal routing for each channel.<br />
Channel 2's fader controls the overall level of the stereo pair. The trim knobs and low-cut filters remain independent. <br />
In an '''MS link''' input 1 should be connected to the mid mic and input 2 to the side mic, as labeled on the side of the mixer. Channel 2's fine gain (fader) knob now controls the overall gain of the linked pair. Channel 1's fine gain knob (fader) as well as each channels pan switches are disabled. The coarse gain knob for each channel controls the mid and side levels respectively. There is also a polarity reverse switch just next to Channel 1's coarse gain knob. This flips the polarity of input 2 relative to inputs 1 and 3. This may be needed for MS stereo linking.<br />
<br />
===SLATE MIC & TONE OSCILLATOR===<br />
A cute feature of this mixer is its built in slate mic and tone feature. This is one more reason this mixer is great for film audio. Use the '''slate mic''' by holding the "MIC/1K" switch to the right. Use it to briefly notate which scene is being shot. Use the '''tone oscillator''' to set the levels on devices that are post-mixer in the signal path. The tone oscillator emits a 1 kHz tone at 0dBu. You can use this to set devices level to unity (0 dB) and ensure proper recording. This audio from the slate mic and tone oscillator are recorded on all channels.</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=32046APS Sound Devices 302 Portable Field Mixer2016-11-28T23:49:54Z<p>Linnettk: </p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
[[File:302cover.jpg|right]]<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
[[File:302ins.jpg|left|Input Panel]]<br />
[[File:302outs.jpg|right|Output Panel]]<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LOW-CUT & LIMITER====<br />
Each channel has the option to apply a low-cut filter (also known as a high-pass filter). The switch is variable and can used for rolling off at 80Hz or 160Hz. This filter attenuates sound at a rate of 12dB per octave. Use this option to reduce low and unwanted rumbles that can come from wind, room noise, and other background muddiness. A low-cut filter is almost always a good choice for recording voices.<br />
<br />
There is a single limiter switch located just right of the third gain knob. It has three positions, OFF, LIM, and LINK. LIM is for dual-mono use and applies a limiter to inputs and outputs. LINK is for stereo operation. By default, the limited is set to a threshold of +20dB.<br />
<br />
===MONITORING//METERING===<br />
While a decent pair of headphones should always be used to monitor when recording audio (also available as APS and Media Loan,) a visual meter is the primary way to confirm that levels are set and being adjusted properly. This mixer has an LED array that displays the level of each channel.<br />
<br />
====LED METER====<br />
By default, the meter will display output bus levels. It is also capable of sourcing PFL (pre-fader listen) levels, and return input levels. The output bus levels will be the main source to be concerned with. The other two will not usually be necessary to view. From sourcing the outputs levels, the meter can display a variety of information. This is selected by pressing the PK/VU button. PK stands for "peak" and VU for "volume units". By pressing that button, the selections cycled are VU, Peak, Peak-Hold and VU combination,<br />
and Peak and VU combination. If these terms are arbitrary to you, stick with VU. This selection will not affect your audio in anyway, just how it is visually represented to the operator. <br />
<br />
The meter is designed to be used in all lighting situations, even outdoors. Adjust the brightness of the meter by pushing the button with a sun next to it at the bottom left of the meter.<br />
<br />
====HEADPHONE MONITORING====<br />
Headphone monitoring adjustments are made with the two knobs directly under the meter. The right knob changes the volume in the headphones. Set this to a comfortable level but '''remember that this headphone volume does not accurately reflect the output volume being recorded.''' The left knob determines what audio is being sent to the headphones. This mixer offers 11 various sources. Most of these will be arbitrary for most users and selecting '''"M"''' or '''"ST"''' will do you no wrong. See the chart below for a detailed explanation of each selection.<br />
<br />
The LED to the right of the right headphone knob labeled "HP" indicates the headphone circuit is overloading. Turn down your knob!<br />
<br />
{| class="wikitable"<br />
|-<br />
! HP Source !! Description<br />
|-<br />
| 1 (PFL) || PFL solo monitoring of the Channel 1 input signal. The channel is monitored in dual-mono. Pre-Fader, postLimiter,<br />
and post-High-Pass. Useful for setting the channel gain. <br />
|-<br />
| 2 (PFL) || Same as above, for Ch. 2.<br />
|-<br />
| 3 (PFL) || Same as above, for Ch. 3.<br />
|-<br />
| L || Left output bus, monitored in dual-mono. <br />
|-<br />
| R || Right output bus, monitored in dual-mono. <br />
|-<br />
| '''M''' || Summed mono of the left and right output bus.<br />
|-<br />
| '''ST''' || Stereo monitoring of the master output bus. This is the primary monitoring path. <br />
|-<br />
| RTN || Stereo return from the RTN monitor input path.<br />
|-<br />
| M-MS || Monitoring of the mono signal of an MS stereo signal. <br />
|-<br />
| ST-MS || Monitoring of discrete MS signals in the headphones as a decoded stereo signal. <br />
|-<br />
| RTN-MS || Monitoring of discrete MS return signal in the headphones as decoded stereo signal. <br />
|-<br />
|}<br />
<br />
===STEREO RECORDING===<br />
The 302 can record in stereo with either an X/Y pattern or an MS (mid-side) pattern. These are two different miking techniques and require different microphones and different placements. If recording stereo, the technique (X/Y or MS) must be chosen in the set-up menu of the mixer. If planning to record in stereo, please ask us how to do this and we can offer some consulting. <br />
<br />
====302 STEREO OPERATION NOTES====<br />
In an '''X/Y link''', channels 1 and 2 pan switches continue to reflect the same signal routing for each channel.<br />
Channel 2's fader controls the overall level of the stereo pair. The trim knobs and low-cut filters remain independent. <br />
In an '''MS link''' input 1 should be connected to the mid mic and input 2 to the side mic, as labeled on the side of the mixer. Channel 2's fine gain (fader) knob now controls the overall gain of the linked pair. Channel 1's fine gain knob (fader) as well as each channels pan switches are disabled. The coarse gain knob for each channel controls the mid and side levels respectively. There is also a polarity reverse switch just next to Channel 1's coarse gain knob. This flips the polarity of input 2 relative to inputs 1 and 3. This may be needed for MS stereo linking.<br />
<br />
===SLATE MIC & TONE OSCILLATOR===<br />
A cute feature of this mixer is its built in slate mic and tone feature. This is one more reason this mixer is great for film audio. Use the '''slate mic''' by holding the "MIC/1K" switch to the right. Use it to briefly notate which scene is being shot. Use the '''tone oscillator''' to set the levels on devices that are post-mixer in the signal path. The tone oscillator emits a 1 kHz tone at 0dBu. You can use this to set devices level to unity (0 dB) and ensure proper recording. This audio from the slate mic and tone oscillator are recorded on all channels.</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=32045APS Sound Devices 302 Portable Field Mixer2016-11-28T23:48:09Z<p>Linnettk: </p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
[[File:302cover.jpg|right]]<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
[[File:302ins.jpg|Input Panel]] [[File:302outs.jpg|Output Panel|]]<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LOW-CUT & LIMITER====<br />
Each channel has the option to apply a low-cut filter (also known as a high-pass filter). The switch is variable and can used for rolling off at 80Hz or 160Hz. This filter attenuates sound at a rate of 12dB per octave. Use this option to reduce low and unwanted rumbles that can come from wind, room noise, and other background muddiness. A low-cut filter is almost always a good choice for recording voices.<br />
<br />
There is a single limiter switch located just right of the third gain knob. It has three positions, OFF, LIM, and LINK. LIM is for dual-mono use and applies a limiter to inputs and outputs. LINK is for stereo operation. By default, the limited is set to a threshold of +20dB.<br />
<br />
===MONITORING//METERING===<br />
While a decent pair of headphones should always be used to monitor when recording audio (also available as APS and Media Loan,) a visual meter is the primary way to confirm that levels are set and being adjusted properly. This mixer has an LED array that displays the level of each channel.<br />
<br />
====LED METER====<br />
By default, the meter will display output bus levels. It is also capable of sourcing PFL (pre-fader listen) levels, and return input levels. The output bus levels will be the main source to be concerned with. The other two will not usually be necessary to view. From sourcing the outputs levels, the meter can display a variety of information. This is selected by pressing the PK/VU button. PK stands for "peak" and VU for "volume units". By pressing that button, the selections cycled are VU, Peak, Peak-Hold and VU combination,<br />
and Peak and VU combination. If these terms are arbitrary to you, stick with VU. This selection will not affect your audio in anyway, just how it is visually represented to the operator. <br />
<br />
The meter is designed to be used in all lighting situations, even outdoors. Adjust the brightness of the meter by pushing the button with a sun next to it at the bottom left of the meter.<br />
<br />
====HEADPHONE MONITORING====<br />
Headphone monitoring adjustments are made with the two knobs directly under the meter. The right knob changes the volume in the headphones. Set this to a comfortable level but '''remember that this headphone volume does not accurately reflect the output volume being recorded.''' The left knob determines what audio is being sent to the headphones. This mixer offers 11 various sources. Most of these will be arbitrary for most users and selecting '''"M"''' or '''"ST"''' will do you no wrong. See the chart below for a detailed explanation of each selection.<br />
<br />
The LED to the right of the right headphone knob labeled "HP" indicates the headphone circuit is overloading. Turn down your knob!<br />
<br />
{| class="wikitable"<br />
|-<br />
! HP Source !! Description<br />
|-<br />
| 1 (PFL) || PFL solo monitoring of the Channel 1 input signal. The channel is monitored in dual-mono. Pre-Fader, postLimiter,<br />
and post-High-Pass. Useful for setting the channel gain. <br />
|-<br />
| 2 (PFL) || Same as above, for Ch. 2.<br />
|-<br />
| 3 (PFL) || Same as above, for Ch. 3.<br />
|-<br />
| L || Left output bus, monitored in dual-mono. <br />
|-<br />
| R || Right output bus, monitored in dual-mono. <br />
|-<br />
| '''M''' || Summed mono of the left and right output bus.<br />
|-<br />
| '''ST''' || Stereo monitoring of the master output bus. This is the primary monitoring path. <br />
|-<br />
| RTN || Stereo return from the RTN monitor input path.<br />
|-<br />
| M-MS || Monitoring of the mono signal of an MS stereo signal. <br />
|-<br />
| ST-MS || Monitoring of discrete MS signals in the headphones as a decoded stereo signal. <br />
|-<br />
| RTN-MS || Monitoring of discrete MS return signal in the headphones as decoded stereo signal. <br />
|-<br />
|}<br />
<br />
===STEREO RECORDING===<br />
The 302 can record in stereo with either an X/Y pattern or an MS (mid-side) pattern. These are two different miking techniques and require different microphones and different placements. If recording stereo, the technique (X/Y or MS) must be chosen in the set-up menu of the mixer. If planning to record in stereo, please ask us how to do this and we can offer some consulting. <br />
<br />
====302 STEREO OPERATION NOTES====<br />
In an '''X/Y link''', channels 1 and 2 pan switches continue to reflect the same signal routing for each channel.<br />
Channel 2's fader controls the overall level of the stereo pair. The trim knobs and low-cut filters remain independent. <br />
In an '''MS link''' input 1 should be connected to the mid mic and input 2 to the side mic, as labeled on the side of the mixer. Channel 2's fine gain (fader) knob now controls the overall gain of the linked pair. Channel 1's fine gain knob (fader) as well as each channels pan switches are disabled. The coarse gain knob for each channel controls the mid and side levels respectively. There is also a polarity reverse switch just next to Channel 1's coarse gain knob. This flips the polarity of input 2 relative to inputs 1 and 3. This may be needed for MS stereo linking.<br />
<br />
===SLATE MIC & TONE OSCILLATOR===<br />
A cute feature of this mixer is its built in slate mic and tone feature. This is one more reason this mixer is great for film audio. Use the '''slate mic''' by holding the "MIC/1K" switch to the right. Use it to briefly notate which scene is being shot. Use the '''tone oscillator''' to set the levels on devices that are post-mixer in the signal path. The tone oscillator emits a 1 kHz tone at 0dBu. You can use this to set devices level to unity (0 dB) and ensure proper recording. This audio from the slate mic and tone oscillator are recorded on all channels.</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:302outs.jpg&diff=32044File:302outs.jpg2016-11-28T23:46:57Z<p>Linnettk: </p>
<hr />
<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:302ins.jpg&diff=32039File:302ins.jpg2016-11-28T23:42:30Z<p>Linnettk: </p>
<hr />
<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=32037APS Sound Devices 302 Portable Field Mixer2016-11-28T23:38:47Z<p>Linnettk: </p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
[[File:302cover.jpg|right]]<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LOW-CUT & LIMITER====<br />
Each channel has the option to apply a low-cut filter (also known as a high-pass filter). The switch is variable and can used for rolling off at 80Hz or 160Hz. This filter attenuates sound at a rate of 12dB per octave. Use this option to reduce low and unwanted rumbles that can come from wind, room noise, and other background muddiness. A low-cut filter is almost always a good choice for recording voices.<br />
<br />
There is a single limiter switch located just right of the third gain knob. It has three positions, OFF, LIM, and LINK. LIM is for dual-mono use and applies a limiter to inputs and outputs. LINK is for stereo operation. By default, the limited is set to a threshold of +20dB.<br />
<br />
===MONITORING//METERING===<br />
While a decent pair of headphones should always be used to monitor when recording audio (also available as APS and Media Loan,) a visual meter is the primary way to confirm that levels are set and being adjusted properly. This mixer has an LED array that displays the level of each channel.<br />
<br />
====LED METER====<br />
By default, the meter will display output bus levels. It is also capable of sourcing PFL (pre-fader listen) levels, and return input levels. The output bus levels will be the main source to be concerned with. The other two will not usually be necessary to view. From sourcing the outputs levels, the meter can display a variety of information. This is selected by pressing the PK/VU button. PK stands for "peak" and VU for "volume units". By pressing that button, the selections cycled are VU, Peak, Peak-Hold and VU combination,<br />
and Peak and VU combination. If these terms are arbitrary to you, stick with VU. This selection will not affect your audio in anyway, just how it is visually represented to the operator. <br />
<br />
The meter is designed to be used in all lighting situations, even outdoors. Adjust the brightness of the meter by pushing the button with a sun next to it at the bottom left of the meter.<br />
<br />
====HEADPHONE MONITORING====<br />
Headphone monitoring adjustments are made with the two knobs directly under the meter. The right knob changes the volume in the headphones. Set this to a comfortable level but '''remember that this headphone volume does not accurately reflect the output volume being recorded.''' The left knob determines what audio is being sent to the headphones. This mixer offers 11 various sources. Most of these will be arbitrary for most users and selecting '''"M"''' or '''"ST"''' will do you no wrong. See the chart below for a detailed explanation of each selection.<br />
<br />
The LED to the right of the right headphone knob labeled "HP" indicates the headphone circuit is overloading. Turn down your knob!<br />
<br />
{| class="wikitable"<br />
|-<br />
! HP Source !! Description<br />
|-<br />
| 1 (PFL) || PFL solo monitoring of the Channel 1 input signal. The channel is monitored in dual-mono. Pre-Fader, postLimiter,<br />
and post-High-Pass. Useful for setting the channel gain. <br />
|-<br />
| 2 (PFL) || Same as above, for Ch. 2.<br />
|-<br />
| 3 (PFL) || Same as above, for Ch. 3.<br />
|-<br />
| L || Left output bus, monitored in dual-mono. <br />
|-<br />
| R || Right output bus, monitored in dual-mono. <br />
|-<br />
| '''M''' || Summed mono of the left and right output bus.<br />
|-<br />
| '''ST''' || Stereo monitoring of the master output bus. This is the primary monitoring path. <br />
|-<br />
| RTN || Stereo return from the RTN monitor input path.<br />
|-<br />
| M-MS || Monitoring of the mono signal of an MS stereo signal. <br />
|-<br />
| ST-MS || Monitoring of discrete MS signals in the headphones as a decoded stereo signal. <br />
|-<br />
| RTN-MS || Monitoring of discrete MS return signal in the headphones as decoded stereo signal. <br />
|-<br />
|}<br />
<br />
===STEREO RECORDING===<br />
The 302 can record in stereo with either an X/Y pattern or an MS (mid-side) pattern. These are two different miking techniques and require different microphones and different placements. If recording stereo, the technique (X/Y or MS) must be chosen in the set-up menu of the mixer. If planning to record in stereo, please ask us how to do this and we can offer some consulting. <br />
<br />
====302 STEREO OPERATION NOTES====<br />
In an '''X/Y link''', channels 1 and 2 pan switches continue to reflect the same signal routing for each channel.<br />
Channel 2's fader controls the overall level of the stereo pair. The trim knobs and low-cut filters remain independent. <br />
In an '''MS link''' input 1 should be connected to the mid mic and input 2 to the side mic, as labeled on the side of the mixer. Channel 2's fine gain (fader) knob now controls the overall gain of the linked pair. Channel 1's fine gain knob (fader) as well as each channels pan switches are disabled. The coarse gain knob for each channel controls the mid and side levels respectively. There is also a polarity reverse switch just next to Channel 1's coarse gain knob. This flips the polarity of input 2 relative to inputs 1 and 3. This may be needed for MS stereo linking.<br />
<br />
===SLATE MIC & TONE OSCILLATOR===<br />
A cute feature of this mixer is its built in slate mic and tone feature. This is one more reason this mixer is great for film audio. Use the '''slate mic''' by holding the "MIC/1K" switch to the right. Use it to briefly notate which scene is being shot. Use the '''tone oscillator''' to set the levels on devices that are post-mixer in the signal path. The tone oscillator emits a 1 kHz tone at 0dBu. You can use this to set devices level to unity (0 dB) and ensure proper recording. This audio from the slate mic and tone oscillator are recorded on all channels.</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:302cover.jpg&diff=32036File:302cover.jpg2016-11-28T23:36:07Z<p>Linnettk: Linnettk uploaded a new version of &quot;File:302cover.jpg&quot;</p>
<hr />
<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=32035APS Sound Devices 302 Portable Field Mixer2016-11-28T23:35:21Z<p>Linnettk: </p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
[[File:302cover.jpg|framed]]<br />
The Sound Devices 302 mixer is an industry standard field mixer for capturing professional audio. Its superb preamps and circuitry will give your film audio to the next level. It is available through APS at Media Loan. While it is possible to record your film audio directly from your microphones into your recorded (or, if you dare, even straight into the camera), using this mixer as an intermediary will greatly enhance the the overall experience of your film. In film, audio quality is equally if not more important than image quality.<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LOW-CUT & LIMITER====<br />
Each channel has the option to apply a low-cut filter (also known as a high-pass filter). The switch is variable and can used for rolling off at 80Hz or 160Hz. This filter attenuates sound at a rate of 12dB per octave. Use this option to reduce low and unwanted rumbles that can come from wind, room noise, and other background muddiness. A low-cut filter is almost always a good choice for recording voices.<br />
<br />
There is a single limiter switch located just right of the third gain knob. It has three positions, OFF, LIM, and LINK. LIM is for dual-mono use and applies a limiter to inputs and outputs. LINK is for stereo operation. By default, the limited is set to a threshold of +20dB.<br />
<br />
===MONITORING//METERING===<br />
While a decent pair of headphones should always be used to monitor when recording audio (also available as APS and Media Loan,) a visual meter is the primary way to confirm that levels are set and being adjusted properly. This mixer has an LED array that displays the level of each channel.<br />
<br />
====LED METER====<br />
By default, the meter will display output bus levels. It is also capable of sourcing PFL (pre-fader listen) levels, and return input levels. The output bus levels will be the main source to be concerned with. The other two will not usually be necessary to view. From sourcing the outputs levels, the meter can display a variety of information. This is selected by pressing the PK/VU button. PK stands for "peak" and VU for "volume units". By pressing that button, the selections cycled are VU, Peak, Peak-Hold and VU combination,<br />
and Peak and VU combination. If these terms are arbitrary to you, stick with VU. This selection will not affect your audio in anyway, just how it is visually represented to the operator. <br />
<br />
The meter is designed to be used in all lighting situations, even outdoors. Adjust the brightness of the meter by pushing the button with a sun next to it at the bottom left of the meter.<br />
<br />
====HEADPHONE MONITORING====<br />
Headphone monitoring adjustments are made with the two knobs directly under the meter. The right knob changes the volume in the headphones. Set this to a comfortable level but '''remember that this headphone volume does not accurately reflect the output volume being recorded.''' The left knob determines what audio is being sent to the headphones. This mixer offers 11 various sources. Most of these will be arbitrary for most users and selecting '''"M"''' or '''"ST"''' will do you no wrong. See the chart below for a detailed explanation of each selection.<br />
<br />
The LED to the right of the right headphone knob labeled "HP" indicates the headphone circuit is overloading. Turn down your knob!<br />
<br />
{| class="wikitable"<br />
|-<br />
! HP Source !! Description<br />
|-<br />
| 1 (PFL) || PFL solo monitoring of the Channel 1 input signal. The channel is monitored in dual-mono. Pre-Fader, postLimiter,<br />
and post-High-Pass. Useful for setting the channel gain. <br />
|-<br />
| 2 (PFL) || Same as above, for Ch. 2.<br />
|-<br />
| 3 (PFL) || Same as above, for Ch. 3.<br />
|-<br />
| L || Left output bus, monitored in dual-mono. <br />
|-<br />
| R || Right output bus, monitored in dual-mono. <br />
|-<br />
| '''M''' || Summed mono of the left and right output bus.<br />
|-<br />
| '''ST''' || Stereo monitoring of the master output bus. This is the primary monitoring path. <br />
|-<br />
| RTN || Stereo return from the RTN monitor input path.<br />
|-<br />
| M-MS || Monitoring of the mono signal of an MS stereo signal. <br />
|-<br />
| ST-MS || Monitoring of discrete MS signals in the headphones as a decoded stereo signal. <br />
|-<br />
| RTN-MS || Monitoring of discrete MS return signal in the headphones as decoded stereo signal. <br />
|-<br />
|}<br />
<br />
===STEREO RECORDING===<br />
The 302 can record in stereo with either an X/Y pattern or an MS (mid-side) pattern. These are two different miking techniques and require different microphones and different placements. If recording stereo, the technique (X/Y or MS) must be chosen in the set-up menu of the mixer. If planning to record in stereo, please ask us how to do this and we can offer some consulting. <br />
<br />
====302 STEREO OPERATION NOTES====<br />
In an '''X/Y link''', channels 1 and 2 pan switches continue to reflect the same signal routing for each channel.<br />
Channel 2's fader controls the overall level of the stereo pair. The trim knobs and low-cut filters remain independent. <br />
In an '''MS link''' input 1 should be connected to the mid mic and input 2 to the side mic, as labeled on the side of the mixer. Channel 2's fine gain (fader) knob now controls the overall gain of the linked pair. Channel 1's fine gain knob (fader) as well as each channels pan switches are disabled. The coarse gain knob for each channel controls the mid and side levels respectively. There is also a polarity reverse switch just next to Channel 1's coarse gain knob. This flips the polarity of input 2 relative to inputs 1 and 3. This may be needed for MS stereo linking.<br />
<br />
===SLATE MIC & TONE OSCILLATOR===<br />
A cute feature of this mixer is its built in slate mic and tone feature. This is one more reason this mixer is great for film audio. Use the '''slate mic''' by holding the "MIC/1K" switch to the right. Use it to briefly notate which scene is being shot. Use the '''tone oscillator''' to set the levels on devices that are post-mixer in the signal path. The tone oscillator emits a 1 kHz tone at 0dBu. You can use this to set devices level to unity (0 dB) and ensure proper recording. This audio from the slate mic and tone oscillator are recorded on all channels.</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=File:302cover.jpg&diff=32032File:302cover.jpg2016-11-28T23:34:07Z<p>Linnettk: </p>
<hr />
<div></div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=32030APS Sound Devices 302 Portable Field Mixer2016-11-28T23:31:21Z<p>Linnettk: </p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
Under Construction . . .<br />
<br />
The Sound Devices 302 mixer is an industry standard field mixer for capturing professional audio. Its superb preamps and circuitry will give your film audio to the next level. It is available through APS at Media Loan. While it is possible to record your film audio directly from your microphones into your recorded (or, if you dare, even straight into the camera), using this mixer as an intermediary will greatly enhance the the overall experience of your film. In film, audio quality is equally if not more important than image quality.<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LOW-CUT & LIMITER====<br />
Each channel has the option to apply a low-cut filter (also known as a high-pass filter). The switch is variable and can used for rolling off at 80Hz or 160Hz. This filter attenuates sound at a rate of 12dB per octave. Use this option to reduce low and unwanted rumbles that can come from wind, room noise, and other background muddiness. A low-cut filter is almost always a good choice for recording voices.<br />
<br />
There is a single limiter switch located just right of the third gain knob. It has three positions, OFF, LIM, and LINK. LIM is for dual-mono use and applies a limiter to inputs and outputs. LINK is for stereo operation. By default, the limited is set to a threshold of +20dB.<br />
<br />
===MONITORING//METERING===<br />
While a decent pair of headphones should always be used to monitor when recording audio (also available as APS and Media Loan,) a visual meter is the primary way to confirm that levels are set and being adjusted properly. This mixer has an LED array that displays the level of each channel.<br />
<br />
====LED METER====<br />
By default, the meter will display output bus levels. It is also capable of sourcing PFL (pre-fader listen) levels, and return input levels. The output bus levels will be the main source to be concerned with. The other two will not usually be necessary to view. From sourcing the outputs levels, the meter can display a variety of information. This is selected by pressing the PK/VU button. PK stands for "peak" and VU for "volume units". By pressing that button, the selections cycled are VU, Peak, Peak-Hold and VU combination,<br />
and Peak and VU combination. If these terms are arbitrary to you, stick with VU. This selection will not affect your audio in anyway, just how it is visually represented to the operator. <br />
<br />
The meter is designed to be used in all lighting situations, even outdoors. Adjust the brightness of the meter by pushing the button with a sun next to it at the bottom left of the meter.<br />
<br />
====HEADPHONE MONITORING====<br />
Headphone monitoring adjustments are made with the two knobs directly under the meter. The right knob changes the volume in the headphones. Set this to a comfortable level but '''remember that this headphone volume does not accurately reflect the output volume being recorded.''' The left knob determines what audio is being sent to the headphones. This mixer offers 11 various sources. Most of these will be arbitrary for most users and selecting '''"M"''' or '''"ST"''' will do you no wrong. See the chart below for a detailed explanation of each selection.<br />
<br />
The LED to the right of the right headphone knob labeled "HP" indicates the headphone circuit is overloading. Turn down your knob!<br />
<br />
{| class="wikitable"<br />
|-<br />
! HP Source !! Description<br />
|-<br />
| 1 (PFL) || PFL solo monitoring of the Channel 1 input signal. The channel is monitored in dual-mono. Pre-Fader, postLimiter,<br />
and post-High-Pass. Useful for setting the channel gain. <br />
|-<br />
| 2 (PFL) || Same as above, for Ch. 2.<br />
|-<br />
| 3 (PFL) || Same as above, for Ch. 3.<br />
|-<br />
| L || Left output bus, monitored in dual-mono. <br />
|-<br />
| R || Right output bus, monitored in dual-mono. <br />
|-<br />
| '''M''' || Summed mono of the left and right output bus.<br />
|-<br />
| '''ST''' || Stereo monitoring of the master output bus. This is the primary monitoring path. <br />
|-<br />
| RTN || Stereo return from the RTN monitor input path.<br />
|-<br />
| M-MS || Monitoring of the mono signal of an MS stereo signal. <br />
|-<br />
| ST-MS || Monitoring of discrete MS signals in the headphones as a decoded stereo signal. <br />
|-<br />
| RTN-MS || Monitoring of discrete MS return signal in the headphones as decoded stereo signal. <br />
|-<br />
|}<br />
<br />
===STEREO RECORDING===<br />
The 302 can record in stereo with either an X/Y pattern or an MS (mid-side) pattern. These are two different miking techniques and require different microphones and different placements. If recording stereo, the technique (X/Y or MS) must be chosen in the set-up menu of the mixer. If planning to record in stereo, please ask us how to do this and we can offer some consulting. <br />
<br />
====302 STEREO OPERATION NOTES====<br />
In an '''X/Y link''', channels 1 and 2 pan switches continue to reflect the same signal routing for each channel.<br />
Channel 2's fader controls the overall level of the stereo pair. The trim knobs and low-cut filters remain independent. <br />
In an '''MS link''' input 1 should be connected to the mid mic and input 2 to the side mic, as labeled on the side of the mixer. Channel 2's fine gain (fader) knob now controls the overall gain of the linked pair. Channel 1's fine gain knob (fader) as well as each channels pan switches are disabled. The coarse gain knob for each channel controls the mid and side levels respectively. There is also a polarity reverse switch just next to Channel 1's coarse gain knob. This flips the polarity of input 2 relative to inputs 1 and 3. This may be needed for MS stereo linking.<br />
<br />
===SLATE MIC & TONE OSCILLATOR===<br />
A cute feature of this mixer is its built in slate mic and tone feature. This is one more reason this mixer is great for film audio. Use the '''slate mic''' by holding the "MIC/1K" switch to the right. Use it to briefly notate which scene is being shot. Use the '''tone oscillator''' to set the levels on devices that are post-mixer in the signal path. The tone oscillator emits a 1 kHz tone at 0dBu. You can use this to set devices level to unity (0 dB) and ensure proper recording. This audio from the slate mic and tone oscillator are recorded on all channels.</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=32026APS Sound Devices 302 Portable Field Mixer2016-11-28T23:18:58Z<p>Linnettk: /* SLATE MIC */</p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
Under Construction . . .<br />
<br />
The Sound Devices 302 mixer is an industry standard field mixer for capturing professional audio. Its superb preamps and circuitry will give your film audio to the next level. It is available through APS at Media Loan. While it is possible to record your film audio directly from your microphones into your recorded (or, if you dare, even straight into the camera), using this mixer as an intermediary will greatly enhance the the overall experience of your film. In film, audio quality is equally if not more important than image quality.<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LOW-CUT & LIMITER====<br />
Each channel has the option to apply a low-cut filter (also known as a high-pass filter). The switch is variable and can used for rolling off at 80Hz or 160Hz. This filter attenuates sound at a rate of 12dB per octave. Use this option to reduce low and unwanted rumbles that can come from wind, room noise, and other background muddiness. A low-cut filter is almost always a good choice for recording voices.<br />
<br />
There is a single limiter switch located just right of the third gain knob. It has three positions, OFF, LIM, and LINK. LIM is for dual-mono use and applies a limiter to inputs and outputs. LINK is for stereo operation. By default, the limited is set to a threshold of +20dB.<br />
<br />
===MONITORING//METERING===<br />
While a decent pair of headphones should always be used to monitor when recording audio (also available as APS and Media Loan,) a visual meter is the primary way to confirm that levels are set and being adjusted properly. This mixer has an LED array that displays the level of each channel.<br />
<br />
====LED METER====<br />
By default, the meter will display output bus levels. It is also capable of sourcing PFL (pre-fader listen) levels, and return input levels. The output bus levels will be the main source to be concerned with. The other two will not usually be necessary to view. From sourcing the outputs levels, the meter can display a variety of information. This is selected by pressing the PK/VU button. PK stands for "peak" and VU for "volume units". By pressing that button, the selections cycled are VU, Peak, Peak-Hold and VU combination,<br />
and Peak and VU combination. If these terms are arbitrary to you, stick with VU. This selection will not affect your audio in anyway, just how it is visually represented to the operator. <br />
<br />
The meter is designed to be used in all lighting situations, even outdoors. Adjust the brightness of the meter by pushing the button with a sun next to it at the bottom left of the meter.<br />
<br />
====HEADPHONE MONITORING====<br />
Headphone monitoring adjustments are made with the two knobs directly under the meter. The right knob changes the volume in the headphones. Set this to a comfortable level but '''remember that this headphone volume does not accurately reflect the output volume being recorded.''' The left knob determines what audio is being sent to the headphones. This mixer offers 11 various sources. Most of these will be arbitrary for most users and selecting '''"M"''' or '''"ST"''' will do you no wrong. See the chart below for a detailed explanation of each selection.<br />
<br />
The LED to the right of the right headphone knob labeled "HP" indicates the headphone circuit is overloading. Turn down your knob!<br />
<br />
{| class="wikitable"<br />
|-<br />
! HP Source !! Description<br />
|-<br />
| 1 (PFL) || PFL solo monitoring of the Channel 1 input signal. The channel is monitored in dual-mono. Pre-Fader, postLimiter,<br />
and post-High-Pass. Useful for setting the channel gain. <br />
|-<br />
| 2 (PFL) || Same as above, for Ch. 2.<br />
|-<br />
| 3 (PFL) || Same as above, for Ch. 3.<br />
|-<br />
| L || Left output bus, monitored in dual-mono. <br />
|-<br />
| R || Right output bus, monitored in dual-mono. <br />
|-<br />
| '''M''' || Summed mono of the left and right output bus.<br />
|-<br />
| '''ST''' || Stereo monitoring of the master output bus. This is the primary monitoring path. <br />
|-<br />
| RTN || Stereo return from the RTN monitor input path.<br />
|-<br />
| M-MS || Monitoring of the mono signal of an MS stereo signal. <br />
|-<br />
| ST-MS || Monitoring of discrete MS signals in the headphones as a decoded stereo signal. <br />
|-<br />
| RTN-MS || Monitoring of discrete MS return signal in the headphones as decoded stereo signal. <br />
|-<br />
|}<br />
<br />
===STEREO RECORDING===<br />
The 302 can record in stereo with either an X/Y pattern or an MS (mid-side) pattern. These are two different miking techniques and require different microphones and different placements. If recording stereo, the technique (X/Y or MS) must be chosen in the set-up menu of the mixer. If planning to record in stereo, please ask us how to do this and we can offer some consulting. <br />
<br />
====302 STEREO OPERATION NOTES====<br />
In an '''X/Y link''', channels 1 and 2 pan switches continue to reflect the same signal routing for each channel.<br />
Channel 2's fader controls the overall level of the stereo pair. The trim knobs and low-cut filters remain independent. <br />
In an '''MS link''' input 1 should be connected to the mid mic and input 2 to the side mic, as labeled on the side of the mixer. Channel 2's fine gain (fader) knob now controls the overall gain of the linked pair. Channel 1's fine gain knob (fader) as well as each channels pan switches are disabled. The coarse gain knob for each channel controls the mid and side levels respectively. There is also a polarity reverse switch just next to Channel 1's coarse gain knob. This flips the polarity of input 2 relative to inputs 1 and 3. This may be needed for MS stereo linking.<br />
<br />
===SLATE MIC & TONE OSCILLATOR===<br />
A cute feature of this mixer is its built in slate mic and tone feature. This is one more reason this mixer is great for film audio. Use the '''slate mic''' by holding the "MIC/1K" switch to the right. Use it to briefly notate which scene is being shot. Use the '''tone oscillator''' to set the levels on devices that are post-mixer in the signal path. The tone oscillator emits a 1 kHz tone at 0dBu. You can use this to set devices level to unity (0 dB) and ensure proper recording. This audio from the slate mic and tone oscillator are recorded on all channels.<br />
<br />
===ORGANIZING THE BAG===</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=32025APS Sound Devices 302 Portable Field Mixer2016-11-28T23:18:34Z<p>Linnettk: </p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
Under Construction . . .<br />
<br />
The Sound Devices 302 mixer is an industry standard field mixer for capturing professional audio. Its superb preamps and circuitry will give your film audio to the next level. It is available through APS at Media Loan. While it is possible to record your film audio directly from your microphones into your recorded (or, if you dare, even straight into the camera), using this mixer as an intermediary will greatly enhance the the overall experience of your film. In film, audio quality is equally if not more important than image quality.<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LOW-CUT & LIMITER====<br />
Each channel has the option to apply a low-cut filter (also known as a high-pass filter). The switch is variable and can used for rolling off at 80Hz or 160Hz. This filter attenuates sound at a rate of 12dB per octave. Use this option to reduce low and unwanted rumbles that can come from wind, room noise, and other background muddiness. A low-cut filter is almost always a good choice for recording voices.<br />
<br />
There is a single limiter switch located just right of the third gain knob. It has three positions, OFF, LIM, and LINK. LIM is for dual-mono use and applies a limiter to inputs and outputs. LINK is for stereo operation. By default, the limited is set to a threshold of +20dB.<br />
<br />
===MONITORING//METERING===<br />
While a decent pair of headphones should always be used to monitor when recording audio (also available as APS and Media Loan,) a visual meter is the primary way to confirm that levels are set and being adjusted properly. This mixer has an LED array that displays the level of each channel.<br />
<br />
====LED METER====<br />
By default, the meter will display output bus levels. It is also capable of sourcing PFL (pre-fader listen) levels, and return input levels. The output bus levels will be the main source to be concerned with. The other two will not usually be necessary to view. From sourcing the outputs levels, the meter can display a variety of information. This is selected by pressing the PK/VU button. PK stands for "peak" and VU for "volume units". By pressing that button, the selections cycled are VU, Peak, Peak-Hold and VU combination,<br />
and Peak and VU combination. If these terms are arbitrary to you, stick with VU. This selection will not affect your audio in anyway, just how it is visually represented to the operator. <br />
<br />
The meter is designed to be used in all lighting situations, even outdoors. Adjust the brightness of the meter by pushing the button with a sun next to it at the bottom left of the meter.<br />
<br />
====HEADPHONE MONITORING====<br />
Headphone monitoring adjustments are made with the two knobs directly under the meter. The right knob changes the volume in the headphones. Set this to a comfortable level but '''remember that this headphone volume does not accurately reflect the output volume being recorded.''' The left knob determines what audio is being sent to the headphones. This mixer offers 11 various sources. Most of these will be arbitrary for most users and selecting '''"M"''' or '''"ST"''' will do you no wrong. See the chart below for a detailed explanation of each selection.<br />
<br />
The LED to the right of the right headphone knob labeled "HP" indicates the headphone circuit is overloading. Turn down your knob!<br />
<br />
{| class="wikitable"<br />
|-<br />
! HP Source !! Description<br />
|-<br />
| 1 (PFL) || PFL solo monitoring of the Channel 1 input signal. The channel is monitored in dual-mono. Pre-Fader, postLimiter,<br />
and post-High-Pass. Useful for setting the channel gain. <br />
|-<br />
| 2 (PFL) || Same as above, for Ch. 2.<br />
|-<br />
| 3 (PFL) || Same as above, for Ch. 3.<br />
|-<br />
| L || Left output bus, monitored in dual-mono. <br />
|-<br />
| R || Right output bus, monitored in dual-mono. <br />
|-<br />
| '''M''' || Summed mono of the left and right output bus.<br />
|-<br />
| '''ST''' || Stereo monitoring of the master output bus. This is the primary monitoring path. <br />
|-<br />
| RTN || Stereo return from the RTN monitor input path.<br />
|-<br />
| M-MS || Monitoring of the mono signal of an MS stereo signal. <br />
|-<br />
| ST-MS || Monitoring of discrete MS signals in the headphones as a decoded stereo signal. <br />
|-<br />
| RTN-MS || Monitoring of discrete MS return signal in the headphones as decoded stereo signal. <br />
|-<br />
|}<br />
<br />
===STEREO RECORDING===<br />
The 302 can record in stereo with either an X/Y pattern or an MS (mid-side) pattern. These are two different miking techniques and require different microphones and different placements. If recording stereo, the technique (X/Y or MS) must be chosen in the set-up menu of the mixer. If planning to record in stereo, please ask us how to do this and we can offer some consulting. <br />
<br />
====302 STEREO OPERATION NOTES====<br />
In an '''X/Y link''', channels 1 and 2 pan switches continue to reflect the same signal routing for each channel.<br />
Channel 2's fader controls the overall level of the stereo pair. The trim knobs and low-cut filters remain independent. <br />
In an '''MS link''' input 1 should be connected to the mid mic and input 2 to the side mic, as labeled on the side of the mixer. Channel 2's fine gain (fader) knob now controls the overall gain of the linked pair. Channel 1's fine gain knob (fader) as well as each channels pan switches are disabled. The coarse gain knob for each channel controls the mid and side levels respectively. There is also a polarity reverse switch just next to Channel 1's coarse gain knob. This flips the polarity of input 2 relative to inputs 1 and 3. This may be needed for MS stereo linking.<br />
<br />
===SLATE MIC===<br />
A cute feature of this mixer is its built in slate mic and tone feature. This is one more reason this mixer is great for film audio. Use the '''slate mic''' by holding the "MIC/1K" switch to the right. Use it to briefly notate which scene is being shot. Use the '''tone oscillator''' to set the levels on devices that are post-mixer in the signal path. The tone oscillator emits a 1 kHz tone at 0dBu. You can use this to set devices level to unity (0 dB) and ensure proper recording. This audio from the slate mic and tone oscillator are recorded on all channels.<br />
===ORGANIZING THE BAG===</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=32020APS Sound Devices 302 Portable Field Mixer2016-11-28T21:59:01Z<p>Linnettk: </p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
Under Construction . . .<br />
<br />
The Sound Devices 302 mixer is an industry standard field mixer for capturing professional audio. Its superb preamps and circuitry will give your film audio to the next level. It is available through APS at Media Loan. While it is possible to record your film audio directly from your microphones into your recorded (or, if you dare, even straight into the camera), using this mixer as an intermediary will greatly enhance the the overall experience of your film. In film, audio quality is equally if not more important than image quality.<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LOW-CUT & LIMITER====<br />
Each channel has the option to apply a low-cut filter (also known as a high-pass filter). The switch is variable and can used for rolling off at 80Hz or 160Hz. This filter attenuates sound at a rate of 12dB per octave. Use this option to reduce low and unwanted rumbles that can come from wind, room noise, and other background muddiness. A low-cut filter is almost always a good choice for recording voices.<br />
<br />
There is a single limiter switch located just right of the third gain knob. It has three positions, OFF, LIM, and LINK. LIM is for dual-mono use and applies a limiter to inputs and outputs. LINK is for stereo operation. By default, the limited is set to a threshold of +20dB.<br />
<br />
===MONITORING//METERING===<br />
While a decent pair of headphones should always be used to monitor when recording audio (also available as APS and Media Loan,) a visual meter is the primary way to confirm that levels are set and being adjusted properly. This mixer has an LED array that displays the level of each channel.<br />
<br />
====LED METER====<br />
By default, the meter will display output bus levels. It is also capable of sourcing PFL (pre-fader listen) levels, and return input levels. The output bus levels will be the main source to be concerned with. The other two will not usually be necessary to view. From sourcing the outputs levels, the meter can display a variety of information. This is selected by pressing the PK/VU button. PK stands for "peak" and VU for "volume units". By pressing that button, the selections cycled are VU, Peak, Peak-Hold and VU combination,<br />
and Peak and VU combination. If these terms are arbitrary to you, stick with VU. This selection will not affect your audio in anyway, just how it is visually represented to the operator. <br />
<br />
The meter is designed to be used in all lighting situations, even outdoors. Adjust the brightness of the meter by pushing the button with a sun next to it at the bottom left of the meter.<br />
<br />
====HEADPHONE MONITORING====<br />
Headphone monitoring adjustments are made with the two knobs directly under the meter. The right knob changes the volume in the headphones. Set this to a comfortable level but '''remember that this headphone volume does not accurately reflect the output volume being recorded.''' The left knob determines what audio is being sent to the headphones. This mixer offers 11 various sources. Most of these will be arbitrary for most users and selecting '''"M"''' or '''"ST"''' will do you no wrong. See the chart below for a detailed explanation of each selection.<br />
<br />
{| class="wikitable"<br />
|-<br />
! HP Source !! Description<br />
|-<br />
| 1 (PFL) || PFL solo monitoring of the Channel 1 input signal. The channel is monitored in dual-mono. Pre-Fader, postLimiter,<br />
and post-High-Pass. Useful for setting the channel gain. <br />
|-<br />
| 2 (PFL) || Same as above, for Ch. 2.<br />
|-<br />
| 3 (PFL) || Same as above, for Ch. 3.<br />
|-<br />
| L || Left output bus, monitored in dual-mono. <br />
|-<br />
| R || Right output bus, monitored in dual-mono. <br />
|-<br />
| M || Summed mono of the left and right output bus.<br />
|-<br />
| ST || Stereo monitoring of the master output bus. This is the primary monitoring path. <br />
|-<br />
| RTN || Stereo return from the RTN monitor input path.<br />
|-<br />
| M-MS || Monitoring of the mono signal of an MS stereo signal. <br />
|-<br />
| ST-MS || Monitoring of discrete MS signals in the headphones as a decoded stereo signal. <br />
|-<br />
| RTN-MS || Monitoring of discrete MS return signal in the headphones as decoded stereo signal. <br />
|-<br />
|}<br />
<br />
===STEREO RECORDING===<br />
<br />
===ADJUST SETTINGS===<br />
<br />
===SLATE MIC===<br />
<br />
===ORGANIZING THE BAG===</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=31748APS Sound Devices 302 Portable Field Mixer2016-11-16T19:54:09Z<p>Linnettk: /* FILTERS & LIMITER */</p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
Under Construction . . .<br />
<br />
The Sound Devices 302 mixer is an industry standard field mixer for capturing professional audio. Its superb preamps and circuitry will give your film audio to the next level. It is available through APS at Media Loan. While it is possible to record your film audio directly from your microphones into your recorded (or, if you dare, even straight into the camera), using this mixer as an intermediary will greatly enhance the the overall experience of your film. In film, audio quality is equally if not more important than image quality.<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====LO-CUT & LIMITER====<br />
<br />
===READING THE MIXER===<br />
<br />
===STEREO RECORDING===<br />
<br />
===ADJUST SETTINGS===<br />
<br />
===SLATE MIC===<br />
<br />
===ORGANIZING THE BAG===</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=31747APS Sound Devices 302 Portable Field Mixer2016-11-16T19:53:51Z<p>Linnettk: /* FINE TUNING */</p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
Under Construction . . .<br />
<br />
The Sound Devices 302 mixer is an industry standard field mixer for capturing professional audio. Its superb preamps and circuitry will give your film audio to the next level. It is available through APS at Media Loan. While it is possible to record your film audio directly from your microphones into your recorded (or, if you dare, even straight into the camera), using this mixer as an intermediary will greatly enhance the the overall experience of your film. In film, audio quality is equally if not more important than image quality.<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====FILTERS & LIMITER====<br />
<br />
===READING THE MIXER===<br />
<br />
===STEREO RECORDING===<br />
<br />
===ADJUST SETTINGS===<br />
<br />
===SLATE MIC===<br />
<br />
===ORGANIZING THE BAG===</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=31746APS Sound Devices 302 Portable Field Mixer2016-11-16T19:53:19Z<p>Linnettk: </p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
Under Construction . . .<br />
<br />
The Sound Devices 302 mixer is an industry standard field mixer for capturing professional audio. Its superb preamps and circuitry will give your film audio to the next level. It is available through APS at Media Loan. While it is possible to record your film audio directly from your microphones into your recorded (or, if you dare, even straight into the camera), using this mixer as an intermediary will greatly enhance the the overall experience of your film. In film, audio quality is equally if not more important than image quality.<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====FINE TUNING====<br />
<br />
===READING THE MIXER===<br />
<br />
===STEREO RECORDING===<br />
<br />
===ADJUST SETTINGS===<br />
<br />
===SLATE MIC===<br />
<br />
===ORGANIZING THE BAG===</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=31744APS Sound Devices 302 Portable Field Mixer2016-11-16T19:50:39Z<p>Linnettk: </p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
Under Construction . . .<br />
<br />
The Sound Devices 302 mixer is an industry standard field mixer for capturing professional audio. Its superb preamps and circuitry will give your film audio to the next level. It is available through APS at Media Loan. While it is possible to record your film audio directly from your microphones into your recorded (or, if you dare, even straight into the camera), using this mixer as an intermediary will greatly enhance the the overall experience of your film. In film, audio quality is equally if not more important than image quality.<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condenser mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out. <br />
<br />
You will have to tell the mixer where to send each input. This allows for greater control of your signal flow and is done using the "L C R" pan switch assigned to each channel on the front panel of the mixer. Switched to "L" sends that channel to the left output and "R" to the right. "C" sends the channel equally to both outputs.<br />
<br />
Here are some scenarios to help understand when to use each pan setting:<br />
*You have two microphone and want the greatest control over your levels both while recording and in post-production. If one mic is close to your subject and the other is capturing more ambient room noise or is positioned in a place that is exposed to wind, this would be and ideal situation to pan your two inputs to separate outputs (L + R). <br />
*You are filming two people taking and are using a lavalier mic on each person (inputs 1 & 2). You are also using a boom mic to capture the fuller sound of the room (input 3). Sending both lav mics to the same track will make editing in post-production much easier since they will already be consolidated and just need to be synced with the video. These could both be assigned to the left output (L). The boom however will sound different than the lavs and you might want to adjust the levels independently in post or use different effects to process its audio. Sending the boom to the right output (R) will allow you to keep the sources separate while still being able to capture audio from a variety of sources and save you time in post.<br />
*If you needed to have three input sources, capturing similar sources, you could use the pan switches to send all of you inputs bunched together to one output while isolating one of those inputs to its own output channel in order to have more freedom in post. For example, if you wanted input 2 to be and isolated recording, you would pan input 1 right, input 2 center (so it's sending to both outputs), and input 3 right. Now the right output will include all three microphones on one track and the left will keep input 2 isolated.<br />
<br />
====SETTING LEVELS====<br />
Now that your inputs and outputs are setup, it's time to set the levels. This is done from the front panel of the mixer. Each channel has a coarse and a fine trim knob. The course knob should be set first. This is the smaller black knob to the upper right of the fine trim, larger knob. The coarse trim knob is spring loaded. Pushing it in will make it pop out so it can be adjusted. Push it back in so it will be out of the way and safe from accidental movements while recording. Your subject needs to be making noise before you set your levels. If you're recording a person, have them talk while you do this. Ask them about their breakfast, or something like that.<br />
To set this knob, first set the fine trim knob to 0dB (when a level is at 0, it is at "unity"). Then adjust the coarse trim so the LED meter is registering somewhere in the mid range. <br />
Now use the fine trim knob to bring the level up so it sits around -6dB on the meter. The fine trim knob is useful for making quick and small adjustments while recording. This is especially useful if the subject does not have a consistent volume.<br />
<br />
====FINE TUNING====<br />
<br />
===READING THE MIXER===<br />
<br />
===STEREO RECORDING===<br />
<br />
===ADJUST SETTINGS===<br />
<br />
===SLATE MIC===</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Sound_Devices_302_Portable_Field_Mixer&diff=31736APS Sound Devices 302 Portable Field Mixer2016-11-16T19:05:58Z<p>Linnettk: </p>
<hr />
<div><br />
<br />
[[Category:Media Loan]]<br />
Under Construction . . .<br />
<br />
The Sound Devices 302 mixer is an industry standard field mixer for capturing professional audio. Its superb preamps and circuitry will give your film audio to the next level. It is available through APS at Media Loan.<br />
<br />
===INTRO===<br />
Designed to capture audio for film, this high-end mixer features three XLR inputs and two XLR outputs. It includes an AC power adapter but can also be powered by three AA batteries for use in the field. Each channel has both coarse and fine trim knobs, 12V or 48V phantom power, a variable low-cut filter, and a pan selector switch. This mixer's other capabilities like stereo outputs (hence the 3 inputs with only 2 outputs) makes is a versatile tool. Its daylight-visible LED meter, carrying bag that can consolidate the mixer, recorder, and cables makes it convenient for quickly capturing professional audio. <br />
<br />
===GETTING SET UP===<br />
Depending on your power source move the power switch in the bottom right corner to the correct position (INT for using battery bower, EXT for power adapter). Some lights should light up to indicate the mixer is on. <br />
====INS AND OUTS====<br />
Plug your inputs into the left side of the mixer, outputs go in the right side. Next to each input is a mic/line switch and and mic powering switch. Select "PH" to activate phantom power on that input. Either 12V or 48V phantom power can be selected with the switch in the upper right corner. This applies to all inputs with "PH" selected. Most condensor mics that need phantom power will use 48V, but ''always double check and know your microphones!'' "DYN" stands for "dynamic". Since dynamic microphones don't need phantom power, this setting essentially means that powering is turned off for that input. The "T" setting stands for T-power which is another kind of power for some microphones. However, T-power is seldom used and only a small amount of microphones actually use it. <br />
<br />
Despite being an output, the headphone jack is located on the left side of the mixer with the rest of the inputs.<br />
<br />
Plug your outputs into the right side of the mixer. There are three XLR inputs and only two outputs. This is for stereo recording and will be explained below. For now, plug in your outputs and connect them to their destination. This will usually be a recording device. Media Loan offers field recording devices like the [[Olympus LS-100 Multi-Track PCM Recorder Operating Guide|Olympus LS-100]] or the Zoom H6 (APS). Both of these require proficiencies to check out.</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Bolex_Filter_Kit_Quick_Guide&diff=31557APS Bolex Filter Kit Quick Guide2016-11-15T00:02:45Z<p>Linnettk: /* INTRODUCTION */</p>
<hr />
<div>[[File:Filter-case2.jpg]] <br />
[[File:Filter spread2.jpg]]<br />
===INTRODUCTION=== <br />
A filter kit is a useful tool for making real-time adjustments to your film exposure. The guide will cover the contents of the filter kits at APS as well as how and when to use each filter. There are a variety of filters that each have their own effect on the film for achieving things like color correcting, allowing wider apertures (with neutral density [ND] filters), converting daylight balanced film to a tungsten balance and vice versa, or adjusting contrast.<br />
Almost every filter has a specific purpose and can only be used in specific lighting situations. <br />
<br />
'''Most filters require an adjustment to the lens' aperture to ensure a proper exposure.''' To do this set your exposure with your light meter as you normally would. Refer to the chart below or the list on the filter box and open the aperture the extra number of stops that corresponds to the filter in use. As the Bolex lens apertures move in <sup>1</sup>/<sub>2</sub>-stop increments, it may be necessary to have the aperture sit in between two notches.<br />
<br />
There are two kinds of Bolex filter kits at APS, those for black and white film and those for color film. Each type is available for use with both bayonet mounts and turret mounts. Keep in mind that bayonet filter holders can only be used with bayonet mount cameras, and likewise for turret mount cameras. The name of each filter is written on the metal filter carriers.<br />
<br />
You may also look at the chart at the bottom for an idea of the range of filters made. While we do not stock all of these filters, the chart can be helpful to get a sense of the exposure compensation required and other requirements for each filter.<br />
<br />
===CHANGING FILTERS===<br />
Every Bolex comes with an empty removable filter carrier. Whether or not you plan on using filters, this carrier needs to be in the camera while filming to prevent light leaks. For more on basic Bolex operation, read [http://wikis.evergreen.edu/computing/index.php/APS_Bolex_16mm_Reflex_Operating_Guide#Turret_Mount here]. <br />
To use a filter from the kit, remove the empty carrier from the camera. On cameras with turret mounts, the carriers look like those photographed above and simply slide out of the camera. On cameras with bayonet mounts, the filter carriers have a moveable handle that must be raised out of the camera before it can be removed.<br />
<br />
===CARE===<br />
The filters themselves are fragile. Since all of the light that your film will capture must first pass through the filter before an image is created on the film, having a clean filter is imperative for having a clean image. <br />
<br />
Here are some quick points to help keep them in top shape:<br />
* Do not ever touch the filter with your fingers, otherwise moisture and grease from your skin will transfer onto the filter<br />
* Do no leave the filters in the car or any other place that can trap heat, get too hot, and warp the filters<br />
* If there is debris on the filter, blow it away with a can of compressed air, or gently use a tissue. Don't blow on it.<br />
* When not in use, put the filter back in the case (common sense). Keeping them in the order listed on the case is courteous and will result in bonus points for you.<br />
<br />
===BLACK & WHITE KITS===<br />
{| class="wikitable"<br />
|-<br />
! Filter Name !! f-stop Increase !! Use <br />
|-<br />
| Red 25 || +3 || Creates dramatic sky effects. Simulates moonlight in midday by slight under-exposure.<br />
|-<br />
| Yellow 8 || +⅔ || Tonal correction for outdoors. Makes greater contrast in foliage and in clouds against a blue sky.<br />
|-<br />
| Yellow 15 || +1 || Creates dramatic dark skies and marine scenes.<br />
|-<br />
| ND3 || +1 || Blocks light to allow wider aperture. <br />
|-<br />
| ND6 || +2 || Blocks light to allow wider aperture. <br />
|}<br />
<br />
===COLOR KITS===<br />
{| class="wikitable"<br />
|-<br />
! Filter Name !! f-stop Increase !! Use <br />
|-<br />
| Sky 1A || 0 || Use anytime outdoors to reduce blues and add warmth.<br />
|-<br />
| 80A || +2 || Converts daylight film for use with 3200°K lamps.<br />
|-<br />
| 85 || +⅔ || Converts tungsten balanced film to daylight balance.<br />
|-<br />
| 85N3 || +1 ⅔ || Filter 85 combined with a .3 neutral density filter.<br />
|-<br />
| 85N6 || +2 ⅔ || Filter 85 combined with a .6 neutral density filter.<br />
|}<br />
[[Category:Media Loan]]<br />
<br />
<br />
<br />
===COMPREHENSIVE LIST===<br />
[[File:BW guide.jpg|Black & White]]<br />
<br />
<br />
<br />
<br />
[[File:Color guide 1.jpg|Color 1]]<br />
<br />
<br />
<br />
<br />
[[File:Color guide 2.jpg|Color 2]]</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Bolex_Filter_Kit_Quick_Guide&diff=31556APS Bolex Filter Kit Quick Guide2016-11-14T23:55:00Z<p>Linnettk: /* INTRODUCTION */</p>
<hr />
<div>[[File:Filter-case2.jpg]] <br />
[[File:Filter spread2.jpg]]<br />
===INTRODUCTION=== <br />
A filter kit is a useful tool for making real-time adjustments to your film exposure. The guide will cover the contents of the filter kits at APS as well as how and when to use each filter. There are a variety of filters that each have their own effect on the film for achieving things like color correcting, allowing wider apertures (with neutral density [ND] filters), converting daylight balanced film to a tungsten balance and vice versa, or adjusting contrast.<br />
Almost every filter has a specific purpose and can only be used in specific lighting situations. <br />
<br />
'''Most filters require an adjustment to the lens' aperture to ensure a proper exposure.''' To do this set your exposure with your light meter as you normally would. Refer to the chart below or the list on the filter box and open the aperture the extra number of stops that corresponds to the filter in use. <br />
<br />
There are two kinds of Bolex filter kits at APS, those for black and white film and those for color film. Each type is available for use with both bayonet mounts and turret mounts. Keep in mind that bayonet filter holders can only be used with bayonet mount cameras, and likewise for turret mount cameras. The name of each filter is written on the metal filter carriers.<br />
<br />
You may also look at the chart at the bottom for an idea of the range of filters made. While we do not stock all of these filters, the chart can be helpful to get a sense of the exposure compensation required and other requirements for each filter.<br />
<br />
===CHANGING FILTERS===<br />
Every Bolex comes with an empty removable filter carrier. Whether or not you plan on using filters, this carrier needs to be in the camera while filming to prevent light leaks. For more on basic Bolex operation, read [http://wikis.evergreen.edu/computing/index.php/APS_Bolex_16mm_Reflex_Operating_Guide#Turret_Mount here]. <br />
To use a filter from the kit, remove the empty carrier from the camera. On cameras with turret mounts, the carriers look like those photographed above and simply slide out of the camera. On cameras with bayonet mounts, the filter carriers have a moveable handle that must be raised out of the camera before it can be removed.<br />
<br />
===CARE===<br />
The filters themselves are fragile. Since all of the light that your film will capture must first pass through the filter before an image is created on the film, having a clean filter is imperative for having a clean image. <br />
<br />
Here are some quick points to help keep them in top shape:<br />
* Do not ever touch the filter with your fingers, otherwise moisture and grease from your skin will transfer onto the filter<br />
* Do no leave the filters in the car or any other place that can trap heat, get too hot, and warp the filters<br />
* If there is debris on the filter, blow it away with a can of compressed air, or gently use a tissue. Don't blow on it.<br />
* When not in use, put the filter back in the case (common sense). Keeping them in the order listed on the case is courteous and will result in bonus points for you.<br />
<br />
===BLACK & WHITE KITS===<br />
{| class="wikitable"<br />
|-<br />
! Filter Name !! f-stop Increase !! Use <br />
|-<br />
| Red 25 || +3 || Creates dramatic sky effects. Simulates moonlight in midday by slight under-exposure.<br />
|-<br />
| Yellow 8 || +⅔ || Tonal correction for outdoors. Makes greater contrast in foliage and in clouds against a blue sky.<br />
|-<br />
| Yellow 15 || +1 || Creates dramatic dark skies and marine scenes.<br />
|-<br />
| ND3 || +1 || Blocks light to allow wider aperture. <br />
|-<br />
| ND6 || +2 || Blocks light to allow wider aperture. <br />
|}<br />
<br />
===COLOR KITS===<br />
{| class="wikitable"<br />
|-<br />
! Filter Name !! f-stop Increase !! Use <br />
|-<br />
| Sky 1A || 0 || Use anytime outdoors to reduce blues and add warmth.<br />
|-<br />
| 80A || +2 || Converts daylight film for use with 3200°K lamps.<br />
|-<br />
| 85 || +⅔ || Converts tungsten balanced film to daylight balance.<br />
|-<br />
| 85N3 || +1 ⅔ || Filter 85 combined with a .3 neutral density filter.<br />
|-<br />
| 85N6 || +2 ⅔ || Filter 85 combined with a .6 neutral density filter.<br />
|}<br />
[[Category:Media Loan]]<br />
<br />
<br />
<br />
===COMPREHENSIVE LIST===<br />
[[File:BW guide.jpg|Black & White]]<br />
<br />
<br />
<br />
<br />
[[File:Color guide 1.jpg|Color 1]]<br />
<br />
<br />
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[[File:Color guide 2.jpg|Color 2]]</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Bolex_Filter_Kit_Quick_Guide&diff=31555APS Bolex Filter Kit Quick Guide2016-11-14T23:51:32Z<p>Linnettk: /* CARE */</p>
<hr />
<div>[[File:Filter-case2.jpg]] <br />
[[File:Filter spread2.jpg]]<br />
===INTRODUCTION=== <br />
A filter kit is a useful tool for making real-time adjustments to your film exposure. The guide will cover the contents of the filter kits at APS as well as how and when to use each filter. There are a variety of filters that each have their own effect on the film for achieving things like color correcting, allowing wider apertures (with neutral density [ND] filters), converting daylight balanced film to a tungsten balance and vice versa, or adjusting contrast.<br />
Almost every filter has a specific purpose and can only be used in specific lighting situations. <br />
<br />
There are two kinds of Bolex filter kits at APS, those for black and white film and those for color film. Each type is available for use with both bayonet mounts and turret mounts. Keep in mind that bayonet filter holders can only be used with bayonet mount cameras, and likewise for turret mount cameras. The name of each filter is written on the metal filter carriers.<br />
<br />
You may also look at the chart at the bottom for an idea of the range of filters made. While we do not stock all of these filters, the chart can be helpful to get a sense of the exposure compensation required and other requirements for each filter.<br />
<br />
===CHANGING FILTERS===<br />
Every Bolex comes with an empty removable filter carrier. Whether or not you plan on using filters, this carrier needs to be in the camera while filming to prevent light leaks. For more on basic Bolex operation, read [http://wikis.evergreen.edu/computing/index.php/APS_Bolex_16mm_Reflex_Operating_Guide#Turret_Mount here]. <br />
To use a filter from the kit, remove the empty carrier from the camera. On cameras with turret mounts, the carriers look like those photographed above and simply slide out of the camera. On cameras with bayonet mounts, the filter carriers have a moveable handle that must be raised out of the camera before it can be removed.<br />
<br />
===CARE===<br />
The filters themselves are fragile. Since all of the light that your film will capture must first pass through the filter before an image is created on the film, having a clean filter is imperative for having a clean image. <br />
<br />
Here are some quick points to help keep them in top shape:<br />
* Do not ever touch the filter with your fingers, otherwise moisture and grease from your skin will transfer onto the filter<br />
* Do no leave the filters in the car or any other place that can trap heat, get too hot, and warp the filters<br />
* If there is debris on the filter, blow it away with a can of compressed air, or gently use a tissue. Don't blow on it.<br />
* When not in use, put the filter back in the case (common sense). Keeping them in the order listed on the case is courteous and will result in bonus points for you.<br />
<br />
===BLACK & WHITE KITS===<br />
{| class="wikitable"<br />
|-<br />
! Filter Name !! f-stop Increase !! Use <br />
|-<br />
| Red 25 || +3 || Creates dramatic sky effects. Simulates moonlight in midday by slight under-exposure.<br />
|-<br />
| Yellow 8 || +⅔ || Tonal correction for outdoors. Makes greater contrast in foliage and in clouds against a blue sky.<br />
|-<br />
| Yellow 15 || +1 || Creates dramatic dark skies and marine scenes.<br />
|-<br />
| ND3 || +1 || Blocks light to allow wider aperture. <br />
|-<br />
| ND6 || +2 || Blocks light to allow wider aperture. <br />
|}<br />
<br />
===COLOR KITS===<br />
{| class="wikitable"<br />
|-<br />
! Filter Name !! f-stop Increase !! Use <br />
|-<br />
| Sky 1A || 0 || Use anytime outdoors to reduce blues and add warmth.<br />
|-<br />
| 80A || +2 || Converts daylight film for use with 3200°K lamps.<br />
|-<br />
| 85 || +⅔ || Converts tungsten balanced film to daylight balance.<br />
|-<br />
| 85N3 || +1 ⅔ || Filter 85 combined with a .3 neutral density filter.<br />
|-<br />
| 85N6 || +2 ⅔ || Filter 85 combined with a .6 neutral density filter.<br />
|}<br />
[[Category:Media Loan]]<br />
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<br />
<br />
===COMPREHENSIVE LIST===<br />
[[File:BW guide.jpg|Black & White]]<br />
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<br />
<br />
<br />
[[File:Color guide 1.jpg|Color 1]]<br />
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[[File:Color guide 2.jpg|Color 2]]</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Bolex_Filter_Kit_Quick_Guide&diff=31554APS Bolex Filter Kit Quick Guide2016-11-14T23:51:06Z<p>Linnettk: </p>
<hr />
<div>[[File:Filter-case2.jpg]] <br />
[[File:Filter spread2.jpg]]<br />
===INTRODUCTION=== <br />
A filter kit is a useful tool for making real-time adjustments to your film exposure. The guide will cover the contents of the filter kits at APS as well as how and when to use each filter. There are a variety of filters that each have their own effect on the film for achieving things like color correcting, allowing wider apertures (with neutral density [ND] filters), converting daylight balanced film to a tungsten balance and vice versa, or adjusting contrast.<br />
Almost every filter has a specific purpose and can only be used in specific lighting situations. <br />
<br />
There are two kinds of Bolex filter kits at APS, those for black and white film and those for color film. Each type is available for use with both bayonet mounts and turret mounts. Keep in mind that bayonet filter holders can only be used with bayonet mount cameras, and likewise for turret mount cameras. The name of each filter is written on the metal filter carriers.<br />
<br />
You may also look at the chart at the bottom for an idea of the range of filters made. While we do not stock all of these filters, the chart can be helpful to get a sense of the exposure compensation required and other requirements for each filter.<br />
<br />
===CHANGING FILTERS===<br />
Every Bolex comes with an empty removable filter carrier. Whether or not you plan on using filters, this carrier needs to be in the camera while filming to prevent light leaks. For more on basic Bolex operation, read [http://wikis.evergreen.edu/computing/index.php/APS_Bolex_16mm_Reflex_Operating_Guide#Turret_Mount here]. <br />
To use a filter from the kit, remove the empty carrier from the camera. On cameras with turret mounts, the carriers look like those photographed above and simply slide out of the camera. On cameras with bayonet mounts, the filter carriers have a moveable handle that must be raised out of the camera before it can be removed.<br />
<br />
===CARE===<br />
The filters themselves are fragile. Since all of the light that your film will capture must first pass through the filter before an image is created on the film, having a clean filter is imperative for having a clean image. <br />
<br />
Here are some quick points to help keep them in top shape:<br />
* Bulleted list itemDo not ever touch the filter with your fingers, otherwise moisture and grease from your skin will transfer onto the filter<br />
* Bulleted list itemDo no leave the filters in the car or any other place that can trap heat, get too hot, and warp the filters<br />
* Bulleted list itemIf there is debris on the filter, blow it away with a can of compressed air, or gently use a tissue. Don't blow on it.<br />
* Bulleted list itemWhen not in use, put the filter back in the case (common sense). Keeping them in the order listed on the case is courteous and will result in bonus points for you.<br />
<br />
<br />
===BLACK & WHITE KITS===<br />
{| class="wikitable"<br />
|-<br />
! Filter Name !! f-stop Increase !! Use <br />
|-<br />
| Red 25 || +3 || Creates dramatic sky effects. Simulates moonlight in midday by slight under-exposure.<br />
|-<br />
| Yellow 8 || +⅔ || Tonal correction for outdoors. Makes greater contrast in foliage and in clouds against a blue sky.<br />
|-<br />
| Yellow 15 || +1 || Creates dramatic dark skies and marine scenes.<br />
|-<br />
| ND3 || +1 || Blocks light to allow wider aperture. <br />
|-<br />
| ND6 || +2 || Blocks light to allow wider aperture. <br />
|}<br />
<br />
===COLOR KITS===<br />
{| class="wikitable"<br />
|-<br />
! Filter Name !! f-stop Increase !! Use <br />
|-<br />
| Sky 1A || 0 || Use anytime outdoors to reduce blues and add warmth.<br />
|-<br />
| 80A || +2 || Converts daylight film for use with 3200°K lamps.<br />
|-<br />
| 85 || +⅔ || Converts tungsten balanced film to daylight balance.<br />
|-<br />
| 85N3 || +1 ⅔ || Filter 85 combined with a .3 neutral density filter.<br />
|-<br />
| 85N6 || +2 ⅔ || Filter 85 combined with a .6 neutral density filter.<br />
|}<br />
[[Category:Media Loan]]<br />
<br />
<br />
<br />
===COMPREHENSIVE LIST===<br />
[[File:BW guide.jpg|Black & White]]<br />
<br />
<br />
<br />
<br />
[[File:Color guide 1.jpg|Color 1]]<br />
<br />
<br />
<br />
<br />
[[File:Color guide 2.jpg|Color 2]]</div>Linnettkhttp://helpwiki.evergreen.edu/wiki/index.php?title=APS_Bolex_Filter_Kit_Quick_Guide&diff=30952APS Bolex Filter Kit Quick Guide2016-10-31T22:00:34Z<p>Linnettk: </p>
<hr />
<div>[[File:Filter-case2.jpg|50 x 40px]] <br />
[[File:Filter spread2.jpg]]<br />
===INTRODUCTION=== <br />
A filter kit is a useful tool for making real-time adjustments to your film exposure. The guide will cover the contents of the filter kits at APS as well as how and when to use each filter. There are a variety of filters that each have their own effect on the film for achieving things like color correcting, allowing wider apertures (with neutral density [ND] filters), converting daylight balanced film to a tungsten balance and vice versa, or adjusting contrast.<br />
Almost every filter has a specific purpose and can only be used in specific lighting situations. <br />
<br />
There are two kinds of Bolex filter kits at APS, those for black and white film and those for color film. Each type is available for use with both bayonet mounts and turret mounts. Keep in mind that bayonet filter holders can only be used with bayonet mount cameras, and likewise for turret mount cameras. The name of each filter is written on the metal filter carriers.<br />
<br />
You may also look at the chart at the bottom for an idea of the range of filters made. While we do not stock all of these filters, the chart can be helpful to get a sense of the exposure compensation required and other requirements for each filter.<br />
<br />
===CHANGING FILTERS===<br />
Every Bolex comes with an empty removable filter carrier. Whether or not you plan on using filters, this carrier needs to be in the camera while filming to prevent light leaks. For more on basic Bolex operation, read [http://wikis.evergreen.edu/computing/index.php/APS_Bolex_16mm_Reflex_Operating_Guide#Turret_Mount here]. <br />
To use a filter from the kit, remove the empty carrier from the camera. On cameras with turret mounts, the carriers look like those photographed above and simply slide out of the camera. On cameras with bayonet mounts, the filter carriers have a moveable handle that must be raised out of the camera before it can be removed.<br />
<br />
===BLACK & WHITE KITS===<br />
{| class="wikitable"<br />
|-<br />
! Filter Name !! f-stop Increase !! Use <br />
|-<br />
| Red 25 || +3 || Creates dramatic sky effects. Simulates moonlight in midday by slight under-exposure.<br />
|-<br />
| Yellow 8 || +⅔ || Tonal correction for outdoors. Makes greater contrast in foliage and in clouds against a blue sky.<br />
|-<br />
| Yellow 15 || +1 || Creates dramatic dark skies and marine scenes.<br />
|-<br />
| ND3 || +1 || Blocks light to allow wider aperture. <br />
|-<br />
| ND6 || +2 || Blocks light to allow wider aperture. <br />
|}<br />
<br />
===COLOR KITS===<br />
{| class="wikitable"<br />
|-<br />
! Filter Name !! f-stop Increase !! Use <br />
|-<br />
| Sky 1A || 0 || Use anytime outdoors to reduce blues and add warmth.<br />
|-<br />
| 80A || +2 || Converts daylight film for use with 3200°K lamps.<br />
|-<br />
| 85 || +⅔ || Converts tungsten balanced film to daylight balance.<br />
|-<br />
| 85N3 || +1 ⅔ || Filter 85 combined with a .3 neutral density filter.<br />
|-<br />
| 85N6 || +2 ⅔ || Filter 85 combined with a .6 neutral density filter.<br />
|}<br />
[[Category:Media Loan]]<br />
<br />
<br />
<br />
===COMPREHENSIVE LIST===<br />
[[File:BW guide.jpg|Black & White]]<br />
<br />
<br />
<br />
<br />
[[File:Color guide 1.jpg|Color 1]]<br />
<br />
<br />
<br />
<br />
[[File:Color guide 2.jpg|Color 2]]</div>Linnettk