18Feb FMX-DSLR, DXA-SLR, and Riggy XLR audio adapters side by side
Here we have (from left to right) the Juicedlink RM333 “Riggy” ($399), the Azden FMX-DSLR ($261), and the Beachtek DXA-SLR ($285) audio adapters. It’s easy to see that all three of these units are very similar in design, square boxes that are about the same form factor with a handful of volume control knobs on the front. The most expensive unit (RM333) is slightly thinner than the other two and it offers up the least amount of control from the front of the box. Unlike RM333, the FMX-DSLR and DXA-SLR have most of the common controls placed in an easy to reach location and full sized knobs on the FMX-DSLR and DXA-SLR are easy to identify and use.
The Azden FMX-DSLR has it’s 48v phantom power and AGC disable switches located on the bottom edge of the unit which allows room to access the switches even with a quick release plate installed. The Beachtek DXA-SLR takes a similar approach to the FMX-DSLR with two high/low gain switches as well as a ground lift switch on the bottom of the unit. Again these switches are placed off to the side for access even if a quick release plate is installed.
The RM333 jams pretty much every possible setting you can think of into 15+ tiny dip switches in a few inches of space on the bottom of the unit. Put a quick release plate on it and you’ll have a pretty hard time accessing any of these little micro switches.
Do you need to turn on phantom power? Remove the QR plate. Need to adjust the gain from low to high? Remove the QR plate. Need to select between line and mic inputs? You guessed it, remove the QR plate. The RM333, in my opinion, is the least user friendly and design conscious of the whole bunch and it’s the only one of the three that doesn’t come with a paper manual. I work with audio gear all the time and even I have to spend a minute thinking about what the heck is going on in this mess of switches.
The Azden FMX-DSLR is the winner in the input department, followed closely by the Beachtek DXA-SLR and trailed by the RM333 “Riggy”. Both the DXA-SLR and FMX-DSLR offer up 3.5mm auxiliary inputs that allow you to bypass the right XLR channel, and both of them offer return audio monitoring. Where the FMX-DSLR pulls ahead is it’s “MIC 2” 3.5mm stereo input that provides 3.5 volt input power and the ability to mix that stereo input down to either the left or right channel.
The RM333 “Riggy” has 3 XLR inputs, but basically mixes “L1” and “L2” into a single channel. There is no 3.5mm inputs, no return source monitoring, and no 3.5 volt input power. Want to plug the RODE videomic pro into the RM333? You’ll need an adapter.
One other thing to note is that all three of these units are designed to be mounted under your DSLR. The Beachtek DXA-SLR is the easiest to mount with its large thumb screw, the Azden FMX-DSLR has a common flat head screw for attachment, and the RM333 “Riggy” uses an allen head. While the thumbscrew on the DXA-SLR is my favorite, you can still easily install the FMX-DSLR with a penny or the edge of your car keys. On the other hand, if you forget to bring the appropriately sized allen wrench with you and you won’t be mounting the RM333 “Riggy” on anything. Also for mounting, both the DXA-SLR and FMX-DSLR have rubberized grips that press up against the bottom of the camera to keep the unit in place. The RM333 has no rubberized grip. Instead you have a smooth metal surface that easily spins loose from the bottom of your camera.
When I get a chance to start recording audio samples i’ll be sure to add the cheaper Tascam DR-60D and extremely cheap hacked iRig pre into the samples list. I’m interested to see how well the extremely cheap iRig pre stacks up. I’ll keep you posted.
February 18th, 2014 at 10:51 am
I look forward to hearing your audio tests when you can get to them. Can you include self-noise testing, so we can hear what the units themselves produce? I would also like to know how clean and loud the headphone monitoring is with the Beachtek and Azden units.
How durable and solid is the Azden’s plastic case? It seems like the screw mount could become loose over time. The metal case of the Beachtek unit is well worth the slight difference in price over the Azden.
February 18th, 2014 at 11:53 am
Thanks for the ideas Dave! Might even get a scope and a signal generator out for his one. As for the case, it feels like plastic, but the part that holds the mounting screw seems to be metal, I’ve contacted Azden for some more information on it.
February 18th, 2014 at 1:16 pm
The weight of a heavy camera and lens could put too much strain on the Azden unit’s mounting screw.
Also, mounting these rigs under a camera can add unwanted height or other issues when using a follow focus. In that case, an alternative mount, like the side of a camera cage or a hot shoe mount may be preferable.
February 18th, 2014 at 1:23 pm
Just heard back from Azden. All mounts, inputs, and control panels are metal. They hollowed out sections on the tops and sides and used ABS to reduce the overall weight.
February 18th, 2014 at 1:02 pm
Have to agree with you on the Riggy.
I have the DT414 and it is a pain in the ass to use with the tiny switches underneath and tiny front knobs.
But, are the pres any better than its competitors? That will be interesting to find out.
February 18th, 2014 at 1:39 pm
While Juicedlink offers a lot of options with those switches, they are inconveniently placed. BTW, phantom power should always be turned off before connecting and disconnecting mics, so the location of that switch should be easily accessible on all devices.
These reasons make the Tascam DR-60 recorder an appealing design, although the size adds too much height to the camera position.
There is only so much you can cram into a compact preamp, designed to fit under a camera. At some point, a dedicated video camera is more practical for audio than adding a preamp onto a DSLR. At least we have options for better DSLR audio.
February 18th, 2014 at 3:32 pm
Agreed … And I cannot believe I see the DR-60 for only $189 to $199 bucks … perhaps the best buy in the low end (yet good quality) audio capture product space.
March 9th, 2016 at 9:00 am
Hi Dave!
Thank you so much for the reviews and helping in making my decisions easier! I had a Tascam DR40 with NTG2 combo and I wanted to solve the issue of the bad pre-amps from my DR40, which is leading to purchasing the JuicedLink, however due to the price I figured the Tascam DR60 might be a better choice? Would appreciate your opinion on this combo that I’m going for (NTG2 + DR60).
Thanks again! 🙂
March 13th, 2016 at 11:16 am
Nicholas – I do feel the preamps in the DR60 are better than the DR40. I also prefer the lower profile and 4 XLR inputs on the DR60. That said, be aware that the output let of the NTG2 isn’t very high, so any time you boost the input gain you will also boost self-noise of the microphone. I replaced my NTG2 with the NTG3, which has higher output and less noise. It was a more signficant improvement than the preamp difference between the DR40 and DR60. Also, invest in a high quality microphone cable (Canare, Mogami brands are good), as a poor mic cable will add noise!!!
March 13th, 2016 at 10:15 pm
Dave – Thanks for your input again! I think I know which one to invest on, a better mic and cable I suppose! Have a great day and your help is much appreciated!