For part 2 of the Beachtek DXA-SLR PRO audio interface review, I got together with Ríchard Izarra in one of his extremely brief visits to Miami to test audio with his new Blackmagic Pocket Cinema Camera. Ahead you’ll see (and hear) a brief audio/video clip.

What you may have missed from part 1 of this review

In part 1 of this review, I shared:

• What’s a DXA-SLR PRO interface, and what is its purpose?
• CLARIFICATION: Why the these audio interfaces differ from others I have reviewed
• Key features/specs/details to look for in analog audio interfaces for cameras
• DXA-SLR PRO design, features, and specs
• Mounting of an audio interface onto a camera
• SIDEBAR: About audio limiters
• SIDEBAR: AUDIO BRACKETING: Alternative to limiters, but with its own limitation!
• Five audio/video tests
• Initial conclusions after watching/hearing these videos
• What we’ll cover in upcoming parts of this DXA-SLR PRO review

If you haven’t yet read part 1, you are welcome and encouraged to do so. Part 2 will still be here when you return.

Beachtek’s observations about the Blackmagic Cameras’ audio

Prior to doing this test, I discussed with Beachtek about how to adjust the input of the Blackmagic Pocket Cinema Camera when used with the DXA-SLR PRO, given the fact that (at least as of publication time of this article), there are no internal audio meters in this camera. Beachtek stated that with the current firmware, we should be setting the camera input to maximum input for best results. (This saved me the trial-and-error approach I would have had to do.) This is almost the opposite of the approach with any other (non-Blackmagic) camera, where the recommendation is to set the camera’s input to much closer to the minimum (i.e. around 25–30% with a Canon 7D, or to the absolute lowest setting with a Panasonic Lumix GH3). But the Blackmagic cameras are so unique, that one more atypical characteristic shouldn’t surprise us too much.

How to mount the DXA-SLR PRO with the Blackmagic Pocket Cinema Camera

The upper screw on the DXA-SLR PRO fits fine within the hole in the Blackmagic Pocket Cinema Camera. However, the screw appeared to me and Ríchard to be much longer than the hole’s depth, so in actual use, a thick washer (or perhaps two standard washers) should be used. However, it stayed still as-is for our test, which you’ll see below. If and when I get any definitive conclusion about the mount from Beachtek with the Pocket Cinema Camera, I’ll update this article.

Video shot with Blackmagic Pocket Cinema Camera + Beachtek DXA-SLR PRO

Thanks to Ríchard Izarra of PRODU.com, I was able to make the following short recording. Frequent readers will already know that Ríchard’s latest camera acquisitions have been both a Canon XA20 (which comes factory-ready with balanced XLR audio inputs plus metering) and now a Blackmagic Pocket Cinema Camera (which lacks balanced XLR inputs or any type of audio metering as it comes from the factory).

While editing, I took out the chroma intentionally. However, the only change I made with the audio in post was to remove the unused channel and to normalize. During the recording, we used Ríchard’s ElectroVoice RE50N/D-B high-output dynamic microphone, the camera input level was set to 100%, and the input potentiometer on the Beachtek DXA-SLR PRO was set to about 1:00 (clock nomenclature), which gave us a good level.

Ríchard’s appreciation of the audio quality and design

Ríchard often uses professional XLR microphones, and they are often dynamic. He also often connects two microophones and wants to be able to have each on its own track. Other than the apparent need for a washer, Ríchard liked the design and the resulting audio quality produced by the combo. He plans to purchase a DXA-SLR PRO sometime soon, and he’s wondering who will supply him with a washer: Beachtek or some hardware store.

What we’ll cover in upcoming parts of this DXA-SLR PRO review

• DXA-SLR PRO with at least one traditional video camera
• DXA-SLR PRO with Panasonic Lumix GH3 (as long as I can get access to one)

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My latest book (paperback + ebook)

My most recent book is available in two languages, and in paperback as well as an ebook. The ebook format is Kindle, but even if you don’t have a Kindle device, you can read Kindle books on many other devices using a free Kindle app. That includes iPad, Android tablets, Mac computers, and Windows computers. Although generally speaking, Kindle books are readable on smartphones like Androids and iPhones, I don’t recommend it for this particular book since it contains both color photos and color comparison charts. The ebook is also DRM-free.

In English:

In English, it is currently available in the following Amazon stores, depending upon your region:

• Amazon.com, for the US and other countries in the Americas that don’t currently have their own Amazon store, or anywhere if you simply prefer it
• Amazon.br for Brazil
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• Amazon.es for Spain pero a lo mejor lo preferirás en castellano, a continuación)
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Or in your favorite bookstore by requesting ISBN–10: 1456310232 or ISBN–13: 978–1456310233.

En castellano:

En castellano, está disponible actualmente en las siguientes tiendas Amazon, según tu región:

• Amazon.com para EE.UU. y todas las Américas donde no existe ninguna tienda particular… o en cualquier parte si simplemente lo prefieres
• Amazon.com.br para Brasil
• Amazon.co.jp para Japón
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• Amazon.es para España
• Amazon.fr (Francia)
• Amazon.in para India
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• Amazon.com.mx para México
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o en tu librería preferida al solicitar el ISBN–10: 1492783390 ó el ISBN–13: 978–1492783398.

Allan Tépper’s other books, consulting, articles, seminars & audio programs

Contact Allan Tépper for consulting, or find a full listing of his books, articles and upcoming seminars and webinars at AllanTepper.com. Listen to his TecnoTur program, which is now available both in Castilian (aka “Spanish”) and in English, free of charge. Search for TecnoTur in iTunes or visit TecnoTur.us for more information.

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