BeachTek DXA-Connect DSLR Audio Adapter Review

This is BeachTek's latest, portable DSLR audio preamp - the DXA-CONNECT (one of the first batch, as a matter of fact):

Brand new, out of the box.

If you're familiar with other BeachTek adapters, the Connect looks nothing like any previous offering. Strange appearance notwithstanding, it is an ideal unit for users of Canon cameras with Magic Lantern, those who utilize Zoom H4N/H6 external recorders, and any other DSLR that has onboard preamp control and shutoff.

DXA-CONNECT - LISTEN TO IT:

For those who want to hear it before anything else:

 

DXA-CONNECT - INTERNAL TECH:

DXA-CONNECT at left, DXA-SLR at right

As an indirect successor to the DXA-SLR, the DXA-Connect improves upon it by providing a comfortable range of gain with three selections: 0dB, +20dB, and +30dB; individually adjustable on each channel. This amplification alone (the DXA-SLR has a maximum gain of +15dB) is worth the price of admission for those users running cheaper dynamic microphones due to cost, and allows one to ramp down the camera's preamp to 10-20%.

The Connect was designed with the latest generation of equipment in mind and the execution of such is evident. Though we lose the AGC Disable function of the earlier BeachTek units, the point is moot with the number of cameras that now have AGC shutoff included directly in their firmware, plus the Canon bodies supported by ML.

Phantom power is available in 12 and 48V, with a single switch for voltage selection, and an on-off switch under each gain knob to control phantom power supply per individual channel. 

DXA-CONNECT - USABILITY:

Standing tall and proud on the 5DM2

The DXA-Connect does away with the bottom-mount orientation, and slides directly into your flash shoe. Though this new mount takes a bit of getting used to - mainly because I'm accustomed to the old design - the new position is far more workable over the old "box-on-the-bottom" ergonomics.

To begin with, the removal of the unit from the bottom keeps the weight of the camera low (43cm lower than when running a conventional DXA-SLR under the camera body), providing a significant benefit in weight distribution.

Secondly, the DXA-SLR gets in the way of any follow focus rings mounted close to the camera body. The DXA-Connect doesn't even come near them.

Perhaps the best benefit of all is that you don't have to pull the camera body off the unit to change a battery. What a joy!

The loss of one flash shoe is irrelevant, because you get FOUR MORE from the one you had to give up. You can mount ANYTHING to this thing (light units, microphone receivers, audio recorders, hood ornaments, worry beads, and Donald Trump's ego, to name a few things - though I wouldn't necessarily suggest trying it), and in just about any direction.

The DXA-Connect does not have an onboard V/U meter, but with the number of cameras that are coming with live view meters (plus those supported by Magic Lantern), you do not need a superfluous display to begin with.

However, we have since lost the ability to monitor the audio directly from the DXA-Connect without plugging a TRS 1/8" T connection between the adapter and the camera. It may not be live monitoring, but being able to double-check the adapter's output against the camera gives me some peace of mind.

The only thing that I've yet to get used to is the orientation of the controls vs. the XLR input plugs. Quite logically, the left channel controls are to the left, and the right channel controls to the right. This is repeated on the opposite side with the XLR input plugs.

Problem is, this means the left XLR plug's direct opposite are the controls for the right channel, and the right XLR plug is opposite the left channel controls. Given the unusual shape of the unit, I envision the controls based on their vertical placement on the unit, rather than from the side, which leads to a fair amount of confusion:

Erm...

As simple as this was to figure out, I was completely mystified for the first 5 minutes of using it and I'm still getting used to it. You'd think the clear-cut "LEFT" and "RIGHT" markings on the unit would make it easy, but the human mind is sometimes less logical than the conscious efforts of careful engineering.

I'm sure that there are many others who would feel the exact opposite if the adapter had been set up the other way around. To each their own.

DXA-CONNECT - FINAL THOUGHTS:

HAL9000 or a new Pixar character?

For me, the DXA-Connect does all I could need in the field. It may appear to be stripped down at first glance, but - for the most part - in all the right places.

For those of us with cameras and audio recorders that feature gain correction control, the DXA-Connect is amongst BeachTek's best. Functionality is just as good as previous models, and the 30dB of gain is reason enough to have it.

-Kurt "Man with the 5D"

The DXA-CONNECT shown here was supplied to me by BeachTek. No monetary compensation was provided for this review. The comments above were not screened by BeachTek prior to publication and reflect the actual views of the author's experience with the product.

Powering a BeachTek audio adapter with an external battery source

I run my rig off an Anton-Bauer Dionic 90 battery (through a 3rd-party battery adapter), a 3-hour-rated lithium-ion setup which has more stored power than I know what to do with. Given this convenient power source (with 5v, 7.2v, 12v and 15v connections on the adapter), I prefer that all the accessories on the rig run off the same power source to avoid last-minute confusion as to what on the camera has fresh batteries and what doesn't.

That, and it sure saves on batteries.

Amongst the accessories on my rig is a BeachTek DXA-5Da audio adapter, which - unlike my monitor - does not have any source for power other than a 9V battery box. Granted, the 9V power source is used only for the VU meter and headphone amp - audio devices hooked up to the unit will pass the signal to the camera with or without a battery - but it's nice to have these features at hand without worrying about battery life.

Granted, in the time that I've run it, I've used alkaline 9V batteries, not lithium - which probably account for my assessment of 9V battery life in any electronic equipment. You mileage may vary.

The unmodified BeachTek DXA-5Da

With that said, I contacted BeachTek about the voltage requirements of the unit, wherein I found out it will run equally as well on 12 volts as 9, with no issue.

EDIT: The 12V source caused an unreasonable amount of static and electronic noises when shooting. I later installed a 12-to-9V step-down adapter in the box, which I have added to the list below.

As my Anton-Bauer adapter has a 12v power source, I figured I'd take advantage of it - in a home-spun method.

Anton-Bauer adapter plate w/12v output

I located a power plug and wire off a useless Chinese doo-dad that would mate with the cable provided with the adapter and stripped the wires for soldering to the BeachTek:

Donor 12v wire

So, out came the screwdriver, and apart came the BeachTek.

WARNING: 
These photos are for example purposes only. Opening up any electronic device as shown will void its warranty and most certainly cause possible injury or death to your person and/or others. Doing so will also ruin your sex life forever. Do not try this at home or on the moon. Your stupidity will never be my responsibility in a court of law, because you free me and everybody else in the world of liability by opening your electronic stuff.

Now that that's over with, let me continue.

The DXA-5Da comes apart via the four screws at the base (hidden by four adhesive caps). Not much room to work with, particularly as the battery leads limit your ability to move the bottom half of the box aside to work in.

One drill bit later:

After a bit of debate, I decided that this location near the battery door would be the most ideal location to place the wire. Nothing would be in the way inside, and it'd be equally free of the controls at the front.

Adapter wires soldered - note tie wrap to keep the wire from pulling through

Soldering the wires into the existing 9V leads couldn't have taken more than 30 seconds.

EDIT: These procedures show the 9V unit being connected directly to the 12V source. Due to the issues relating to this combination, I purchased a 12V-to-9V step-down converter on eBay and wired it in-line with the 12V power input. The step-down unit would not fit in the BeachTek without modification, so I cut a hole in the 9V battery box, and glued the unit in from the back as shown:

 
It's a convenient and quick way about it, but given that there is no switch to re-direct the source power from the battery leads or the wire, I'd be hesitant about allowing someone other than myself to use it - combining a 9V battery and the 12V power source on the same circuit could be a nice invitation to fry something (probably the most expensive thing on your rig, as Murphy would have it).

EDIT: Now that the step-down unit takes up the area where the 9V battery would otherwise be, there is no risk of someone running the unit off of the 12V lead and a 9V battery at the same time. I did not solder the new leads to the 9V contacts either, so it wouldn't work even if one jumped it with alligator clips.

From the outside, neat and clean.

At any rate, it works perfectly off the 12V from the Chinese A-B adapter, with the step-down unit installed in the BeachTek. Excuse the funky look of the VU meter; it looks normal in person. Must have had the polarizing filter set wrong.

Success!

During my discussions, BeachTek informed me that they are working on a new adapter for release in the future that may interest me. No word of what it is.

I'm already going nuts in anticipation.

-Kurt - "Man with the 5D"

The Top 5 DSLR Video Accessories You Need, Mr. Beer Budget Filmmaker

Lots of articles have been written online about what gear you "need" as a DSLR filmmaker, most of them quite useless, e.g.: "Buy a memory card!"

Yes, dear, we will.

Hence, I present the following list of what will truly help you as a budget DSLR filmmaker, and - most importantly - the reasoning behind these suggestions so you may make an informed decision.

FYI - the following items are related to camera accessories only. You should already have a good lighting kit.

Drumroll, please.

1. A good fluid head tripod

This seems obvious - unless you don't have one. Basic, fluid head Manfrottos are generally a good bet and easy to find on eBay or Craigslist. The Manfrotto 501HDV or 503HDV are generally more than enough for most needs; simply check the weight ratings and choose the one that best suits the rig you intend to build (in short, do not cheapen out on yourself and buy a head that will support your existing camera, but not the endless 15mm rail system you are planning to get in the future. You'll be surprised how quick the future arrives).

While I do not recommend the Manfrotto MVH502A - shown here - it is more or less a good visual example of what to expect.

You would be wise to stay away from the new, Chinese-made Manfrottos such as the 502HDV (MVH502A) - which are quite troublesome, for what they're worth (more on that in a later blog post). Ultra-cheap Ravelli/Dynatran (amongst others) "fluid" heads bundled with tripods are even worse, as they get their fluidity through greased nylon bushings under pressure. These bushings do not last long, and - as a result - neither will your tripod head. This is one place where cheaper isn't always better, and used is an advantage.


2. A lens with image stabilization (IS)

It seems as if every single DSLR photographer on the internet will swear to you that IS bad for video. What they aren't telling you is that they've never used their DSLR for video. Ever.

Though most Canon and M43 IS-equipped lenses are not primes (Canon, we want that 50mm IS-equipped prime. Now), you'll thank your lucky stars for having an IS zoom lens on hand if you find yourself in need of a shot that cannot be done with a tripod.

Why? An IS-equipped lens is its own built-in Steadicam.

Don't believe me? Here's some footage:

Not a single bit of the IS footage was stabilized in post production, and the only other thing assisting me in those shots was a handle on top of the camera. I didn't make much of an effort to hold the camera steady in either shot. Pretty neat, eh?


3. An audio adapter and a good microphone*

I don't care if you've just shot something that makes Roger Deakins' Skyfall look like a clip from America's Funniest Home Videos (and you didn't) - if you used onboard AGC audio from your DSLR as your one-and-only microphone, you might as well dub Yakety Sax to your footage as a soundtrack.

One of the cardinal rules of video making is to make sure your audio is just as good as your video, if not better. Even mediocre SD 480P can be made to look better than it is if the audio has a professional sound to it.

In short, onboard camera audio is home-video territory. Don't go there.

The BeachTek DXA-5Da.

If you've made the effort to invest in a DSLR, consider an onboard, XLR mic audio adapter part of the package. A used BeachTek DXA-SLR can be had on eBay without much fuss (the one in the photo is a BeachTek DXA-5Da, and it can be mounted directly under your camera if you don't have a rail system, as can the DXA-SLR). Both adapters have a pair of XLR outputs, and connect to the camera with a 1/8" or 1/8"-to-1/16" audio jack.

You can set one up with a pair of Rode NTG-2s (which are about the best you can get in a high-quality budget microphone) and have excellent sound that will last you a long time.

*Ok, ok - that's two things. But one doesn't work without the other.


4. A focus LEVER - not a follow focus unit

No, you don't need to go rushing out to buy a follow focus unit just because everybody else is.

First of all, most sub-$150 follow focus units are poorly made to the point that you're better off without them. Second, you'll find that a focus lever will pretty much do everything you want for less than $20 - which is a heck of a lot better than plunking down $150+ on a follow focus unit, plus the price of a rail system to support it.

Yes, this little doohickey will do just as well for the time being, and will even serve as a spare gear ring once you do save up for that follow focus unit: 

Lumiere LA L60400 - not great, but it does the job.

If you can't afford anything else because you blew whatever you had on your camera and lenses, heed this bit of advice. Get the lever and hold off on the 15mm rail jazz that only serves to make China a bit richer every day.


5. A decent external monitor or eyepiece

Pulling focus on a DSLR is more difficult than you think, especially if your monitor doesn't swing out (case in point, all Canon 5D models to-date). If so, I hope you won't have to shoot any shots from ground level.
 
At any rate, an external monitor - despite appearing to be a frivolous expense - will save you quite a bit of time and embarrassment re-taking shots that you flubbed up due to pulling focus incorrectly. Find one that runs on a common rechargeable camera battery (unless you're running an external battery adapter, in which case, see if you can find one that will run off the external feed). 

Feelworld FW678-HD 7" monitor. More than you'll need, but I chose it because I wished to power the monitor from my Anton-Bauer battery with an XLR4 power input. This turned out to be the cheapest monitor available with the feature.

If all else fails, just get the eyepiece - it's cheap, and it'll do the trick.

-Kurt K. - "Man With the 5D"

P.S.: None of the companies listed above have paid for the above mentions, nor provided their products for testing. Most unfortunate, for me.