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Showing results for tags 'wireless'.
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Hello! How do people feel about the range that they get off the zaxcom units? Is 50/75 mw good enough compared to lectros 100/250?. I really need don't like to fight to get range in my wireless. I know its all digital but some zaxcom units I have used in the past didn't impress me with there range. Maybe I was using their older models... Also wondering about the IFB's and using them for camera hops. I'm curious about the range of them and the audio quality, are then better than the lectro ifb's?
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So I noticed that the Rodelink wireless system has an option to power the unit through a micro usb cable instead of batteries. I've got a BDS system but unfortunately no one (including Rode) sells a micro usb to barrel DC cable. Anyone have any success making one? I tried but can't seem to get a working one.
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What's the average percentage for your lavs that you don't get clothes rustle/noise, drop outs or hits, etc on your lavs? I'd say about 40-50% of the time I lav someone it's clean without any really bad rustle. Sometimes I have no issues at all when I get the placement just right with cotton shirts, other times I'd assume it's completely useless. I do narrative work where I have to hid the mics almost 90% if I can't hide it in plain sight.
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I've been getting this really weird interference at this one location in an apartment complex in Hollywood and was hoping someone could identify the problem. I'm running 1-3 Sennheiser G3s, one with a countryman B3 and others with the stock ME2 mics. All the TXs do it, no matter the amount of kits running or frequencies. And I have tried to recreate the problem at my house without success. It's not radio hits or drop outs, but this rapid fluctuations in audio levels, almost a gurgling of the levels. The weirdest part is that the second I step outside onto a patio, or even the hallway, it stops. Looking at the TX, when I'm outside on the patio the levels look normal, but right when I walk into the room we're shooting in the level meter spikes and hits the limiter, even if its quieter inside than outside. This is on both B3 mics and ME2s. I've tried scanning frequencies, changing banks, groups, sensitivity, everything and no matter what I get issues. My only idea is maybe there is a massive amount of unshielded wiring in the complex and is somehow radiating a ton of electrical energy and overloading the mic cables, making them essentially striking rods. Here is a tame example. Usually it's jumping about 5-15db 3-5x per second. The crashing sound is a door slamming and blinds shaking. There are no radio hits or drop-outs, just a massive jump in audio levels. Ideas on what this could be?
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Hi Everyone, I'm about to embark on my next serious step up from my G3 wireless rig, they're just not cutting it anymore on the gigs I'm getting so I'm looking at the following 2 set up choices; 2 Lectrosonics LT transmitters & SRC Receiver or 2 Wisycom MTP40S transmitters & MCR-42S Receiver. I'm based in Ireland and sadly we have no hands on access to either of these set ups at any stores so i could get a rough idea. I've done extensive research and I just can't come to a conclusion on the significant differentiators between the 2 set ups. Would anyone like to chime in with their experiences? Thanks! PJ
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I had an interesting issue crop up a few days ago. I have two Comtek feeds: one for my crew and one for Production (which includes Director & Scripty, as well as agency types in VV.) Transmitters are two BST-25 216. So I was working on a commercial shoot in a home. My cart ended up in a corner in the kitchen, and I installed my two Mini-Mite antennas upside down so as not to hit the ceiling. Everything was tested, no problems found. At some point, a four-foot Kino fixture with four bulbs was put next to the car, vertically. It was connected to a Variac dimmer, at what I would call minimal intensity. After all adjustments were made, the light ended up about one foot from the Mini-Mite, directly in the path to where Director and Scripty were seated, some 25' away. Eventually (don't know the timeframe, it was a pretty busy and tense set) we heard that the signal is "cutting out". My boom op checked and, indeed, it was cutting in and out intermittently. We moved the cart to get a clear line of sight to them and it mostly was resolved. Unfortunately, we were short on time and dealing with a difficult shoot, so there wasn't much time to test and troubleshoot properly, so I can't share any more information - but I'd love to hear comments or experiences from my colleagues, in case the issue crops up again. TIA, BK
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I've just recently moved to Oakland, CA from Europe and I'm buying some wireless channels to use around here. I'm eyeing on Sennheiser 2000 to be my new addition for my sound bag. What block would you recommend to buy? I'm working mostly in Bay Area? I appreciate all thaughts! Thanks!
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I'm getting this weird noise in one of my g3 receivers. The noise is only there when the receiver is off. If I turn it on, it disapears and the unit is working fine. But I still would like to know: what is this...?? 0327021.WAV
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Hi friends, i just picked up a G3 IEM belt pack to use in conjunction with my other G3 equipment. Standard procedure for many of you. Now could someone explain to me why the frequency presets for band A on the IEM receiver do not match the presets for the EK/SK100 body packs in the same band? I realize we can program user presets, but really, did they have to do that? My apologies if there is an existing thread that covers it. My searches can up empty. Cheers Adam
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Has anyone experienced differing performance results in their wireless setups using RG405 coax cable VS. RG174? I'm currently using a PSC RF Multi SMA with a few Lectrosonics SRB receivers in my bag using the stiffer, thicker gauge RG405. But I wonder if I would be experiencing any better performance from my wireless using the RG174 coax that PSC sells and encourages for use with the Multi SMA. Both my cables and the ones PSC sells are rated at 50 ohm, but I can't find any more info regarding spec differences. Thanks!
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(I know this has been covered in the past, but the tech has evolved since the previous posts) Hello all! Has anyone found unique and/or cheap new ways to monitor video feeds wirelessly from a cart or as a boom operator on the floor? I am familiar with Taradek cubes, QTAKE, and modulous type transmission. What I would like to explore is cheaper alternatives that provide streams to IOS or android devices. Ideally, these solutions have little to no additional equipment needed on the receiving side. The reason I bring this up again is due to my friend's newly installed vehicle dash cam. It is a BlackVue DR650GW-2CH, that has a proprietary live view via wifi app (ios and android). I was blown away by the reasonable latency, great quality and range. Has anyone found success with new lightweight solutions? Thanks!
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Good evening guys, Long term lurker, first time poster. Please be gentle. I'm a sound editor and general audio-post guy by trade, and have over the past year had an opportunity to make a somewhat logical step into location sound. I've had a small singleboom, single wireless system and lav - the Sony UWP D-series - but want to add another. I'm wondering if I should go for the same frequency system or not? I'm currently using the 470 to 542 MHz (UHF Channels 14/25) system and am unsure weather to get another system of the same or not. I believe I should get the same range as the manual states the following: "When operating two or more UWP-D series packages simultaneously with different channel groups, make sure that they are at least 100 meters (330 feet) apart if they are used within clear sight of each other (actual distance may vary depending on the circumstances)." Just want to be 100% sure. Hope you can help!
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It's starting to look like I might be doing a gig Down Under. I've already checked that most of my wireless is in the new permitted frequency range. However, in here in Finland we're required to get a license to use our gear from the Comms Authority. Is there a similar thing you need to do in AU? Cheers, Karri
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Possible upcoming shoot in Hawaii - any known wireless issues / conflicts would be helpful - thanks! I'm using 19, 21 & 26
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Hi there, This is my first post so thanks in advance for being gracious with me. I'm beginning to build my audio kit and, because i'd like to buy a COS-11D lavalier mic, i reached out to Sanken with a question. But, after their reply, it seems clear to me it simply wasn't understood. Here's what i asked: And here was the response from Sanken: Am i missing something obvious? Was this their way of saying, "No, what you want to do is simply not possible." Or were they instead just saying, "We'd really prefer you buy two microphones. That always works out better for us." Any advice and nudges in the right direction would be deeply appreciated. Many thanks. -
Hi guys, I'm based in Pakistan and am curious as to how one decides what Block to choose for their wireless while purchasing. I found a list of Pakistan Frequency Allocations online, but am not sure how to make sense of it. http://www.pta.gov.pk/media/Pakistan_Table_of_Frequency_Allocations.pdf What do blocks of frequencies we're entitled to come listed as in a list like this? Is it obvious which blocks are useful for Location Audio wireless in this list? Do the ones that we're not allowed to use just show up as unavailable while scanning? Thanks for any insight/info folks! Faiz Z -
Looks like Sprint decided not to participate in the 600 MHz auction. Exactly how this will affect the outcome is unclear but keep in mind that most of the TV stations are going to ask for top dollar, the wireless industry has stopped growing, and they really would prefer a higher frequency like 2-3 GHz than 600 MHz. See http://www.rcrwireless.com/20150927/carriers/sprint-dumps-600-mhz-auction-plans-tag2 For comment from FCC see https://www.fcc.gov/document/statement-commissioner-pai-sprints-decision Bill Ruck "Bring lots of mic cable"TM San Francisco
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They market it as "camera receiver", but they mention a panel for cameras without audio slots, that would enable using it in bag/cart. http://en-us.sennheiser.com/news-a-world-first-sennheisers-new-ek-6042-two-channel-camera-receiver-works-with-both-analogue-and-digital-transmitters -
I'm sure many of you have been in the situation where you weren't consulted before a purchase, but asked for advice afterwards. See if you guys can see what's up here. Our athletic department purchased this UHF wireless system with the intention of using for mic-ing the referees at football games. https://gtdaudio.net/gtd-audio-2x800-channel-uhf-diversity-wireless-microphone-p10.html It's not a bad unit for the price. The bodypacks have a mute switch obviously, but the refs want something a little easier to mute/unmute when announcing penalties. This is where I was consulted. The GTD bodypacks use TA3 plugs, and for the life of me - I could not find an in-line mute switch that used the TA3 interface. (at least not one that wasn't exorbitantly priced) So, I decided just to find the mute switch I wanted and see if I could make it work with our bodypack and headset mic. I purchased the Shure WA360 which uses a TA4 interface. http://www.sweetwater.com/store/detail/WA360 I found the correct adapters to get this TA4 mute switch plugged into our TA3 equipment, and not surprisingly, it does not work. I suspect the problem is with pinout. I have discovered tonight through a little googling that pins 2 and 3 are reversed when going from TA3 to TA4. So - what do you guys think my next step should be here. I have choir classes to teach this week and broadcasts to produce, so I don't have a ton of time to devote to this - but I would like to try and get this working by the next home game on 9/17. Braintrust - what say you?
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Check these out.
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Hey guys, I may have a show starting later this year for which mobility and range will be paramount. Shooting in rivers, sand dunes, up trees, etc. So I've been dreaming up ways to solve the puzzle. Please excuse and forgive me if I touch upon a topic that's probably already discussed on here, but my searches haven't led me to this specific issue. I'm using an ORCA bag and harness with a 788 and a PSC Multi SMA. Talent Wireless is on blocks 24 and 26 (Sydney, Australia). I'm thinking of somehow mounting a small boom pole to the back of my harness and attaching a Lectro ALP650 to it, so that it hovers above my head. Is that ridiculous? What do you guys think? Has anybody attempted something like that on here? Any help would be appreciated! Cheers, pinky
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Has anyone had any success pairing an Apple Wireless Keyboard with the Sound Devices 970? If so, how did you do it? I'd also love to use it with my 633, but getting it to work with the 970 is the priority for now. Thanks!
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Does anyone here have any experience related to sending timecode wirelessly to a camera audio track and the workflow of using audio timecode in post? Timecode sync is essential for a upcoming production i will be working on and the style of Doc won't allow for TC slate or anything like that. Using the 664 I will be sending audio via 2 channel hop. I would like to attach a lockit box to ensure sync but there will be no TC I/O on the camera unless a extension is added. I'm pushing for the extension but if the budget won't allow it I, would the below set up work? 664 TC Lemo to TA5 female into the Lectro SMQV, then from the Lectro dual receiver to camera, To me this seems risky and it would be a massive headache, especially if in post if the TC can't be decoded for whatever reason. Also don't think pluraleyes will be an option as I read in this forum that it doesn't like multi channel audio files? Will be 8+ tracks poly wavs mostly. Any thoughts? Thanks in advance!!!
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For those of you who want to dig a little deeper into the SuperSlotTM open standard .... http://superslot.org/
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Jeff Wexler posted a clear and informative reply to Prahlad Strickland's question about diversity reception. Read it here: I posted my question there, but as it was off-topic I've re-posted here so as not to derail the thread. Lectrosonics' SR manual reads: "...the two channels can be used together as a single receiver in "True Diversity" Ratio Mode for enhanced performance in some environments." My understanding is that in Ratio Mode, the dual receiver SR "favors" the audio signal from the receiver with the stronger signal from the transmitter. If Ratio Mode on the SR is a combination of antenna diversity and receiver diversity, how is it better than receiver diversity? If I use a pair of receiver antennas (matched or not) in fixed positions for each integrated receiver front end in an SR, both receiver sections will have (presumably) identical range and reception from the transmitter. How does Ratio Mode purport to give a more robust signal than plain ol' receiver diversity?
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