![\"Panasonic](\"https:\/\/suggestionofmotion.com\/wp-content\/uploads\/Beachtek_MCC-2_001_Panasonic-GH4-Mic-Input.jpg\")
<\/a><\/p>\nWorse yet, even if you use a cable to split the channels into 2 separate mono inputs, recording levels for both channels are bound to a single camera setting<\/strong>.<\/p>\n The lack of flexibility and control is why many of us have turned to dual-system sound<\/strong>, where we record audio separately using cumbersome external audio recorders and sync it with the video in post. If you want quality audio, this is your only option.<\/p>\n Until now.<\/p>\n Beachtek sent over their compact MCC-2 audio adapter and we immediately put to work to see if it can overcome the audio limitations of DSLRs and allow you to capture high quality audio directly in-camera.<\/p>\n The MCC-2 exists to solve 2 problems with DSLR audio:<\/p>\n First, it allows you to make the most of the 2 audio channels that the camera is capable of recording by splitting them into separate inputs.<\/p>\n This allows you to attach up to 2 different audio sources, such as a shotgun mic and a wireless lav.<\/p>\n Second, the MCC-2 has a knob to adjust the level of each audio channel independently.<\/p>\n A wireless lav may require a different level of attenuation than a camera-mounted shotgun mic, so being able to control the levels of each input independently is huge.<\/p>\n Once you’ve set the levels of each audio source, the MCC-2’s output combines the 2 channels into a single 3.5mm stereo (TRS) plug for feeding into a DSLR’s mic input.<\/p>\n Splitting the audio channels and being able to control them independently may have been enough, but Beachtek took things a step further with the MCC-2 and provides mounting points for attaching those shotgun mics and wireless receivers.<\/p>\n All of this is wrapped up in a compact unit that mounts on the hot shoe of any DSLR. You get the flexibility<\/strong> to use each audio channel for a separate source, the control<\/strong> needed to make sure each channel is at the optimal level, and the mounting points<\/strong> to keep you from having to build up your rig even more just to mount everything.<\/p>\n One of the first things you’ll notice about the MCC-2 is how compact it is.<\/p>\n The adapter fits in the palm of your hand and barely adds any weight when mounted on the camera.<\/p>\n Bottom line:<\/strong> The MCC-2 won’t weigh you down.<\/p>\n<\/div>\n It’s clear that Beachtek were thinking about the needs of run & gun shooters when they designed the MCC-2.<\/p>\n The MCC-2 features 3 built-in cold shoe mounts for attaching the audio devices that will be controlled by the adapter. There’s a cold shoe on the top, left, and right of the adapter.<\/p>\n If you’re counting, you’ve realized that the MCC-2 actually has more<\/em> mounting points than inputs. This allows you to mount 2 audio devices, and still have room for another useful accessory like a top handle.<\/p>\n While compact, the football-shaped MCC-2 spaces the 3 cold shoe mounts far enough apart from each other and the camera, so that even wireless receivers can be mounted without interfering with the camera’s controls.<\/p>\n Bottom line:<\/strong> Keep your camera setup light and mobile with the mounting options provided by the MCC-2’s cold shoes.<\/p>\n<\/div>\n The MCC-2 is a passive adapter<\/strong> that does not require any batteries or external power source.<\/p>\n Essentially, the MCC-2 is a pass-through adapter that provides attenuation<\/em> but not gain– you start with the levels provided by the devices attached to the unit, which you can lower as needed.<\/p>\n As such, you want to supply the MCC-2 with strong audio signals– the stronger the better. You then use the MCC-2’s level knobs to bring the levels into optimal range for the camera.<\/p>\n Note:<\/strong> Adding the MCC-2 between your mic and camera has a minimal (-0.7dB) impact on input levels.<\/p>\n<\/div>\n For example, you can use the Rode Videomic Pro’s +20dB setting to feed a (really) strong audio signal into the MCC-2 and then use the knobs to bring down the level so it’s not clipping in the camera.<\/p>\n This gives you a lot of flexibility when shooting in dynamic environments where you may need a stronger signal one moment, and a lower signal in the next.<\/p>\n Bottom line:<\/strong> This passive adapter works best with strong audio signals.<\/p>\n<\/div>\n If you’re using a mic that outputs a stereo signal, fear not– the MCC-2 handles stereo signals just fine even when you use one of its mono inputs.<\/p>\n The MCC-2 automatically isolates the first channel from the mic and converts it into a mono signal when you plug it into either of the adapter’s mono inputs.<\/p>\n Bottom line:<\/strong> The MCC-2 works well with both mono and stereo sources.<\/p>\n<\/div>\n If you only need to record a single mic, you can still benefit from the MCC-2’s independent 2-channel controls by using the 2nd channel to record a safety track.<\/p>\n When using a mic with a stereo (TRS) plug, use the MCC-2’s stereo input.<\/p>\n For mics with mono (TS) plugs, use a y-adapter to split the signal to both of the MCC-2’s mono inputs.<\/p>\n Now that you are feeding the same signal into both channels, you can lower the level of the second channel to protect against clipping.<\/p>\n<\/a><\/p>\nJust the Stats Ma’am<\/h2>\n
\n
Overview<\/h2>\n
1. Split the Channels<\/h3>\n
<\/a><\/p>\n2. Control All the Levels<\/h3>\n
<\/a><\/p>\n<\/a><\/p>\nBonus: Mounting Points<\/h3>\n
Compact Form-Factor<\/h2>\n
<\/a><\/p>\nIntegrated Cold Shoe Mounts<\/h2>\n
<\/a> <\/a> <\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\nBatteries not Included (or Necessary)<\/h2>\n
Auto Mono<\/h2>\n
Safety Track Recording<\/h2>\n
<\/a><\/p>\n<\/a><\/p>\n