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If you were buying new wireless today...

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14 minutes ago, Derek H said:

It’s time someone do a serious head to head to head with Nexus, Axient, Zaxcom, and maybe Sony. Something similar to the antenna shootout 695 did years ago. 

Amen to that.  Now is the time while everyone is off work and we could borrow equipment from multiple mixers.

I would add digital Lectro and Wisy to your list, and also re-test Lectro Digital Hybrid as a long-running "known" comparison.

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15 minutes ago, codyman said:

You don't really see a lot of Sony out in the field here (at least in Los Angeles) for whatever reason.  I'm assuming it's more popular on your side of the Pacific?  Ironically, I bought my first six channels of Lectro used from a mixer in New Zealand.


I'm fairly certain I'm the only Production Sound Mixer in New Zealand using Sony DWX. (well, aside from a couple of short films I've boomed for a friend this year, when we used my Sony booms. He likes the sound of them more than his usual Lectrosonics HM transmitter. But even so, I expect if/when he upgrades to digital wireless then he'll go with either Lectrosonics DPR, or maybe perhaps Shure AD3)


Of course at the entry level, then Sony UWP-D is modestly popular with people starting out. 


I do wonder why Sony DWX never seemed to gain much traction in the film/tv production world. 


Guess it is a bit like if ARRI developed their Alexa camera but only ever did any marketing for the Alexa that was targeted towards: us production sound people, plus musicians and churches. 

Then ARRI were puzzled as to why no DoPs are using the Alexa??? 


I feel that's what Sony did, developed this great sounding digital wireless system, then only pushed it towards cameramen / news crews / venues / music acts / etc to be buying and using. 


16 minutes ago, The Documentary Sound Guy said:

That in turn translates into a smaller, lighter bag that consumes less power

I certainly will give credit to Zaxcom with how low power usage they are! I'm impressed by my Zaxcom Maxx in how little power it uses. Only my Zoom F4 would use less of my many various recorders I have. (Fostex PD606 would do worst!)



14 minutes ago, The Documentary Sound Guy said:

I would add digital Lectro and Wisy to your list, and also re-test Lectro Digital Hybrid as a long-running "known" comparison.

Absolutely, Lectrosonics Digital Hybrid is the standard against which everything else gets compared against! 

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1 minute ago, IronFilm said:

Absolutely, Lectrosonics Digital Hybrid is the standard against which everything else gets compared against! 

It's the Toyota Camry of transmitters (and I mean that in a good way).  Does it have a ton of bells and whistles?  Nope!  But that sucker will keep on trucking and get you to your destination without a fuss.  I have some early SMQa transmitters that are from I want to say 2008ish? and literally they've been in for servicing zero times and still sound great / work properly.

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I have no doubt that all of the other professional systems are wonderful and each would be a great choice, but I went with 'Lectrosonics again this past winter. This time it's the DSR4 with digital transmitters to work in a Scorpio/SL2 rig. It fits my longtime News Bag workflow and keeps things pretty familiar. It also keeps me somewhat compatible with other location mixers using older 'Lectro TX.





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In the day, Lectro 185s were light-years ahead of Micron, HME, and Cerwin Vega. :):)


I am glad that I don't need to make a choice today and, in truth, own not one piece of wireless any more.  But the choices are large and truly amazing.  How much such good equipment would have helped me out of some tight spots years ago.



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If I were starting from scratch; I'd build the exact same package I have now, a full Zax ecosystem.  I just finished the latest Gordon Ramsey show "Kitchen Nightmares", which was 100% zaxcom on the front end:

6 sound mixers , all with fully loaded Zaxcom Novas (2 MRX414 receivers, slot loaded modules)

Zaxcom RX8 - dante - Broadcast/Studio mix

Fully digital signal from the transmitter, to the nova to the broadcast mixer, to every IFB/CAM/satellite uplink


Every sound mixer could retune and adjust gain of every talent at any time.  So if I'm booming a scene I can whisper to a colleague that Gordon is about to get loud and maybe we should bring his gain down a scotch.


I'm starting to see some production companies request Zaxcom audio systems specifically for the known attributes including onboard transmitter recording.  The onboard recording is an enormous deal.  I've used it to such a degree, so extensively, that I can with a high degree of confidence rely on that recording.  


Side note, any Zaxcom transmitter could be received by any Zaxcom URX50 IFB receiver, which is $650.  This is a crazy deal, considering the quality of the receiver in the URX50 (very very good) and the fact that this is all you need to have a channel of Zaxcom.  The 1/8" analog output of the URX50 is very good quality audio.

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Arguably my shop has produced some of the most aggressive cart builds that have ever been attempted. I have been very fortunate in that over the years I have had an unprecedented level of exposure to many very successful sound mixers who all have their workflow and preferred brands recorders and wireless.

I am pretty much on the same page with @joepfeil. Early on in my career I used a mixture of prosumer wireless systems and some second hand professional gear. I was also using a Tascam HSp82 at the time which had toggleable inputs as either analog or AES. Long ago when I first looked at the Zaxcom website I was blown away with how complicated it all seemed (I was very green). I was homeless at the time and living in an Astro van. I ended up dropping my entire savings into a RX12, Bluefins, a couple ZMT3's, and a 743. It was an unfathomable investment for me at the time considering my living situation. I did it because it was an investment into myself and my career.

I will never forget the first day I used the 743 on set. It was for a Tove Lo music video. My little makeshift soundcart was at the back of the stage and I was so scared that I was going to be plagued with the same RF problems I had suffered though with the prosumer gear for so long. Not only that, I had just wired in and powered up the RX12 for the first time just days before the shoot. I was working by myself and running back and forth between the cart every time they rolled. The signal was clean, rock solid, and for the first time I experienced true professional confidence in both myself and my equipment. 

Fast forward many years later and my inventory of Zaxcom wireless systems and recorders has grown significantly. I credit much of my professional success to Zaxcom.

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On 8/8/2023 at 9:57 AM, Jon Mendel Sound said:

Thanks for everyone's responses I really appreciate it. 


Somehow I went from Shure vs SD to now I'm in a Shure vs Wisycom cycle. Going to hopefully demo an Axient system soon, than a wisy and go from there. 




Hey Jon, I haven't worked extensively with Wisycom but I have a lot of experience with Shure and I must say they are my favorite wireless systems right now (I own Zax, and Lectro mostly, but I'm going for 4 channels of ADX series now in the bag).  The ADX1s have insane range and battery life, tho they are bulky.  The ADX1Ms are very pricey, and weaker than most range wise, but not having antennas is amazing for placement and hiding in wardrobe.


Depends a lot on the type of work you do.  I've been on big shows rocking Lectro, Zax and Shure and they've all performed well.  There's benefits and issues with each.


However, I'd say Shure is top dog in the sound for picture game right now IMO.  They really nailed it. 

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I switched to 4 channels of Shure ADX5D with AD1 TX's. If you don't need remote control of your TX's its is the least expensive to an all digital system. AD1 TX's are under $1000. Also, the Axient system has been the best most solid wireless performance I have experienced. I have owned all other brands at some point in my career.  



Sound great

Solid RF performance on whips

Great battery life even with Alkaline batteries

Menu screen on ADX5D is large and easy to read and navigate

You don't have to set gain on TX


Only down side if any is TX's are bigger but since I don't do narrative not  an issue so far.





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  • 3 weeks later...

Hi Jon,  I’m also in the New England market and I invested in Wisycom and Shure.  Both systems have been excellent in my experience. If I had to start over I would go all Shure due to the range and reliability of Axient, as well as rental availability through Talamas when I need extra channels.

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My .02.  In your market what is the trend in wireless systems?  What are other soundies using.  As someone mentioned earlier, it is nice to be able to draw on a large established base when you are in need of some extra gear or suffer a failure.

I would also say must of us suffer from GAS and are willing to purchase something different or perhaps better.

Go with works for you.


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I'm sure OP has more than enough information at this point, but since this is an open thread I might as well offer my two cents:


I have a Zaxcom system and cannot recommend it enough. The digital purity from TX to mixer was a selling-point for me among many others. Like Glenn said, you don't need a Zaxcom mixer to utilize their phenomenal wireless systems. A QRX235 with the QIFB option board and some TRX transmitters would offer you the ability to send TX commands through Zaxnet while still running the AF outs into your SD mixer.




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  • 2 weeks later...
On 8/6/2023 at 9:10 PM, IronFilm said:

However, things are always changing. I watched a video recently where someone from Lectrosonics hinted they'll be coming with remote control features too (that is  not tweedle tones) in the future?

interesting considering the new wireless line has recently launched without any such feature

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