A good way to go would be to find the people in your area who do “location sound” for TV and film productions. The final product may not be as sleek as a little Sescom cable, but it will get the job done. They will be able to help you find or make your own audio attenuator cable.
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What I would do if I were you would be to either find a pro audio store of some kind, or, find an experienced audio person. That means it decreases the incoming audio signal (usually by -25dB or so), and that’s it.
But, the good news is that a Sescom cable isn’t doing anything revolutionary. How audible is this noise you’re hearing? Is the overall sound any good, or is it hampered by the noise?Īs far as finding a Sescom dealer in South Africa, I’m afraid I can’t help you there. It seems like you should be able to get nice sound. Are you still having trouble with the settings on the DR-70D? You’ve got a decent shotgun microphone. Purchase links: Tascam DR-70D - Amazon USA, B&H Photo, Amazon.uk,, Sescom Cable - Amazon USA, B&H Photo, Amazon.uk Sescom Cable (with headphone jack) - Amazon USA, B&H Photo, Amazon.uk I even blew the test video that I shot for this post, because I had the DR-70D set to “CAM” instead of “LINE”. See? Audio for video is difficult, even for people like me. I actually already shot this once, and on one take the input level clipped on the DR-70D. I am planning on shooting a comparison video next week between the Tascam DR-70D and the Zoom H4n, and the Tascam DR-40. If they do, I will certainly write about and test it out.
Will Tascam fix this problem with a future firmware date? Sescom cables have these built in, which is why they cost around $30. In order for a cable to transform a line-level signal into a mic-level signal, a “in-line attenuator” needs to be built into the cable. Line-level audio signals are MUCH stronger (or louder) than mic-level signals. The Sescom cable transforms line-level signals to mic-level. Using a $2 mini-to-mini cable is not an option here. The good news is that the hiss problem goes away completely when you adjust the “Output Gain” setting on the DR-70D to LINE instead of CAM, and you use a Sescom cable to connect the “camera out” jack on the DR-70D to the “mic input” on your camera. It defeats the purpose of using this feature. The DR-70D lets you adjust the camera out jack down to mic-level, but, when you do this, the audio it sends to the camera gets really hissy and noisy. Here’s the problem: DSLR and mirrorless cameras only have mic-level inputs. This makes it easier to sync the audio in post, and it gives you the option of not having to sync the audio, if you’re happy with the sound quality of the audio you recorded directly into your camera. Basically, these jacks make it possible to make a copy of the same audio you’re recording in the DR-70D in the camera that you’re using. In my in-depth review of the Tascam DR-70D, I discuss the virtues of the camera In/Out section of the DR-70D in great detail. What the heck are you talking about, Sam? Let me try to simplify this… That last sentence was really alien sounding. While the Tascam DR-70D is an excellent audio recorder for use in video production, it does have one glaring flaw: its “camera out” jack introduces an entirely unacceptable amount of noise to the audio, but only when the DR-70D is set to send “Cam” audio out of this jack.