What Do You Want To Know About Wireless?
 

Hi all:

I am at work on a lavalier microphone article that will provide a tremendous amount of hard data and opinion about which lavalier microphone to buy and why.

I am gathering data for a wireless microphone systems article at the moment. The wireless article will follow the lavalier article.
The candidates I am considering are:

1. Audio-Technica 1800 Series
2. Sennheiser G2 100 Series
3. Sennhesier G2 500 Series
4. Lectrosonics 100 Series
5. Lectrosonics 400 Series
6. Zaxcom TRX900 Series

My criterion are, the system must be UHF bandwidth, retail for a minimum of U.S. $500.00, the system must be primarily for lavalier application for sound for picture. Not interested in testing hand held transmitters or cheap, junky $200.00 to $300.00 live sound application systems. In my experience, there are no reliable, clear and professional level systems under $500.00 and even most of the under $1,000.00 systems are just barely okay.

Couple of questions. Do you care about Azden? Azden has some new cheap wireless systems. I have never used them but have used Azden sound products before and have found them to be sometimes lacking.

Are there any wireless systems that fall into my criterion that I am missing from the list that you care about?

I obviously want to set up tests for clarity, susceptibility to RF interference, reliability, construction quality, ease of use, battery life, etc. What is important to you for me to test with wireless? What have you discovered in using or owning wireless systems that you wish you would have known before you purchased the system?

I think it will also be cool to highlight wireless system tips and tricks and some of the powering options, options for Yagis and sharkfins, etc.

I welcome your input, requests and suggestions or this article. I would like to make the definitive sound for picture resource for wireless microphone systems and with your input, I think we can.

All my best,

Dan

That's great. I'd love to see an article comparing those systems. Do you have access to the Sony UWP-C series? That would be great to have on there as well.

Azden seems always to be talked about as inferior, but never that I've seen with specifics.

For this reason, I think an Azden outfit should be included to answer these questions:
1. Is Azden really inferior?
2. If so, how is Azden inferior?
3. What are the positive characteristics of an Azden system.
4. Looking at the tests, are there situations where the Azden would be a viable option.

And the Azden unit may be a positive surprise, as we remember the inexpensive AT mic in the shotgun review.

The system I suggest for review is this one, Azden dual on-camera with two body pack transmitters:
http://www.bhphotovideo.com/c/produc...icrophone.html

This is an attractive unit to a lot of people with the small cameras, and I think it deserves a test to get some concrete data available to those who might consider it. It is also one of a very few dual systems available.

Some other ideas for your consideration:
1. Use a known mic, such a Tram, on all the systems for some of the tests to get a straight forward comparison of the transmitters and receivers.
2. Rate the "Stock Mic" included with systems on some sort of scale with optional mics.
3. Test the optional mics on the systems they are most suited to (testing all mics on all systems is probably not possible in one life time) and compare to options.
4. Create a chart/guide that pairs real-life situations with wireless system/mic combinations. Include a price hierarchy correlation with the chart.
5. Do a sidebar on wireless lav wind screen options, how effective each is and situations appropriate for their use.

Well, that's something to start on!

Hi Craig:

Yes, I will try to include this but based upon my current experience in trying to just obtain the EMC-44, 55 and 77 mics from them, this may be difficult.

Unlike many other companies, Sony seems to be very challenging to obtain review copies from. I had to go to a dealer, to a regional distributor who is working their way up the ladder at Sony to just obtain these mics for two weeks. The fact that I write for a very popular but grassroots website makes it even more difficult.

Will let you know how this progresses.

Thanks for the suggestion.

Dan

My experiences with Azden mics have proven to be less than successful but I am open minded as that was 5-10 years ago. Perhaps they have improved quality since then?

It would be interesting to compare that system to the AT-1800 series, you are correct.

Yes, was definitely planning on using just one mic, might be the TRAM or might be the Sanken COS-11x. I think Trew has a poll on their site and someting 60 or 70% of pro sound mixers are now using the COS-11, I think that they dominate the market for lavs now.

Rate the stock mic. That might be viable for the systems that include one. Most of the higher end systems don't come with a stock mic but for the lower end ones, might be interesting. The stock Audio-Technica mic that came with my AT-100s, I think it's the AT 830 is not a bad little mic.

I will have to see what I can get my hands on as far as mixing and matching mics with wireless systems. It's challenging because most of the wireless systems have some sort of proprietary connection now TA-4, TA-5F, red dot, etc. so you are correct, it would be impossible to test every mic on every system.

I like idea number 4.

I like idea number 5 too. There aren't that many but doing some A/B tests in wind would be good.

All good suggestions.

Dan

Dan,

if you are going to use a mic like the Sanken COS-11 to test the wireless units, it would be useful if you could do one test with the COS-11 going through a mixer to the camcorder without using a wireless unit. That would be a baseline reference for comparison of wired vs wireless.

I think the Cos11 would be the best mic to use for the test.

Regarding Azden, it's just that their advertising is so ubiquitous and they are a well known name so many consider this option. Therefore, it seems reasonable to include an up-to-date Azden in the review.

The AT830 mic is quite good, I believe, and it can be used successfully for many purposes.

I suggested some kind of test on the included mics primarily because of the Sennheiser ME2 that is included with the G2. A definitive report on just how good (or bad) this mic is and how necessary it is to upgrade would be worthwhile, I beleive. It is generally considered as inferior, but how inferior, and should it be used ever?

The Lectrosonics mic is also worth a report, I believe. I believe you're not including it in your lav review, because it doesn't come in a hardwired version. However, it is a pro rental item at most rental houses and it comes with some Lectrosonics kits.

Other systems you may or may not like to consider:
Azden 300, Azden's smallest system
Samson UM32
(both are above your $500 price)

I don't know if it is worth comparing the Lectrosonics SM transmitter with the regular model. I would guess the quality should be the same when going to the same 400 receiver, but I don't know. (I only mention the SM because that is the next system I am going to buy.)

Hi David:

In the lav article I am working on now, you will hear plenty of tests samples of the COS-11x hardwired through a mixer to a camcorder, that's how I am testing all of the lavs for the lav article, hardwired only, through a mixer and into a camcorder. The article will feature tests with 15-18 models of lavaliere, depending on if Sony and Countryman come through with review samples for me.

I think you mean doing an A/B comparison, right? Here is hardwired, here is wireless microphone system X with the same mic? Right? That's a very good idea. The digital Zaxcom TRX-900 advertises "wired microphone sound quality" so it would be fun to actually test that, perhaps even in a blind comparison where you have to guess, "wired or wireless"?

Dan

Hi Dan,

that is exactly what I meant, but didn't express so well.

No problem.

Dan

Dan I think your idea is a great one. As for the Azden unitsI used 2 of the 500Us for about 5 or 6 years and frankly never had a problem with them. Yhe only reason I switched was I really wanted a dual channel receiver so I went the AT18XX route.
Having said that I still have and use the 500s when needed and really the only problem I have ever noticed with them is the yare a bit tinny sounding so I personally think that including that unit in your comparasion would be a fair thing to do.
I'll be looking forward to your report.
Don

I'd like to know what separates the systems in terms of gain control. For example, I'm pretty happy with the G2 but it annoys me that I can't alter the transmitter's gain remotely. Does a system twice or triple the price have that feature (or a built in limiter on the transmitter would be good too).

Other than that, a £10 cable does me pretty well ;-)

When you test the Zaxcom TRX900, you might also test the built-in recorder (24/48). The TRX900 allows you to record directly onto a miniSD card, which could be very helpful to a lot of people. However, at the cost of the TRX900 (~$4K USD), it's not something everybody goes out to buy. It should also be noted that the Sanken COS11 mic is not recommended by Zaxcom at this time (although Jeff Wexler, myself and several others are using it with this mic). There seems to be some RF interference issues some people have reported with this mic and both Sanken and Zaxcom are trying to figure out what is going on.

Wayne

Hi Wayne:

Yes, I saw that option, that seems to be the future, huh? So the Zaxcom unit is really a mini recorder as well as a killer wireless mic system? Pretty awesome. But yes, at $4,000.00 per setup, reserved pretty much for working pros. But I think that it is always a good idea to include the best as well as the "not the best" in articles like this.

Good tip about the Sanken, I will keep that in mind.

Dan

Samson Wireless
 

I'd like to suggest you consider this brand.
My knowledge is dated, but we acutally found this brand did better for broadcast at a top 15 market ABC affiliate than some ofh te other "names" in overall performance, main issue we always hd was fading and RFI.

Another thought, I might suggest someone consider lookng into Ultra wideband UWB technology; be interested to see if it will make it to this application. Promises much better oerall quality, or so I've heard. I don't do this professionally anymore, so note really dug into it.

Hi James:

I would consider Samson except for that none of their lavalier systems retail for more $429.00. I kind of setup $500.00 retail as a minimum that I wanted to consider.

I do have some limited experience with Samson professionally and I was honestly never impressed with their performance.

Not sure where I could find out anything about UWB technology, I will look into it.

Thanks for your suggestions and input, I appreciate it.

Dan

Hi Dan

long shot what with Sony not being so forthcoming but their new digital wireless set up would be a great addition to the test. Have they hit the shops yet over that side of the pond?

Sony DWT-BO1
Sony DWR-SO1D

Hi Jimmy:

The only thing I find is a European based story that it will be out in February http://prosoundnewseurope.com/index....=523&Itemid=27

Sounds interesting although unless this system is significantly cheaper than the Zaxcom digital system, based just upon the bare details in this story, the Zaxcom will be tough to beat, it's digital also and features on-board SD card recording tied to TC. Based upon the story above, it seems that the big deal about the Sony system is that it is digital and that it docks easily to the higher end broadcast Sony cameras. Which is great if you have a Sony broadcast camera but if not?

I will definitely approach the Sony rep when we try to obtain review samples for the article.

Good suggestion.

Thanks,

Dan

I heard a rumor from one of the BBC natural history boys that it will be 'cheap', we will have to wait and see. Not sure where he got that from, particularly if he spends half his time in Borneo.

I have seen the Pro Sound News article as well. Just wondered if there was the normal delay between european release and that in the U.S. Normaly it favours the U.S. region.

Oh and lets not get started on the usual price difference between there and here!

Try your best to add Audio Limited as one of the high end models.

Also, do a "line level" test on the units. This could involve doing the standard test but routing it line out of the mixer to the receiver and line in to the recorder. Basically, this would let us know if some (if any) of the these units would ever work well for the occassional wireless from Mixer to camera option at the hotter "Line level" signal path. If any of these units can realistically handle "Line level", it could be a good factor in the decision making process.

Hi Jim:

I have never heard of this brand, is it a U.S. brand or ? Will do some research.

Yes, the line level is important. In my experience, some of the higher end units are rated between line and mic levels, although for most of the units, you have to use an in-line pad, which is what I do. I think I bought mine from PSC for something like $50.00. I covered the tour rehearsals for a major rock star for a doc I have been working on. Brought my two Audio-Technica AT-100 systems. Put one the main talent, ran one to the sound mixer to get a line out. Worked out great. Of course, one the music commenced, the mic on the talent was pure distortion but the mix feed was decent.

Good suggestions!

Dan

Hi Jimmy:

Hmm...that would make it much more desirable if it were inexpensive. I also notice that this Sony model has digital output whereas the Zaxcom units, at this point, seem to be analog out only so that could be a differentiating factor for some users.

I checked with Coffey and LSC, neither of them were aware of this model so perhaps it came from the Euro division? With Sony's marketing, who knows?

Dan

Honestly, I don't see Zaxcom changing this. So much of the equipment used on-location is analog, and doesn't use digital, so it doesn't make much sense for them to change it at this point. One other note about the TRX900, it really was designed as a camera hop and has built-in IFB receiver in the transmitter. I'm not sure any other wireless offers this.

Wayne

Oh, I agree. Sony has tried to make these digital inroads before with little success. Ever heard of the Sony DMXP01 mixer? http://www.bhphotovideo.com/c/produc...tal_Mixer.html

I have yet to see a professional sound mixer using one. I think the digital output is to appease those users (mainly news camera operators) that are using a Sony Broadcast camera with digital audio inputs. I can't see any sound mixers who are mostly still in the 50/50 world of digital/analog caring about this at all.

Dan

It's produced by a UK company. I've used their older model as a rental. I haven't seen their latest stuff....supposed to be top notch.
http://www.audioltd.com/

Maybe the guys at Vark could hook you up. http://www.varkaudio.com/wireless-microphones.htm

The 'Audio 2000, 2020 and now 2040 are pretty much the standard in the U.K.
They are not cheap though at approx. £2250 for a channel with mic.


If the Sony is priced right it could be an interesting idea. Especially as a camera hop what with it being a dual receiver. Assuming it sounds OK as well.
Their analogue wireless stuff sounds pretty bad.

I came close to buying one of those (used), but the reality is, it's a bit heavy and bulky when compared to some other mixers. Most of the people I work with aren't using Sony cameras, so the digital output would be of little use to me. I think that's true for a lot of mixers and why it hasn't really caught on.

Wayne