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Old February 2nd, 2007, 03:38 PM   #16
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Quote:
Originally Posted by Mark Holland
...I'm sorry if I stirred up an argument, it was unintended!

...
Differences of opinion are why they have horse races! And I for one would never say that the top-of-the-line gear is the only gear to consider. There's a wide range of professional quality equipment out there covering a wide range of price points and Lord knows MY pocketbook wouldn't sustain a brace of Lectrosonics right now. And there's no reason to take the same level of kit to shoot a wedding as you would take to shoot a major budget feature. But you have to admit there's always going to be a lower limit below which build quality, functionality, and reliability will be compromised. If you are shooting mainly for pleasure there's nothing wrong with living with the compromises below that line and having fun with it. But if you're a serious practitioner or aiming to be one, you have to be a bit more critical in your choices. A craftsperson will bring both his technical skills and the right tools to the jobsite. The last thing a working pro at any level needs is to be fighting with his tools when he should be focussed on the job.
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Old February 2nd, 2007, 07:59 PM   #17
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Quote:
Originally Posted by Alex Amira
I'm looking for a wireless system.
My buget is $200 (...no Sens stuff yet).

I have a GS lav so I don't care if the UHF system's lav is not that good.
I currentley use the Giant Squid(GS) lav and an I River 895. The GS is awesome and works quite well (it has the custom L plug for the Iriver) and I record at 320kbps in mono. I convert to stereo in my sound app.

I record speeches and presentations.

I was looking at Nady UHF

http://cgi.ebay.com/Nady-UHF-3-LT-UH...QQcmdZViewItem

I know that the Nady VHF is not so good but was wondering if anyone has used this Nady UHF.

I was also looking at a GVD G-288:

http://cgi.ebay.com/UHF-Wireless-Cor...QQcmdZViewItem

They claim 16+16 /96 Channel Diversity system.

Let me know if anyone has used these 2 or if you would recommned something else.


Thanks.
All seven of my wireless systems are made by NADY. I've dealt with them on numerous occasions. Even considered being a regional sales representative. NADY is not a sponsor on this site, so I will reserve my opinions to a private e-mail. Pleae contact me via PM.

In short, if you have done your homework on frequency conflicts, you will likely be OK.
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Old February 2nd, 2007, 08:34 PM   #18
 
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I'd love to see that Nady has built a quality product once again. Years ago, they were the best in live performance wireless systems. I knew John way back when...but that was 25+ years ago. Today...it would take some very strong pushing to get me to use a Nady system in a real environment, and I'm saying that from a position of being more or less comfortable with cheap wireless' from AT and Samson at very close ranges.
It's not a cost thing, it's a quality thing. I've got at least 15 Nady comm systems from perhaps 10 years ago, 3 of which are still in boxes that never once worked as advertised, even at exceptionally short distances (25 feet line of sight).

AT has a new dual channel, diversity system that I just bought today, looking to receive it early next week. It's looking to be da bomb, with real diversity, built in mixer, butt plug, body pack, etc. I'll have a review on it shortly, but of course, it's far beyond Alex' 200.00 budget with a retail of 1800.00 for two channels, diversity, mic, and two transmitters.
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Old February 5th, 2007, 07:10 AM   #19
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Quote:
Originally Posted by Michael Liebergot
I have the Samson Mciro 32 system, and it has been very reliable for me.
My only complaint about Samson wireless systems is that they aren't very sturdy, especially the antena or doors. But they do work well.

I just saw this one oneline.
http://cgi.ebay.com/Samson-UHF-Micro...QQcmdZViewItem

Thanks Michael for that link. I ended up bidding and winning it. It is brand new in the box (comes with the lav mic which is what I need but you can add the hand held mic or headset if you need it). I got it for $200 including the shipping. BH seels the same kit for $400.

I had a question. How do you mount yours to the camcorder?

I was thinking about getting this bracket
http://cgi.ebay.com/For-Azden-wirele...QQcmdZViewItem

it looks the same as bracket1 but is only $30 (including sh) and bracket1 is $90 + sh.
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Old February 5th, 2007, 07:25 AM   #20
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Quote:
Originally Posted by Douglas Spotted Eagle
Exactly, Alex, and sometimes this sort of question gets lost in the shuffle. To the contrary of all the "you must buy high end gear to work in this business..." you'll often find very cheap Audio Technica Pro88W wireless systems on major Hollywood shoots. They're used for two reasons;
~They sound great, due to the lacking of a compander.
~They're very cheap, and if they're sat on, damaged in an action scene, whatever, they're easily replaced.

I was introduced to these during the filming of "Half Past Dead" with Steven Seagal, and was very surprised. I've seen them on several sets since. I've now used them on several very close in, indoor and outdoor shoots. AT claims a range of 100 feet, I've never taxed that, usually using them at a max of 20 feet. With a good mic, they sound better than systems costing 20 times as much. But I surely wouldn't use them for most of my work. We used a G2 and U100 system for aerial recording this past week, and the G2 failed in all instances, whereas the U100 did great with a span of over 7000 feet. More on that later.

That said, better gear is better. But some folks really get tied up in the morass of measurebating, and it seems like this is becoming more common of late. For example, I've used the AT 4053 on more than one Emmy recipient project, and when you look at guys like Fred Ginsburg, who used the same mic on very large productions, I'd say I'm in pretty good company. Yet in this forum, you'll read words from people suggesting you can't use this particular mic in a pro situation.

What's ironic is that we don't often see these sorts of ridiculous discussions in the camcorder side of our industry. Most folks seem to grasp that if you have a sub 10K budget to spend, you'll accept certain compromises when shooting a 1/3 chip cam vs a 2/3 chip cam. Yet folks create media for broadcast every day using 1/3 chip cams. They're not as good, not as creatively enabled, and not as expensive, but they do the job. Same can be said for much of the audio gear that is dismissed offhandedly in this forum. Some folks suggest you can't produce great audio if you don't have Sanken, Neumann, Studio Devices, etc. That is simply bogus. Those are all great tools, and it's great to aspire to own them. But if the cost of admission is too high but you want to play anyway, get what you can afford and learn to use it to the best of the ability the gear you buy allows. Learning to get great sound with less than stellar gear will actually help you in the long run anyway, because it forces you to learn. It's how I learned. I started with a crappy 8 channel BiAmp board and Peavey CS800's 27 years ago, and eventually grew into a Yamaha PM2000 48, to a Digi Venue and Crown.

There is nothing wrong with owning gear commensurate with the gigs you're doing. If you're aspiring to rise to the top, you'll eventually need top gear, but top gear in no way is a replacement nor adjustment for weak knowledge and skill. Get the skill and knowledge first, and this will determine when you're ready for high performance gear (or not).
Thanks Douglas. I'm glad to see that there are ways to get the job done before I can get the Sen. I ended up going with the Samson Micro 32 Diversity for $200.
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Old February 21st, 2007, 02:37 PM   #21
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I've been quite busy but I had a chance to test out the Micro 32.

All I have to say is this:
I hooked my I River 895 to the unbalanced output of the Samson receiver and left in in my apartment (2nd floor of a 2 story building) set to record....
I walked outside with the T32M transmitter hooked up with the Lav...
I walked around and the complex and stated my current location every once in a while.

When I got home I listened to my recording and the last thing I heard was "I'm in front of the pool"....the pool is at least 160 feet away.

This unit is rated at 300 feet without going through walls.

Given the fact that it went 160 feet through concrete in an apartment building I totally believe that...

Best $200 I ever spent...

I also want to mention a key feature which is huge but not really advertised in a big way.

In the US the UHF Micro 32 can access 64 channels (low and medium bands). I have access to both bands right out of the box. This allows greater flexibility and gives you the option of using 12 Micro 32 systems at the same location at the same time (there is a section on this on page 2 of the manual).

I actually saw the Diversity system working when some sort of emergency vehicle (I could hear the siren but could not see the car/truck) passed by and the 32M receiver switched from the A receiver to B without any drop in the sound quality or signal. The unit has 2 receivers which it can automatically switch between to avoid interference on the fly....

I want to thank everybody that has provided input and has helped me make the decision..

I also want to congradulate Douglas Spotted Eagle and Ty Ford on their new "toys" the AT UHF systems...I read the other post and they seem to be quite amazing.
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Old February 21st, 2007, 03:27 PM   #22
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Quote:
Originally Posted by Alex Amira
Thanks Michael for that link. I ended up bidding and winning it. It is brand new in the box (comes with the lav mic which is what I need but you can add the hand held mic or headset if you need it). I got it for $200 including the shipping. BH seels the same kit for $400.

I had a question. How do you mount yours to the camcorder?

I was thinking about getting this bracket
http://cgi.ebay.com/For-Azden-wirele...QQcmdZViewItem

it looks the same as bracket1 but is only $30 (including sh) and bracket1 is $90 + sh.
I am not a big fan of using velcro, so I picked this up from B&H.

Sennheiser CA2 Shoemount Adapter for EW Series Camera Mountable Receivers

http://www.bhphotovideo.com/bnh/cont...ughType=search

I brought the receiver and CA2 Shoemount with me to Home Depot (any hardware store will do) and found the proper size and length small metal screws.

I then just lined up 2 holes in the CA2 with the 2 small threaded holes on the bottom of the Micro32 receiver.

Now I can mount it on any hotshoe of hotshoe adapter I wish.

Works like a charm.
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Old February 21st, 2007, 03:31 PM   #23
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Quote:
Originally Posted by Alex Amira
I've been quite busy but I had a chance to test out the Micro 32.
I actually saw the Diversity system working when some sort of emergency vehicle (I could hear the siren but could not see the car/truck) passed by and the 32M receiver switched from the A receiver to B without any drop in the sound quality or signal. The unit has 2 receivers which it can automatically switch between to avoid interference on the fly....
Alex, how did you know that teh Micro 32 switched channels for you?

Did it shot up on the frequency meter on the receiver?
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Old February 21st, 2007, 05:41 PM   #24
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Quote:
Originally Posted by Michael Liebergot
Alex, how did you know that teh Micro 32 switched channels for you?

Did it shot up on the frequency meter on the receiver?
I had the meter set for BAT not RF at the time.

The M32M receiver has 2 antennas each one connected to a receiver inside the unit.

There is an A and B indicator on the front of the unit.

The A light was on but when I heard the siren it went off and the B light went on.

I was recording with the IRiver and when I listened to the file I was able to hear the siren sound (it was really loud) and there was no interruption or static in the sound.

Here is my understanding of True Diversity:
The True Diversity system is constantly monitoring both receivers A and B via the 2 antennas on the M32M receiver and switches to the best one on the fly without affecting the audio. This makes a uninterrupted static free sound feed.

In my opinion it is not changing the channel because if it did that it would loose reception from the transmitter since the transmitter would now be on a different channel. True Diversity listens with 2 receivers to the same channel and the internal electronics decide which receiver (A or B) sounds better. Sometimes A and B are combined for the best signal.
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Old February 21st, 2007, 05:51 PM   #25
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Quote:
Originally Posted by Michael Liebergot
I am not a big fan of using velcro, so I picked this up from B&H.

Sennheiser CA2 Shoemount Adapter for EW Series Camera Mountable Receivers

http://www.bhphotovideo.com/bnh/cont...ughType=search

I brought the receiver and CA2 Shoemount with me to Home Depot (any hardware store will do) and found the proper size and length small metal screws.

I then just lined up 2 holes in the CA2 with the 2 small threaded holes on the bottom of the Micro32 receiver.

Now I can mount it on any hotshoe of hotshoe adapter I wish.

Works like a charm.

Man, awesome idea. Good hot shoe mounting. I will go the same rpute and use the screws. The price is right too.

I actually discovered a potential problem with the e-bay bracket I mentioned.

I think some tripod plates have a really short screw (mine does) and I may not be able to sandwich the bracket between the camcorder and tripod plate.

Last edited by Alex Amira; February 21st, 2007 at 06:49 PM.
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Old February 21st, 2007, 07:08 PM   #26
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Quote:
Originally Posted by Alex Amira
I had the meter set for BAT not RF at the time.

The M32M receiver has 2 antennas each one connected to a receiver inside the unit.

There is an A and B indicator on the front of the unit.

The A light was on but when I heard the siren it went off and the B light went on.

I was recording with the IRiver and when I listened to the file I was able to hear the siren sound (it was really loud) and there was no interruption or static in the sound.

Here is my understanding of True Diversity:
The True Diversity system is constantly monitoring both receivers A and B via the 2 antennas on the M32M receiver and switches to the best one on the fly without affecting the audio. This makes a uninterrupted static free sound feed.

In my opinion it is not changing the channel because if it did that it would loose reception from the transmitter since the transmitter would now be on a different channel. True Diversity listens with 2 receivers to the same channel and the internal electronics decide which receiver (A or B) sounds better. Sometimes A and B are combined for the best signal.

Thanks for the info.

I have used this unit for 3 years now and never realized what the A/B LED lights were for. Duh...
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