16Feb Azden FMX-DSLR audio adapter – First Impressions
I just got the Azden FMX-DSLR XLR audio adapter in for testing. Similar in design to the Beachtek DXA-SLR, the FMX-DSLR offers up 2 XLR inputs, independent gain control, powered monitoring, AGC disable (if you have a camera that requires that) and 48V phantom power. Both units also have the same selection of AUX/XLR inputs and the two units are within a 1/4 inch of being the same size. There are 3 major differences between the two units. First the Azden FMX-DSLR runs on 4x AA batteries (Beachtek used a 9 volt), the Azden’s case is made out of thick plastic (Beachtek is in a metal case), and the Azden is currently priced at $261, while the Beachtek is at $285. It’s also good to note that both of these units are far less expansive than the Juicedlink Riggy RM333 (and much easier to use).
Controls on the Azden FMX-DSLR are pretty straight forward. You have independent source select of MIC 1, LINE, and MIC 2, as well as LOW/HI gain switches for each channel with easy to use volume control knobs below. On the right hand side you can select between mono and stereo output to the camera as well as monitoring sources for the included headphone amp. Pretty much everything you’ll need to use is right there ready to go.
Inputs are mostly straight forward on the Azden FMX-DSLR. XLR inputs are pretty much self explanatory set each channel source selector to “MIC 1” and you’ll get the XLR input signals sent to your camera, the “output” jack is the feed for your camera or audio recorder, the “phones” jack is for headphone monitoring, and the RTN is designed to monitor return audio from your camera or other input if needed. The “AUX (R)” input is designed to connect an unbalanced device with a mini-plug output cable and sends audio directly to the right channel bypassing the right XLR input.
Were the Azden FMX-DSLR surpases the Beachtek is in the “MIC 2” input. This stereo input allows you plug something like the Rode Videomic pro directly into the unit. Then using the MIC 1/LINE/MIC 2 selector switch on the front of the unit you can choose to feed audio to the Camera’s right channel, left channel, or both at independent volume levels. This plug also provides 3.5 volt input power which can be very handy if you are trying to use a powered lav mic or something like the Rode Videomic go.
On the bottom of the unit, you’ll find the 48V Phantom power controls, 1/4 20 mounting point and AGC disable features. The only thing I’ve found slightly confusing about the Azden FMX-DSLR XLR audio adapter is the note on the bottom that says “Camera AGC switch, ON: enables the AGC function, OFF: disables the AGC function”. When I first read this, I thought “ON” meant that the unit was sending out an AGC disable signal to the camera and “OFF” removed the signal. In actuality it’s the opposite and “ON” actually means the camera’s AGC feature is left alone. So keep that in mind if your camera doesn’t require the AGC disable signal.
I’ll post some audio test and more thoughts on the Azden FMX-DSLR XLR audio adapter as I get a chance to spend more time with it. If all goes well I’ll be putting together a show down between the Azden FMX-DSLR, Beachtek DXA-SLR, and Juicedlink Riggy RM333 over the next few weeks so keep an eye out for that. In the meantime, if there is anything you’d like to see tested between these three adapters let me know.
February 16th, 2014 at 7:46 pm
Why the heck can’t these guys come up with a better form factor, like the Beachtek? Between thes and Juicedlink…. I don’t know which one is less ugly and box like. At least this one has decent knobs.
February 16th, 2014 at 8:03 pm
Yea, it does seem like all of these audio adapters are just shoved into crappy looking “big square boxes”. At least the Beachtek and Azden offerings are reasonably easy to use, the 15+ tiny little vaguely labeled switches that require a pencil to adjust on the Riggy make it one of the most painful audio adapter devices on the market to use.
February 16th, 2014 at 8:05 pm
DJ — Since this is a subject about audio recording, I have a question.
Can I take either Line Out or Headphone out of the Zoom H6 and plug it directly into a 5D MK III?
If so, which output of the Zoom should I use?
I want to use the H6 shotgun mic but I want to record directly onto the 5D . I am afraid if I use the wrong output from the zoom I will fry my 5D audio circuitry.
Thanks for your time!
February 16th, 2014 at 8:24 pm
Neither output should “fry” your 5dMKIII. The line out provides a cleaner signal than the headphone out, but it might not be strong enough to get you good levels in camera. On the other hand the headphone output will need to be turned way down (maybe 10% or less) to get a signal into your 5dMKIII that doesn’t peak. Neither one of those methods are very desirable for in camera audio recording. The h6 really wasn’t designed for that.
February 16th, 2014 at 8:41 pm
Just did a test with the Line out … sounded great to me. Maybe my ears aren’t as discriminating.
However, when I started the record on the 5DMKIII, I lost the audio meters on screen. Is there a trick to keeping them displayed during REC mode?
February 16th, 2014 at 9:40 pm
Hit the info button a couple of times and you should be good to go. If the the line out signal is strong enough, you’re probably good to go. I haven’t done any testing with the h6 if the audio sounds good to you than you’re probably in the clear.
February 16th, 2014 at 8:26 pm
Jake, I am not sure how clean the headphone out jack is on the H6, but it was quite noisy on the Tascam DR40. Good for audio sync, but then you can’t monitor very well.
February 17th, 2014 at 8:28 am
These cables offer an interesting alternative: http://amzn.to/1gvrRke. There are different versions for different recorders. You record first to your external recorder, then take that line out and run it to your camera’s mic-in jack, the cable converts it to a safe mic input level.
You end up with great sound on the recorder, mixed as you want, auto-synced to your camera via a direct cable input, and a automatic audio back-up as you are recording in two places simultaneously all for the cost of a simple cable (summing you already have an external recorder).
February 17th, 2014 at 9:20 am
Perhaps in your upcoming showdown, including or at least mentioning the Tascam DR 60D as a comparison would make sense as well. It can do similar mixing/preamp audio to camera like these, but also records, and is a similar under the camera form. It’s also cheaper.
Why are these cheesy designed preamp mixers more expensive than audio recorders?
February 17th, 2014 at 9:52 am
I’ll be sure to throw the DR-60D into the mix. As for the pricing, no idea.
June 2nd, 2014 at 10:25 am
Based on your review I decided to buy one and, surprise using only XLR Connectors This unit gives a lot of static noise when close to a cellphone, TV, PC, or other electronics, I don’t know if I got a bad apple or it happens with this mode
June 2nd, 2014 at 4:56 pm
There’s 3 things that could cause it.
1. bad unit
2. bad mic/cable
3. low battery
June 2nd, 2014 at 6:18 pm
It was a bad unit is on the process of replacing.
Thanks, is a nice device