Sennheiser Profile wireless for Camera Hop?

[Phillip C Dent]

Has Anyone considered using the Sennheiser Profile wireless system for a camera hop? (pictured below)  It is small and dirt cheap.  It works on 2.4 Ghz, so I'm concerned that it might take interference from some of the motorized follow focus units out there. 

 

Currently I'm using the Lectro DCHT/M2R combo for camera hops.  My main complaints with this system are that it's expensive, the m2r does not have a legit line level out and it can be blown up if the phantom power on the camera is switched on.  (Unfortunately, I've done this 3 times)

 

Would like to know if you all think this could be a viable option.  

[humbuk]

I have no direct experience with this product, but there are many similar ones on the market on the same principle, Rode, DJI.... But at 2.4GHz it will always be a big compromise. It will definitely never work as well as yours mentioned. The old Sennheiser G3, G4 will be cheaper and better. I understand that the small size is tempting, but unfortunately these things are designed for a few meters.

[Mungo]

Rangewise, in case of latency, sound, battery lifetime and stability of connection this product is a real surprise!

There is a one channel version that's a little cheaper (200 Euros). I use it as a camera return with a Sennheiser CL-1 cable out of the headphone output of the camera. Input level to -12. Works absolutely flawless everywhere and saves my life every time I do news and sports production where camera hop is the sound used in editing.

 

If my camera hop only would be a scratch track, I would rely on it. Downside of all 2,4 GHz system is of course there's only a 1 to 1 connection possible, bad when there are multiple cameras in use.

 

[Phillip C Dent]

10 hours ago, Mungo said:

Downside of all 2,4 GHz system is of course there's only a 1 to 1 connection possible, bad when there are multiple cameras in use.

So with this system you can’t have multiple receivers? That’s kind of a deal breaker because I’d want to use it with multi-cam shoots.

[Mungo]

34 minutes ago, Phillip C Dent said:

So with this system you can’t have multiple receivers? That’s kind of a deal breaker because I’d want to use it with multi-cam shoots.

 

No, they are paired. There are IEM systems in the GHz allowing multicast, but those I have experienced so far were bad.

[codyman]

You'd be better off getting a dirt cheap Lectrosonics UM400a, put it into IFB mode, get yourself the cheapest Sennheiser G2/G3/G4 receiver pack you can find, turn the pilot tone off on those receiver packs, tune it into your UM400a frequency and voila, cheap reliable IFB/hop.

[Tim Norris]

On 12/17/2025 at 11:38 PM, Phillip C Dent said:

Has Anyone considered using the Sennheiser Profile wireless system for a camera hop?

 

I pretty much only do Network News. We don't make a ton of money in rentals. In order to provide the best product possible, I went with the 'Lectro DCHT/DCHR shortly after it became available. Most of what goes to the camera (via hardwire or hops) is what gets used in the broadcast.

 

These sound great. Easy to use. Designed for hops. I have two sets, one for the heavy Scorpio bag and one for the lightweight MP 10 bag, with two more of the M2RA receivers for extra cams, backups or producers. This may make me an idiot, but my product is good and I don't have to worry about my gear. They are suitable for live broadcast if required.

 

From the very beginning of my career, way back when the shooters provided all the gear, I have never been a fan of the Sennheiser RF products. Sennheiser RF seems to be what camera guys buy for audio because they would rather buy a lens, more lights or a new van.

 

Never cheap out on your gear!

 

Cheers,

Tim

[Philip Perkins]

There is nothing wrong with Senn wireless if you remember that you get what you pay for.  G3/4s work just fine for lowbudg folks--I make the sound from them work on indie verite doc mixes all the time.  The high-end Senn wireless are very good indeed, on a par with Axient etc at least, and cost like those.  The Lectro gear mentioned is better in every way than low -end Senn gear, but the latter is far cheaper.  The high end Senn stuff is another story, very competitive w/ Lectro.

[Phillip C Dent]

On 12/21/2025 at 5:07 PM, Tim Norris said:

Never cheap out on your gear!

Thanks Tim. I’m always battling the decision whether to buy the best, new, wiz-bang gear that will make my life easier and/or give me street cred that I am a top tier sound guy

 

-or-

 

only buy the gear that clients value and will pay extra money for and give me a quick and guaranteed return on investment.

 

With the DCHT/M2R combo for a camera hop I thought I had bitten the bullet and bought the expensive camera hop system that would make my life easier knowing that clients wouldn’t pay any extra money for it.  Unfortunately, I have been disappointed with the performance of the M2R, and to replace it with a DCHR is so expensive with little to no return on investment by my calculation.  Unless a client specifically requests it, I really doubt it’s worth the money no matter how much I would absolutely love a legit line level out and love even more the option of aes out.

 

I’ve recently decided to buy a Sound Device’s Scorpio because I think it satisfies both the criteria above. It will confirm that I’m a sound guy with top tier gear AND it will quickly pay for itself since I have a consistent client who requires a high track count via Dante and is willing to pay for it.

[Tim Norris]

17 hours ago, Phillip C Dent said:

Unfortunately, I have been disappointed with the performance of the M2R, and to replace it with a DCHR is so expensive with little to no return on investment by my calculation.

 

Yeah... the DCHR looks to be about $2400 these days. Still a bargain compared to an SRC or DSR with a pair of TX and using up two frequencies instead of one. Plus the size and speed, as you already know. 

 

Exercising my powers of relativity... when you get your DCHR you will have a great two channel receiver plus a spare, or one for a second camera. They each rent for $80 in my low pay News world. They are always ready to go in my bag. If it even looks like we might need hops rather than hard-wire, I have it tuned up and ready to go. Camera loves them.  A spare unit for a second camera or a  producer is the same $80. A couple of times I've given a producer both talent IFB and hops feed when it was just too loud and confusing on set. You could give the spare to a second mixer if you have two crews covering the same thing, just so it's easier for them to pair up with his audio later.

 

Eventually it all pays for itself. And then you buy something new. I cannot tell you how many times I was sure I was finished with major purchases.

 

Don't forget the SL2 with that new Scorpio.

 

Cheers,

Tim

[Phillip C Dent]

On 12/23/2025 at 2:15 PM, Tim Norris said:

Don't forget the SL2 with that new Scorpio.

I decided on the Astral ARX8 (formerly Nexus Go)