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Wireless Boom Op. Favorite Configurations?


Matt

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Hey,

I'm going with a wireless boom op setup this season and got to thinking, what do you guys and gals like to use for your setup configuration?

I'm thinking of a Comtek 100mW transmitter feed for the boom op's headphones and a Lectro 100mW plug-on for the microphone feed. I have worked with guys using a much more involved, setup, though. I believe it was a Sound Devices MM-1 with Lectro R1 and an LM transmitter for the Boom Op talkback microphone back to the cart.

I've considered the Zaxcom setup, but I can't figure out what all the pieces would be. Besides, I am already pretty deep into the Lectrosonics world and could use a plug-on with a receiver I already own. Talback on a headset is not something most of my boom ops would find super crucial, but I can always add it later if need be.

I know this topic has probably been covered a million times, but I like to get the updated views of people occasionally.

Thanks in advance for any thoughts, comments, suggestions.

-Matt Hamilton

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Michael,

Yes, this is exactly the setup we had on the film I worked on. I did like the "control" of my audio being placed in my hands. Do you power the whole rig off of an NP-1 and do you have talkback from the boom op to the cart?

I've never liked the limiters in the Lectro transmitters.

-Matt

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Well, Matt, you seem to have it down OK...

the specific configurations are all over the map. You seem to already be settled on Lectro, and Comtek. they will do the job quite well, though audio snobs will point out other options...

The Lectro IFB system is considered a better quality return than the Comtekoptions, , and some folks use the vSenn or even Shure IEM systems., the SD-MM in front of the TX is considered by many a better mic-pre, and allows the boomer to mix in the return... some folks like the plug-on TX, but many like the pack TX...

A number of folks have already got, or are planning set-ups that naturally make the Zaxcom a logical (and high quality) choice.

So many options, you should speak with your favorite consultant at your "usual suspects" to figure out exactly what your preferences and situation are best suited to...

IOW, it depends! ::)

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If you use a plug-on, be sure to get the right angle adapter for it. If it comes straight out of the XLR at the end of the pole, it'll get tweaked all the time.

We use HM with Comtek. It's simple. The transmitter is held overhead a lot, which improves reception. The Comtek has good range and provides freedom to move away from the mic while still babysitting the set.

We added mono adapter to our 216 receiver set-up, and the guys are convinced it makes a difference beyond a placebo effect.

Given the increase of obstacles on set, no cable anywhere comes in handy.

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We added mono adapter to our 216 receiver set-up, and the guys are convinced it makes a difference beyond a placebo effect.

Stereo headphones (trs) plugged into Comtek PR 216 will have left and right ear out of phase with eachother --- no true mono center. Using the stereo to mono adapter will give you solid mono, left and right, which is what we expect with a mono signal.

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Stereo headphones (trs) plugged into Comtek PR 216 will have left and right ear out of phase with eachother --- no true mono center. Using the stereo to mono adapter will give you solid mono, left and right, which is what we expect with a mono signal.

I knew the adapter would make the difference in a technical sense (the adapters were purchased due to knowledge gained right here on JWSound), but wondered if the difference would be noticeable given the relatively low fidelity to begin with. It is, apparently.

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Here is Sound Devices' diagram on how to use their products for a pretty decent wireless boom/IFB setup:

SDMM1BoomOpComm.jpg

I just use an HM plug-on and then send a pre-fader iso of the boom back to the boom op via an SMQV in IFB mode, going to a Lectro IFB receiver. True, an MM1 would be cleaner, and I agree with Mark & Phil that the HM has to be set very carefully not to overload.

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This is pretty much how Ive been doing it for years. I will say that you do need a pad in line with the output of the MM1 to the Tx if you want to avoid overload. Setting the Tx and putting the right amount of gain on the MM1 is tricky business. I recently used this setup with the following specs:

MM1 set to one click, with headphone amp all the way up. It wasnt a loud signal, but a workable one for the HPs. It went out to an SMQV set to 0 gain, which was received by an UCR411a. The Rx was by default set at -20dB, and the signal was still pretty hot, so it had to be turned down. This was without a pad in line between the MM1 and the SMQV.

There was a faire amount of whispering to yelling, and we never clipped, but it certainly made me nervous about the whole thing, and I didnt like putting such a weak signal into the SMQV, but any more and it would have clipped pretty easily I would think.

Surprisingly, going into a G3 Tx turned down to about -45 or so does a pretty good job, but of course you have issues like limited dynamic range, and well, range... but it is a good starter system for a wireless boom kit for the indie folks. I havnt had any luck using a UM series Lectro Tx. Even when turned all the way down the signal comes in distorted, so this is why I think having a pad would be of key importance.

I'd be interested to know about other people's experiences and solutions.

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Surprisingly, going into a G3 Tx turned down to about -45 or so does a pretty good job, but of course you have issues like limited dynamic range, and well, range... but it is a good starter system for a wireless boom kit for the indie folks. I havnt had any luck using a UM series Lectro Tx. Even when turned all the way down the signal comes in distorted, so this is why I think having a pad would be of key importance.

This brings up a question I've been wondering about. We know that the Senn G3 system introduces some distortion to the signal on high frequencies (jangling key test etc.). Does anyone know if this has more to do with the G3 preamps or the compander? As in - if using one to send already amped signal like wireless boom via MM-1 or a camera hop, with the G3 sensitivity turned pretty much all the way down, is the hf distortion still going to be the same?

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I use a MM-1 into a Lectro transmitter. I happen to own Sennheiser G2s that I don't use for talent mics, so I can use it for a talkback to the boom op (unless I need them as a scratch track to cameras). The boom op I usually use doesn't like hearing the mix, so this is a perfect setup for us. I *can* send them the mix if needed (for cueing or something). I could also replace that G2 with a prosumer walkie talkie, an R1, comtek, whatever.

For powering the MM1, we just use the same AA rechargeable batteries we use in our other transmitters. That lasts the day. This setup does mean we use batteries in the MM-1, the transmitter and the G2 receiver. I think the MM-1 is 2 or 3 AA batteries, so that's 6 or 7 AA batteries right there compared to one rechargeable for the Zaxcom 942 (that I think lasts a bit more than half a day). The MM-1 system also means you have a bunch of components cabled together that have to go on a utility belt, or in a small bag. The 942 is just one box. I posted elsewhere, but when I got the MM-1, I was not 100% sold on the wireless boom, so I liked that I could run a long single XLR to the MM-1. I've never actually done this, so if I was buying a system from scratch, I would definitely try out the Zaxcom 942. It offers a lot that the my setup can't (like internal recording).

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This is pretty much how Ive been doing it for years. I will say that you do need a pad in line with the output of the MM1 to the Tx if you want to avoid overload.

Are you sure you are using a line level cable from the MM1 to the Lectro? For whatever reason, the MM1 is only line level out. I never had any issues like that. My MM1 gain is about half way up, depending on the mic and situation of the scene.

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Something is not right in your setup, and I suspect it's your cabling from the MM1 to your SMQv. I use this setup also and have my SMQv set to 20, with the MM1 at 1-2 clicks depending on the volume of the actors. Never hitting the limiter in the SMQv with this setup. Also at +8 on the venue side.

(null)

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Configuring a Zaxcom system is very simple. Hardware needed would be the TRX942 on the boom op and the QRX100 receiver with IFB option for the return to the boom op. I would add a 1 watt amp to the IFB transmission if you are working from a sound cart.

One other way to go would be our TRX742. It has our best wireless transmitter A-D converter and Neverclip technology utilizing 2 A-D converters per channel with our softknee compressor.

What you do get with any of our systems is our 100% digital audio transmission that is better suited to a boom mic as it is compander free without the artifacts of FM transmission. This is far more important with a boom mic as the audio is more detailed than the lav mics that are designed to pick up a single vocal performance and the digital companders designed to optimise it.

You will also get backup recording in both transmitters with time code reference. The system will also allow you to remote control the gain and RF frequency of either system from the QRX100 receiver. Both systems also use balanced inputs that better reject unwanted noise.

If you need help configuring either system please feel free to call me at Zaxcom 973-835-5000

Glenn

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Yes Glenn, but what you don't get from your system, and this still boggles my mind why, and I've been asking for this for years, is a lack of a stereo transmitter. So channel one can carry the boom and channel two the boom op talkback. THEN you would have the ultimate wireless boom setup. Maybe someday.

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Big +1 for Zaxcom in my opinion. Quoting Matt (original post)

"I've considered the Zaxcom setup, but I can't figure out what all the pieces would be. Besides, I am already pretty deep into the Lectrosonics world and could use a plug-on with a receiver I already own."

You can see that figuring out "what all the pieces would be" is the simplest of all with Zaxcom. Unquestionably the simplest, it is also the best in almost all respects, fewest pieces of equipment (2), ease of use, features not even available with other more complex systems, pristine sound, on and on. The one thing the Zaxcom boom system does not have for you is that you do not own it, yet! If you really need to put together wireless boom setup with equipment you already own (Lectro, Comtek, SD, etc.) then you will be left with a setup that certainly will work but is compromising in several areas.

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Agree with Jeff. The Zaxcom setup is the simplest, doesn't have any of the FM and companding artifacts that my Audio Ltd transmitters have when booming a quiet scene, and they have features no other wireless rig has including remote gain and frequency control, a high quality built in IFB receiver, and recording capability with time code. Sometimes my boom rig (and I have both the 992 boom pack and a 742 transmitter) is my complete rig when there's a splinter unit doing drive bys or we're asked to go to camper land to record a wild line. The Lectro and SD rig will work just fine, especially since you already have much of the gear, but if you are planning long term you might want to give Zaxcom a 2nd look.

Billy

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I don't really get the need for talkback. I can very easily pick my boom op's voice out of a crowd when the pole is extended and he needs to quickly answer a question. Other than that, he talks into the mic, if need be.

I am all about buying gear, and owning gear that makes the job easier to allow us to concentrate more on recording good sound, and I have never even considered spending money on boom talk back. Not once.

As a boom op or utility, I only worked with ONE mixer who had us on a lav. I thought it was kinda weird.

Use the $ for another mic or something that'll improve the quality of the sound.

Robert

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I've been eyeing the MM-1 for some time for use for wired boom work, but think I could easily wire up one of my Zax TRX900AA's in conjunction with one to do wireless boom with com to boom op via Zaxnet from my Nomad in a pinch with an EA100 earpiece adapter... No comm from op of course except through the mic...

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I find a true private line important in fast moving, productions. Getting info across without having to raise a voice to get it to the boom pole. Discussing moves and coverage without being noticed. Talking into the boom is a big uncomfortable thing for me. Eventually someone is going to say the wrong thing at the wrong time, with the wrong person listening. Besides, how can we talk about the other departments on a public line?

I have a wireless PL, for boom and utility, and we all love it. I can talk to my boom op, and utility, and we can all talk to each other, quickly and discreetly to get things done fast. And the boom op doesn't need to be near his boom to accomplish this. Also, I harnessed my older wireless gear to accomplish it. I can't imagine doing it differently. But to each their own. If Zaxcom updated their wireless boom to stereo, I can't imagine using any other system. ALL in one!

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I read about a lot of people using MM-1. Considered it myself. A lot. But people write about the preamp being better, which is true, but you're still not bypassing the transmitter preamp. You're now going through both preamps.

Haven't we discussed before taking a mic signal and amplifying it, then re-padding it to mic level?

I know the limiters are better, of course, so you could set the transmitter knowing it won't hit the limiter. But I have pretty good success setting my transmitter low enough that limiting is rare, yet the "noise" of gaining up on the receiving end is not an issue. I'm now sending the mic signal through one preamp, not two.

Obviously I'm not a purist, considering I am not using a cable or Zaxcom wireless boom, but isn't my thinking correct?

Robert

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I'm personally using a TRX742 on the pole and a Lectro Quadra IEM receiver (with D4T) for PL. The Quadra is expensive per unit, but I have a single transmitter for everything, camera hop, IFB, Boom 1 and 2 PL. What I don't know what I'm going to do is when I have to hand out lots of "comteks" to various people, right now I'm in a situation where only the director and boom ops get them. I'd also love to get a PL return from my op, will probably use something like a G3 or maybe a Garmin GPS/FRS radio, which would be great for the large outdoor sets where we might have splinter situations (being able to visually locate my people).

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