most used wireless lavalier system

[David Aliperti]

what is the wireless lavalier system you are using in pro environment?

[Don Bloom]

I use the Audio Technica 1800 series dual channel since a lot of my stuff needs 2 lavs. Having 1 receiver is a nice thing to do after years of hauling 2.

I bet you find that Sennheiser is the most popular though.

[Brian P. Reynolds]

I think in the top end pro location sound area Lectrosonics would probably be the most used then followed by Sennheiser, Zaxcom, drop down a level for the others Sony, Audio Technica etc.
The music industry tend to use Shure for stage work.

[Bob Ohlemann]

I use Sennheiser.

Bob

[Gary Nattrass]

In the UK I have 2X sennheiser G2 with various transmitters and hire in if I need more systems!

[Rick Reineke]

Originally Posted by David Aliperti

what is the wireless lavalier system you are using in pro environment?

What do you mean by 'pro environment'? B'cast TV, big budget feature films?
I would consider the AT1800 and G2/3 Sennheiser 'semi pro' or 'entry level pro'
Popular 'pro' systems are generally from Lectrosonics, Zaxcom, Audio Limited, and the high-end Sennheiser models. These systems normally cost several thousand US dollars.

[David Aliperti]

I own three system of g2, but are 30mw and not diversity, I have to upgrade to something pro, for some feature film, also hiring them,I heard about wysicom as another good choose and was interesting that could use also only the wisy diversity receivers with my evolution g2 transmitter, just to start without spending all that money for the whole system. have someone of you some experience of it?

[Paul R Johnson]

I have to upgrade to something pro....

Sennheiser IS pro - if you wish to upgrade to something more expensive, perhaps digital and maybe having specific video features such as camera slot receivers etc - then fine, go ahead.

I suspect all the people with Sennheiser are pretty happy. The small difference in audio performance on the more expensive Sennheiser products could be worth it - only you can tell, but don't expect huge differences in quality - and the unknown audio location acoustics can make more difference than 'improving' your system!

[Garrett Low]

I shot a production of Les Miserables this summer and they used 35 sets of Senn G2's. The only problems they had were due to human error. They did have some pretty nice mics attached and the sound was much better than I was anticipating.

I've got a G3 setup and can't complain. Hasn't let me down yet.

I also did a shoot on a small Indy Bollywood movie last year where we used Lectrosonics, 4 sets. Those are great but for me they are just too expensive.

[Warren Kawamoto]

If you' re doing high end features, all Sennheiser G series won't cut it. Lectrosonics barely cuts it too, unless it's the top of the line models over 400. For features, the most widely used I've seen is Zaxcom. If you can't afford the wireless system, however, Zaxcom also has mini digital recorders.
http://www.pro-sound.com/Merchant2/m...ZAXCOMWireless

[Rick Reineke]

I have G3s, Lectro 211s and 411s. Cant beat the G3 for 'bang for the buck'. The Lectros' are certainly more bulletproof both physically, electronically and offer external antenna options. However when the G3s are set up properly (all other parameters being equal) audio quality differences in dialog are difficult to detect. The G2/3s certainly take more due diligence in set-up to obtain pro-level performance though. G3s are used on major features all the time, usually not for primary audio but most pro mixers have at least one or more. (A good pole for the JW group)

[Paul R Johnson]

Let's be honest, if you are doing features, then the budget will provide whatever you wish, so spend what you want. It's a bit like a Fiat will take you to the stores just as well as a Range Rover - but if the route involves cross country over a mountain, then the Range Rover was a sensible expense. If there's no mountain, the Range Rover would be a waste of resources.

Warren's assertion that cheaper radio systems won't cut it make me smile, because very often a critical scene, shot with the talent double miked, provide 100% redundancy, and could then be safer than the esoteric 'deluxe' brands, which are still radio, and thus inherently prone to problems.

I've got 6 Sennheisers on the go today with DPAs, and I cannot fault the audio quality - and even if the funds for super-special ones were available, I'd spend it on other elements in the production chain, where the money would be better spent.

I'm afraid there is still snob value in certain pro audio circles.

[Gary Nattrass]

I agree with Paul and the ecconomics of TV and film shooting comes into it these days in the UK.

If I was doing high budget drama or features then I would be hiring in whatever is required but as most productions want everything included for free these days I now have a std kit set that includes a couple of G2's and basic mixer and mic set. Anything more has to be hired in and is subject to extra charge.

Long gone are the days of investing huge amounts in kit as the daily rates have not changed much in over 10 years so productions now have to accept that it is the way it is these days although they also seem very happy to have unskilled people just operating self shoot cameras and calling themselves producers and directors even though they have minimal experience and very basic sound knowledge.

You can see that they have G2 or 3 radio mics in use and just sort it out in post although most ofbthe work for the dubbing dept is audio recovery these days and just getting something that they can then make a story out of with the addition of some voice over and library musak.

So the expensive pro kit may be very nice but minimal programme budgets tend to dictate what is actually being used these days in TV production!

[Paul R Johnson]

SHOOT MYSELF IN MOUTH MODE ON

Ok - I need to edit my previous statement where I said I had 6 on the go - I now have ..... 5.

One of the nearly new Sennheiser G3 receivers has just died! The display is lit, but no digits appear, and there is no output at all.

Did I talk this up or what? It's a rather dull show and I have little to do apart from pressing one button everytime somebody says 'Go' - so I figured that I'd share this. Rather ruins my post - but it is the first real fault I have had in many years on Sennheiser!

[Gary Nattrass]

Ha ha Paul sods law but just remember that they cost around £500 and work very well most of the time which is more than I can say for the mega expensive micron systems we had in the 80's and 90's !