In article ,
Andy Hall wrote:
So do you take audio from the phone and into the mixing desk or is it
picked up from the studio mikes?

There is provision to do this, but the quality tends to be too good and
not the accepted sound of the 'other end' of a call.

I guess it depends on the
situation, because I guess that if the viewer is "in the room" with
one party you'd normally want the studio mike and then to hear the
person on the other end (if you re meant to) from the perspective and
quality that the actor hears. .. or I guess that sometimes if the
scene is switched back and forth, it would be studio mike and not
including phone quality audio at all.

Decent audio installations in studios include a switching unit operated
off the vision mixer. So when the camera shows one end of the call, the
other end (and mic) are diverted through an FX unit etc set up to provide
the sound you want. Usually extreme bass cut and some treble cut. Maybe
even some harmonic distortion. So as the cameras are cut (in a 'live' type
situation) the audio will always follow them and sound correct.


I see why you need a neat and small socket, though.

It seems as though the Euro module approach would be a good way,
though - if this is going to be thrown around.

Perhaps you could take one of the faceplates and cut it down neatly,
chamfering the edges and perhaps spray painting it?

Alternatively, I wonder if you could adapt a decent Euro faceplate so
that you could fit an XLR into it?

I'm considering fixing a frame type BT socket into a panel mounting XLR
body. There's just about room. Thanks to DL for reminding me about the RG
45 version.

--
*Confession is good for the soul, but bad for your career.

Dave Plowman London SW
To e-mail, change noise into sound.