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  1. Hi all, So I’m finally looking to upgrade my multiple Sony UWP systems to lectrosonics, and am particularly looking at the ar dual receiver systems, mostly to save space in my small orca bag and keep my rig pretty mobile. I’d like to know the main differences/advantages of the src over the srb or even the sra. I’m aware it has trackinh front end filters similar to the 411s, as well as smart sync infrared syncing, but what about audio quality and range? I can pick up used srb systems for substatially cheaper than src. Will these still be a good purchase now that the src is here? I am mostly in the commercial and corporate market, with the occasional narrative work. I rarely need more than 2/3 wireless channels plus boom. I use a g3 as a wireless cam hop. Hope you can help! Thank you in advance.
  2. I have a Sennheiser G3 mounted and attached to a Sony A7s on a Movi. The hop is mounted to one of the movi arms. Levels sound good when movi is off but as soon as the movi is powered up there is a major hum/buzz and digital noise. I'm hearing that the A7s just has bad sheilding but any suggestions for keeping the feed clean? i've also noticed when you hover your hand over the G3 face, you will hear interference. What's that about?
  3. I've been looking to buy an Audio LtD RK2 rack for two 2020 receivers. Preferably in the 512 - 524 MHz range. Any ideas would be appreciated. Thanks, Tom Nelson CAS
  4. I've done a lot of homework, but the complexities of the wireless lavalier world aren't making complete sense to me yet. Any advice and/or education would be appreciated... I have a recorder/mixer, a shotgun mic with all the accessories, and a bag. This will mainly be used for indoor talking head film commercials, and the occasional indie film. Am I correct for everyone you want to wire up will require a Receiver, Bodypack Transmitter, and a Lavalier Microphone? The R & T are just tonally neutral communication devices, and the lav mic dictates the quality and character of the sound? Most of the use will be in San Francisco and occasionally in Philadelphia. It appears that both of those areas require Freq Block A-1? Are there any other components that are typically required that I didn't list? I can't afford the top end systems from Zaxcom or Lectrosonics right now, but I also don't want something that the industry would consider an amateur level. So Prosumer I guess. I really hope there's a system from Sweetwater that someone could recommend and vouch for so I could buy it through their financing program. https://www.sweetwater.com/c994--Lavalier_Wireless_Systems/high2low Thanks! David
  5. Hey everyone, A seller has a used Lectrosonics SRB receiver in block 21 - I'm wondering if anyone has experience with this block in Portland, OR? Is it clear? Thanks! jamie
  6. 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?
  7. 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.
  8. 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?
  9. 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!
  10. 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
  11. (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!
  12. Hi, I've been running with Sennheiser G3's so far, and I'm thinking of upgrade possibilities. I've formerly used rented Lectros, which are always nice (except that one time they were popping all the time, this apparently had something to do with incompatible DPA lavs), and also have a Nomad so if I had a lot of money, Lectro or Zax would obviously be a sensible choice (then again I hear about people in Finland having trouble with Zax wireless, I wonder if that's already sorted out). However, two Audio Ltd Tx's and their dual channel diversity receiver would cost me around 2000€ less than a pair of Zax or Lectro channels so I'm trying to gauge whether to try and save up or go with the Audio Ltd's. I came across a pair of En2 tx's and non-diversity rx's once. I actually had quite a lot of dropouts while in a supermarket, though I think it might've just been the environment, and I suppose if I were to get their dual channel receiver with diversity the situation would be better anyways. Or have people experienced range issues with these? How do you perceive the sound quality on the En2 system? On the G3's I notice some noise in quieter environments, is the noise floor on En2's significantly lower? I Can't really tell from my earlier brush with the En2's since the gig was in louder environments. Also, the En2's have locking TRS connectors for the mics, are these with the same wiring as the G3 connectors? This would sort of be a bonus towards just getting a pair of Audio Ltd channels for now, since I have a pile of OST and Rode mics with Senn connectors. Thanks for any experience you might be able to share!
  13. 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
  14. Hey All, I'm looking for a solution to quickly dump a sound report from my 664 to my iPhone so I can email it off quickly at the end of my workdays. Research so far has led me to WiFi enabled SD cards, WiFi SD card readers and Lightning SD card readers. Currently I think my best potential solution is the WiFi enabled SD cards. It is smallest of the solutions. Most cards seem to have their proprietary apps you have to use to transfer files. Some, like the Eye Fi brand, only allow you to transfer photos and video from cameras. Toshiba Flash Air seems to allow all files to be transferred from their SD cards. Documentation on these products, their specs and transferring functions has not been the easiest to find. NOTE: I am well aware that these cards are not approved media- they would be used to quickly transfer a sound report from the CF to the WiFi SD then onto my iPhone. I am not looking to record successfully on said cards. So before I go blow some $$ on something that may not work, I thought I would ask you wonderfully helpful people here at JWSG: Has anyone had experience using this solution or these WiFi cards in a Sound Devices mixer for simply transferring files to their iPhone/mobile device? Does anyone have another solution that they successfully use to get sound reports to their mobile device in the field without lugging around a laptop? Thanks! Todd Steinhauer
  15. 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!
  16. 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
  17. 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
  18. 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!
  19. 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
  20. Possible upcoming shoot in Hawaii - any known wireless issues / conflicts would be helpful - thanks! I'm using 19, 21 & 26
  21. 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.
  22. 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
  23. 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
  24. 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
  25. 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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