Best Lavalier Wireless set/system?
 

Good afternoon All,

I am doing research to find out which wireless set (transmitter, receiver and mic) I can get for what I need.

Situation: I am planing on shooting a short movie with a Panasonic HMC-150 (has 2 XLR input connectors) sometime next spring. Also planing on doing interviews with friends. Dialogs between two people. Budged is low yes, but not super low.
For what I researched so far, it seems that the Zaxcoms and Lectrosonics are out my budget for now, therefore out of the equation.

That said, I need 2 wireless lavalier microphones and I came down to 3 options (plus 2 alternatives to two of them):

Sennheiser Evolution G2 100 Series - UHF Lavalier System

Sony UWP-V1 Wireless Lavalier ENG Microphone Package (30/32 - 566 to 590MHz)

Audio-Technica ATW-1813D - 1800 Series Portable Wireless Microphone Combo System - Includes: ATW-R1810 Receiver, ATW-T1802 Plug-In Transmitter, ATW-T1802 Bodypack and Lavalier Microphone

And the alternatives for the Sony and the Audio-Technica are:

Sony UWP-V6 Wireless Plug-in & Lavalier Microphone Package (30/32 - 566 to 590MHz)

Audio-Technica ATW-1821 - 1800 Series Portable Dual Wireless Microphone System - Includes: ATW-R1820 Dual Receiver and (2) ATW-T1801 Bodypack Transmitters


Which ones would your recommend and why?

What is really the difference between the Sony UWP-V1 and the Sony UWP-6? The UWP-V6 seems to be more expensive, but the UWP-V1 seems to have more reviews (in B&H).

The Audio-Technica's has almost 10 times more frequencies than the Sony's. Does that makes a big difference? (I live in rural Vermont BTW).

I have no idea neither experience with lavalier wireless systems, and that is why I will appreciate so much all the information, knowledge and opinions you can share here with me.

I truly thank you very much for your valuable input!!

Kind Regards to all ^_^

Peace,

Ben Tolosa

Ben, take a look at these threads:

http://www.dvinfo.net/forum/all-thin...-atw-182x.html

http://www.dvinfo.net/forum/all-thin...less-mics.html

http://www.dvinfo.net/forum/all-thin...less-mics.html

I still haven't made my mind up. I can get the G2 for a very good price. But I like the ability of the AT to record dual channel and mix on the receiver to one XLR channel. That way, I can use a third cardoid mic for environment sound. 2x the G2 would occupy both XLR channels on my camera so I would have to record sound externally.

Well, here I go touting the AT1821 again;-)

I've been using it almost since it came out and I love it. I can use both bodypaks or 1 bodypak and my plugun transmitter AND if I really want to I can run both wireless AND a hypercaroid or shotgun or handheld wired mic in to 2 XLRs by simply MIXING the 2 wireless at the receiver. I don't do that but I can.
Now having said that I don't use the stock mics. I use 2 Countryman EMW lavs (shelved response) and am thinking about either the Sanken COS11s or Countryman B6s. Don't get me wrong the EMWs are great for the work I do but aren't we always looking to improve what we have?
The AT18XX series is a well constructed set and IMO the sound is as good as the Lectro 100 series. Now some might disagree and that's fine, but to my ears, it sounds everybit as good. Keep in mind I said the 100 series, not the 200 or 400s.

As for powering the unit, the receiver takes 6AAs and each transmitter takes 2. With the transmitters set to RF LOW the batteries last about 6 to 8 hours. On RF HIGH about 2 hours less. Distance is increased.
The receiver also has the ability to adjust the levels on each of the 2 mics- 2 small knobs on the bottom allow adjustments.
For the money, I say again, FOR THE MONEY, I can't think of a better system but I am predjudiced towards it. The receiver with 2 body paks, stock mics and a plugin transmitter will run about $1500.00. Believe me when I say I've gotten my money back so many times over I lost count and I love having 1 receiver to run 2 mics instead of the old systems I used where I needed 2 receivers- Even on a full sized camera it definately added a lot of weight which I don't have with the AT.
Just one mans opinion YMMV.

As Don, I'm also using ATW-1800 systems. And there is a lot of comments on this board about them.

I used to have two Lectrosonic 185 VHF units.

Both the ATW-1800 and the Lectrosonic VHF systems sound good. Can't tell one from the other. The Lectrosonic 185s were set up with Countryman B3 mics and the ATW-1800 are using AT's 899CW mics.

The VHF mics used to get occasional dropouts and noise. The freqencies were fixed, and while they worked well enough, interference was always a concern.

The ATW1800s can auto-scan for clean frequencies, and the true diversity receiver makes dropouts almost a forgotten thing. It's proven rugged enough and reliable.

The Lectrosonic diversity systems are built like tanks, have a spectrum analyzer display and can also auto-scan for clear frequencies. However it does come at a price of $2,500 per channel of audio. To set up a four-channel system that I built would cost $10,000 just for the wireless units.

By comparison, the ATW-1800 is about $750 per channel of audio.

The four-channel system I built, based on the ATW-1800, was about $3,500 including the recorder and the Pelican case.

What you buy really depends on what you can afford, in relation to your expectations of quality and reliability.

Also, it also depends on the sort of work you're doing. If your specialty is audio and your clients expect to see that kind of gear, then the Lectrosonic price tag might not be a major hurdle. However, if you also have to purchase cameras, lighting, tripod, stands, computers and software for post-production -- and more -- then some other system would be a lot more reasonable. Especially if the performance is almost as good as a premium system costing three to four times more.

They are the same. The UWP-V6 has the same:
* UTX-B2 bodypack transmitter / lav
* URX-P2 receiver

The additional component over the UWP-V1 is the UTX-P1 plug-on (or plug-in) transmitter for normal wired mics. This can be seen in the pic on B&H or on Sony's website. There are also two different frequency models you can buy. Each of them can work on a variety of frequencies within their respective ranges.

If you need 2 lavaliers, you'd have to buy either:
2x UWP-V1 to have 2 running at the same time on their own channels. Or simply:
1x UWP-V1 and 1x UWP-V6
or
2x UWP-V6

Either way, you will get two lavs.

I recently bought the UWP-V6 and if I had to do it again, I'd buy Sony again. I am very satisfied.

Thank you all!!
 

Hi Floris,

Well, thank you very much; those were really helpful! Let me ask you: Why did you choose the G2 or G3 over the AT18xx?

And thank you very much for the info!!

Hey Don,
Thanks very much for your opinion. About the AT1821...

Two things I am not very sure about. The built is plastic... and the type of batteries are neither AA nor AAA... What do you think about these two factors?

I was looking at the Countryman B3 lavaliers, and B&H has one specific for Audio-Technica that says 'Hirose 4-pin f/ Audio-Technica'... Perhaps a stupid question, but that means that the other one called 'Switchcraft TA5 female f/ Audio-Technica' will not work with a 1821 right?

Thanks very much again ^_^

Hi Dean,

Thank you very much for the info too!!
My questions to you are: Which microphone is better (in your opinion), the B3 or the 899? And why?

Any disadvantage on the plastic built on the 18xx?
Any disadvantage on not being able to use AA or AAA as battery source?

Thank you much ^_^

Good morning Bruce,

Well, thank you very much for the answer. I appreciate the information very much!!

Does your UWP-V6 comes with a frequency/channel scan feature?

Thanks again,

Yes.

It's a shame Sony don't seem to put the PDF online because they aid in pre-purchase decisions but I can send it to you if you like. It's 3.78 MB.

While I like the idea of buying the Audio-Technica model (and am a big fan of their mics), their receiver is pretty large and takes 4xAA (or 6x AA for their dual channel) versus 2xAA on the Sony, which is much smaller and lighter (if that matters to you, since the receiver doesn't have to be tiny, I guess).

That said, one complaint against the Sony is the antennas cannot be removed, and if you want two mics per receiver, the more expensive Audio Technica models seem like the best bang-for-buck (or at least the most convenient not having to have two receivers) and most people seem pleased with them.

I wasn't prepared to fork out that much money just yet so I am sticking to the single mic/ channel Sony system (though, the thought of expanding means two receivers, one hanging off the camera and only one fitting on the camera's shoe mount, which is a bit messy compared to just one).

I am unsure of the advantages or disadvantages of their mic connections. The Audio-Technica uses Mini-XLR while the Sony uses standard 3.5mm mini-plug connections (just like most portable headphones) - except with a screw mount for fastening it down so it can't be unplugged.

I'm not sure how limiting (or otherwise) this is if you want to get another lavalier mic plugged in the Sony (to be honest, I haven't looked into it but probably should have).

While the bodypaks are plastic it is not a flimsy type of thin plastic. Mine have taken a beating and work just fine. The receiver is also a very strong plastic and again it has been knocked around and is just fine.

The batteries are in fact AA size. Not quite sure where you got the idea it wasn't AAs but it is.

6 in the receiver and 2 per transmitter.
The receiver uses a TA3F connection (the supplied cables are 18" long-TA3F to XLRM) the mic connection is Hirose 4 pin-very secure and very strong.

I made comment about it in a previous thread. I use an Audio Technica system that is 5 years old and it used 9v batteries for both the transmitter and receiver, which pissed me off. I didn't realize that the newer models had changed to AA (probably because of the complaints they received). Square batteries are a more economical use of space than round but unfortunately 9v cost significantly more than AA. You can spend $7-8 for a single 9v in a store. An all day wedding I've used 8 batteries x $8 = $64 Or do many short shoots where you throw out the batteries even if they were not used much, you can see how that gets expensive with 9v.

yeah a lot of the older systems did that. I had Azden 500Us which actually were quite decent and the receivers used AAs but all the transmitters use 9V. Talk about a mess. Gotta make sure you have both sitting on the shelf, then what else uses 9V beside smaoke detectors? My g-kids toys sure didn't. Ah well, all is good now with nothing but used AAs laying around. Maybe I should buy into Duracell.

As for cost, I bought and still buy batteries at a well known big box discount store. Duracells that's all I ever use. 12 9V were $14.00 and 36AAs were/are the same so while the 9Vs were more per battery $64 seems like a lot. Using 12 AAs for the 2 receivers and 3 9V for 2 body paks and 1 plugin don't add up to $64.00 but then I wasn't paying $7.00 for a 9V.

Ben...

Both mics perform about the same. The B3 is just slightly smaller than the 899CW but either one is concealed easily. I've read that the EMW is better if used beneath clothing but I've never tested it.

As mentioned earlier, the plastic is tough. There is a huge variety of plastics available, and the notion that plastic isn't as tough as metal is becoming an outdated notion. Depending on the application, plastics can be preferred to metal as they can spring back from a level of deformation which would permanently dent metal.

They can also resist corrosion far better than any metal.

I remember when Canon and Nikon SLRs went from brass bodies to plastic. And news photographers wondered if they'd be able to tolerate hard daily use. But they fared as well as any of the older brass-bodied cameras.

The receiver on the ATW-1800 is aluminum. But the bodypacks are a tough plastic that are very durable. The only damage ever done was when a fisherman unintentionally leaned against a railing and put a small crack in the clear window over the LCD readout. But even that didn't take the unit out of action.

When I sent the unit in for routine servicing, AT replaced the window without me even asking.

Another advantage of the ATW-1800 is the BNC antenna connectors on the receiver. It allows me to have a separate antenna mast, with coaxial cable to position the antennas out in the clear while keeping the receivers themselves in a protected case. Some wireless units can't do this since their antennas are permanently connected to the receivers.

The batteries used by both the transmitters and receivers are AA. I'm using rechargeables NiMH batteries from Thomas Distributors. These batteries have much better storage life than older NiMH batteries, with a lot less self-discharge over time.
MAHA IMEDION AA 2100 mAh Ultra Low Discharge 4 Battery Pack

The charger is a "smart" charger that monitors individual batteries so that none are overcharged:

MAHA MH-C801D AA - AAA Battery ChargerDELUXE 8 Cell Professi..

Im in the same boat as you and either the Sennheiser or Lectrosonics will be your best bet. I'm going for the Lectrosonics.

The LMa and URC100 is worth checking out.

If Sennheiser check out the G3 version.


Nicole

Ben, I haven't made my mind up just yet.

It will be either a G2 or a AT182X system. The G3 is improved but I have spoken with so many people that are using the G2 and none of them have real problems with frequencies. So I don't want to spend another EURO 150 / 200 DOLLAR on the G3 over the G2.

For me it comes down to having one or two receivers. At this moment, I only need one transmitter so Sennheiser would be cheaper. I could easily add a second unit later. With AT, I will have to buy the set from the beginning which makes it more expensive as an initial investment. But in the long term, I think having one receiver is more practical. I also read very good things about the AT system here. And they are diversity.

How does the 899 mic compare with the MKE-2 (Sennheiser G2/G3 stock mic)?

There's pros and cons on both systems. Read all the posts on them. Only you can decide what's best for your particular applications.

The AT899 is a much better mic than the MK2... Used on either system. I assume your referring to the MK-2 and not the MKE-2 which is better than the 899 IMO. (About twice the price too)

@Ben Tolosa-I recommend if possible to rent the gear or find a place or someone who owns the wireless mics you are interested in to get the feel for yourself. I have been going to the rental house lately to test out equipment I'm interested in. Its nothing worser than buying something and its not what you where looking for. Might want to consider that.


Nicole

Hi Bruce,

Well, thank you for the info; I really appreciate it. I believe I am going to get the AT 1821. But I do appreciate this info, since I will still consider this Sony for the future (I love Sony stuff).

Have a nice week!!

Ben Tolosa

Don,

Thanks again for more input. About the batteries not being AA size: it is 100% my fault, I mistakenly thought otherwise. The description is just right at B&H. My fault.

2 questions to you: Let's say I am using 2 wireless microphones. My HMC-150 has 2 XLR female input connectors.
1) Does the dual receiver connects to both XLR female connectors on my camera? Or just to one?
2) Can I record the sound on those 2 separate channels from the receiver into those 2 XLR on my camera? If so: Can I also record both microphones into only one channel/line on my camera using only 1 XLR?

Thank you Don very much!!

Peace,

Thanks Dean for this info. As of today, I am going to get the AT-1821 that B&H has.

Thanks very much for all this input!!

Good evening Floris,

I think I have decided (as of today) to go with the AT-1821. I am not sure 100% which mic to get just yet. I like how the B3 looks like but I might just go with the 899 since it is also AT (same brand as the wireless system I am getting). But again, I haven't decide just yet. If I get a better review on the B3, I will probably go with it. But for what I am reading here, it is pretty much the same mic.

Thanks for you input, we are both learning ^_^

Peace,

Hi Rick,

Thank your for the info. A question:

And what about the difference between the B3 and the 899?

Thanks again!!

Nicole,

I live in rural VT, and not much going on around here in terms of filmmaking :(

So it'll be a tough task to find someone into this craft around here. But, I appreciate the thought, I will try to find a rental place around. I've been here for almost 6 years now and I've never heard of one.

Have a nice weekend!!

I also kinda made that decision. I think it is the most practical. It comes with good microphones and I really like having one receiver on which I can mix down two channels to one XLR channel and have the other one free for room noise/accoustics.

Although the Sennheiser G2 is a very good deal now, I will have to buy better microphones which will make it equally or slightly more expensive than the Sennheiser G2. And the AT is diversity while the Sennheiser G2 is not.

Because of fiscal reasons, I am buying 1-1-2010.

Let me know how it works for you once you get it.

OK, easy answer. You can pretty much do anything you want with the 1821 receiver. You have 2 audio outputs on the receiver so you run run 2 XLRs out to 2 XLRs in on the camera and set the camera to record to 2 different channels of course. OR you can look at the bottom of the receiver and there are switches which allow you to MIX the 2 microphone inputs into 1 output channel which of course means one XLR cable out to camera inputting to 1 XLR input whichever you choose channel 1 or channel 2, your choice.
It comes with a thin but easy to read manual that pretty well explains how to run single channels with 1 or 2 mics and how to mix 2 channels on the receiver.
Here are a couple things to keep in mind though. First, on the receiver there are 2 small "knobs" that allow you to adjust the input levels on the fly. They are a bit hard to get to especially if the receiver is in the pouch even though it is open on the bottom.
Also remember if using only 1 mic you don't want it to be the 2nd side of the receiver since it will use more battery power. When I only use 1 mic the receiver is set to run just on the one side so it does save a bit of power not that its a power hog anyway.
Just an FYI, I use 1 set of batteries in the receiver for an entire wedding meaning ceremony and reception. The only time I turn it off is when driving from 1 location to another, once at the reception it goes on and stays on for a number of hours and wile it may not be "receiving at the moment like during dinner, it is still on. Probably about 5 hours plus the ceremony another hour and a half.
So there you go, good battery life, good sound (replace those stock mics) good range, solid build (don't worry about the plastic) easy to use and lots of choices off how to use it.

But the new G3 *is* diversity.

John, you are right.

But a dual G3 system is just as expensive in Europe than a AT 1821 kit. Given that I hear from many people that the 899 is a better microphone, and you get a dual channel receiver, I think I am going to buy a AT 1821 kit.

The G3 uses one of the output cables as a receiver antenna. At least that's what I read.

Don't know why they did that since it's always better to have an aerial out in the open whenever possible.

The ATW-1800 can also connect to a different antenna is necessary. AT has a larger antenna available that provides better performance if needed: 962500160 ANT. D BAND. I use these whenever I shoot in situations where the transmitters are going to be scattered or at greater than normal distances.

Yes - it's true.



It's simple - the output cable *is* out in the open.

Also, it will be orientated in a totally different direction from the antenna on the top - this will make it far more effective as a diversity system than two antennas close together on the top.

I also read somewhere that there's a minimum or optimum distance between two antennas for best results with diversity systems. It's based on wavelength of the signal being received. If I can find it I'll post it here.

I used to use Sennheiser G2 units but still had drop outs. Now I only use Lectrosonics, a LMa and a UCR021 Diversity set (block 25). I purchased them from a dealer used. The quality is like comparing a Seiko to a Rolex, both are watches on is just better.

I also use Trams and Countryman for the Lectrosonics.

With all of the wireless brands on the market why do most all of the Film location sound mixers prefer Lectrosonics to any other.

Most film directors I have been told will not let you on the set if you attempt to use a less costly wirless mic.

Mark, they use them becaue they are condsidered "industry standard" and are in fact without question one of 2 top quality brands, and having used them in the past (the older 100 series) they produce top notch sound. Having said that, keep in mind there is also a cost factor for many of in the business and while I would have loved to have gotten a couple of the Lectro 400 series receivers and 200 transmitters as well as a plugin, I could not afford the approximately $5000 to purchase the gear so I opted for what I considered to be the next best thing in the price range I COULD afford. While it isn't Lectro it does produce audio that is quite good and for the work I do it works outs extremely well and gives me all the good quality sound I need to produce the weddings and other live event I do.
If all I was doing was audio I'm sure I would have gone the Lectro route but because I also have to continually purchase other gear, like cameras on a fairly regular basis I made my choice and yes a lot of it was based on budget. I think we all pretty much di the same thing. Buy the best we can with the budget we have and work with what we have.

Lectrosonics' reputation for reliability is probably why some directors might insist on their use. They can't afford to have mic problems disturb the production workflow and don't want to take the risk of something without a proven track record.

They're also very ruggedly built.

The reason so many others don't buy Lectrosonic systems is because of cost. They're about three times more than some other units which have equivalent performance.

The AT systems I've been using haven't had dropouts. I did have one unit start to get noisy and had to send it in for service. Sounded like a bad audio connection somewhere (crunching noises) that I couldn't track down on my own, and it was intermittent.

Otherwise, performance has been excellent. I've been using them ever since they first came out a few years ago.

Dean, Some of us don't have the opportunity to live in Hawaii where you are isolated by the island. I live in Seattle where everyone has a cell phone, wifi, and 16 channels broadcasting Digital TV all causing RF interference. I agree that Lectrosonics are pricey but I would rather buy a used Lectro unit than a new Sennheiser. Everything in my audio kit is top of the line and all purchased used. If I could not afford a a Lectrosonic I would rent one before gambling on another brand (and yes I have tried Sennheisers and AT Systems here in the city) If you live in and plan on shooting in a city enviroment then you need the best.

Mark, I believe you that the Letro's are great.

But like Dean and Don mentioned, they are very expensive. Expensive does not necessarily equal higher quality. Some of my friends are using G2's and never have any real problems. They don't live in New York or Los Angeles. Everything is relative.

I think Letro has luck they are considered an industry standard, but that doesn't mean their product is better. Avid was also a 90% industry standard and while that might still hold true in big budget productions / production facilitities, in the more price sensitive indie and mid/low budget segment they have lost a lot of ground to Final Cut over the years.

There is a price/quality balance and I am not sure if Letro's are worth 5x more than let's say Audio Technica microphones. I can't afford them. I would probably also buy them when I was an audio technician. But if I really need the highest quality, I would rather hire a good audio technician. Expensive tools are worth nothing if you don't understand them.

"I think Letro has luck"

At the best retail outlets for location sound equipment they stock Sennheisers next to Lectrosonics units. With the option to save thousands on a Sennhesier unit why do the sound pros still purchase the higher end Lectros? I think luck has nothing to do with it. On shotguns Sennheisers are used more than other brands.

Mark, I think you're missing the point. While every pro sound person I know uses Lectros they get to put their gear into use almost daily and get paid well for it so the gear gets paid back in a shorter time, while an event videographer like myself and probably 85% of the folks here also need other gear which can deplete the budget really quickly. So a determination has to be made on what to buy and how much to spend on it. Again, since I use 2 systems and a plugin, for me as a video camera person, to incest the $5000+ to get the Lectro gear doesn't make sense when for far less I can achieve the good quality I need for my work with something less than the Lectros. Again a budget consideration and IMO unless you're going to get the 200 or 400 series of Lectros the AT18XX and yes the Senns G3 unit produce the sound quality we need for what we do. Since I'm not a pure sound guy I can't see putting out the kind of money needed to go the lectro route. Are they better than what I use? Yeah they are but I work in the greater Chicagoland area with a population of about 9 million with all the cell phones, blackberrys, Wifi, and digital Tv stations one could want and I have never had a problem with dropouts. Would Lectro be better? Possibly, would my budget allow them? Nope, so many of us go with what we can afford to do the job we need to do.
Nuff said.

I understand your budget restaints, I can't afford new Lectrosonics units as well.

You can purchase a used Lectrosonics LMa System on Ebay for $500 to $700.

What is the output of your AT Units? My Lectros are at a maximum of 100mw the Sennheisers are 35mw.

Mark...

Honolulu is very noisy. Because of the mountainous terrain separating communities, there are cell towers everywhere (some disguised as palm trees!). There are five major digital TV channels, plus seven smaller ones, and more than 30 FM stations, some of which are transmitting at very high power levels. Then there's aviation chatter from the international airport, plus their radar. Military radar and communications from Pearl Harbor, Wheeler, Kalaeloa, Kaneohe. Plus private and business band radio.

There's also WiFi all over the place. Just from my house I can see six other nets, and in downtown Honolulu it's worse. And of course there's police, fire, ambulance, etc. So RF congestion is about on par with any city such as Seattle or San Francisco.

There's a park along the shoreline of central Honolulu that's popular among video production crews because it's conveniently located. However, it's also notorious for horrendous RF interference. Some older Lectrosonic VHF units won't work there, either. I did a shoot about fly fishing about a mile from that spot and made the mistake of not having my receiver scan for a relatively clean frequency, and got broadcast leakage into my audio.

Having a wireless system that can scan for open frequencies is very helpful. Some of the Lectrosonic units even have an LCD display that provides a spectrum scan which is awesome. I'd love to get Lectrosonic systems for that spectral display, and especially since they have waterproof transmitters.

But before I can do that I have a long list of other equipment and software that are also a high priority, plus talent and crew to pay, and travel expenses as well. So I had to find an affordable alternative... although the ATW-1800 isn't all that cheap, either.

Amidst all that, the ATW-1800 performs very reliably. It's been the next best thing to a hard-wired mic. That's not an exaggeration. Even when I helped my brother-in-law shoot his daughter's wedding: There were six other wireless units in operation. I had the ATW-1800 scan for usable frequencies, and had no trouble getting three channels of audio set up.

By no means was I saying Hawaii was remote but compared to Seattle I prefer would rather shoot in Hawaii.

Whan I talk of RF initerferance I am writing this no more than 1 mile from the Microsoft campus (Bellevue WA) and we are number 1 (Seattle) for the most wired metro area in the US (Silicon Valley is number 11).

Accroding to Forbes Honolulu is #25

Forbes’ Complete List Of Top Wired Cities Include —

1) Seattle
2) Atlanta
3) Washington, D. C.
4) Orlando
5) Boston
6) Miami
7) Minneapolis
8) Denver
9) New York
10) Baltimore
11) San Francisco
12) San Diego
13) Los Angeles
14) Portland, OR
15) Raleigh
16) Tampa
17) Phoenix
18) New Orleans
19) Sacramento
20) Charlotte
21) Chicago
22) Nashville
23) Milwaukee
24) Pittsburgh
25) Honolulu
26) Cleveland
27) Philadelphia
28) Cincinnati
29) Columbus
30) Austin

Mark...

Actually Hawaii is geographically among the most remote places in the world. Even more so than Easter Island. However, we got the tourist resorts and freeways, and they didn't. :-)

BTW, in 1997 I rode my bike from Seattle to Portland during the Seattle-Portland ride (STP). If I recall, the route (and more than 10,000 cyclists) goes right through your town.

Dan,

When it comes to Fly fishing nothing beats the Deschutes River in Oregon (grew up boating and fishing iit)

Lectros being the "industry standard" is really only in the USA.

In Europe it is mostly Sennheiser 3000 and 5000 series; in the UK Audio Ltd. and Micron are popular as well - all these are a similar price to Lectro (5000 series more expensive).

The Sennheiser evolution series give high audio quality at an affordable price - and will have improved RF safety now the new G3 is diversity. And the new 2000 series is the half-way point between G3 and the expensive systems.

In The Netherlands, most if not all people I know use Sennheiser systems.

It is hard to find Audio Technica in stores here.