Wireless XLR transmitted/reciever

[Ralph Adaimy]

Hello,

I need a mechanism for recording music out of a mixer into a camera( xlr) without having to attach cables
. I mainly shoot weddings and things can get annoying in wedding receptions if we have to attach cables to handheld cams.

Any advice about what to use and good brands for wireless transmitters/receivers? Any price range I should take into consideration?

Thanks a mill!

[Rick Reineke]

Read this thread:
http://www.dvxuser.com/V6/showthread...uld-I-get-quot

[Derek Heeps]

The Sennheiser Evolution Series wireless mics have line input as well as mic input on the bodypacks . You just need to make up a line input cable and plug it into the transmitter instead of the tieclip mic . The receiver mounts to the camera in the usual way .

While these units are moderately expensive new , used ones can be picked up for very reasonable prices .

[Frank Grygier]

I am using the WI Audio Stream product to send audio wireless from Zoom H6 to GH3 and Blackmagic Camera. Works great!
http://www.widigitalsystems.com/JM_AudioStream_info.php

[Graham Bernard]

I've used the:

Mixer >> Senni TX >> Senni RX >> XF300

Many times - it just works!

OK.... Make sure that there aren't any buffoons around your TX and that you attach the TX very well to a HIGH place and line of sight to your RX - I mean it. Oh yeah! Make sure that you can do a dry run WITH all the other TXs out there to confirm fidelity.

Option 2 - Hard wire ( actually this WOULD always be my Option 1)

Option 3 - Record to a secreted "other" device.

Grazie

[Ralph Adaimy]

Originally Posted by Rick Reineke

Read this thread:
The $500 Wireless Question, or, "What cheap system should I get?"

Thanks Rick. This looks very useful, but it goes down to what you pay as expected. Looks like I need to invest with something around 1000$ to have a decent reliable system.

Cheers!

[Ralph Adaimy]

Originally Posted by Graham Bernard

I've used the:

Mixer >> Senni TX >> Senni RX >> XF300

Many times - it just works!

OK.... Make sure that there aren't any buffoons around your TX and that you attach the TX very well to a HIGH place and line of sight to your RX - I mean it. Oh yeah! Make sure that you can do a dry run WITH all the other TXs out there to confirm fidelity.

Option 2 - Hard wire ( actually this WOULD always be my Option 1)

Option 3 - Record to a secreted "other" device.

Grazie

Thanks Graham. Although need to note that I cant guarantee the TX and RX are at an aligned line of sight. We don't usually have an idea of where the audio source is before we get to the venue, and sometime they can be in closed indoor rooms next to the venue!

[Roger Van Duyn]

I have better results if I use the transmitter that attaches to a hand held microphone (some people have called it a butt plug) than with a body pack transmitter when attaching to my mixer. The XLR plug on the hand held transmitter plugs into the back of the mixer without need of a cable. The little cables on many body pack transmitters aren't shielded, and are more problematic. IIRC, the transmitter for the hand held microphone screw in locking mechanism works on my mixer the same way it locks when attaching a microphone.

Several times I have used this setup to transmit audio from the booth in a large indoor arena to my camera more than 50 yards away in a large arena. Of course, since I was WAY up top just as high as the booth, there was nothing to block line of site transmission.

[Ralph Adaimy]

Originally Posted by Frank Grygier

I am using the WI Audio Stream product to send audio wireless from Zoom H6 to GH3 and Blackmagic Camera. Works great!
Wi Digital Systems

Hi Frannk,

I'm very interested in the Wi Audio Stream, but I have one concern: Have you tried transmitting from a DJ's Deck and receiving on an XLR Device (Sony Z5u Cam or Sony NX5u Cam)?

Please let me know if you've experienced such conditions, and whether the audio quality is affected by obstacles between the transmitter and the receiver.

Cheers!

[Rick Reineke]

I've never worked with the Wi Audio Stream, but I'm skeptical at that low price. I occasionally rent Zaxcom stereo camera hops and they are very expensive... and still requires due diligence in set-up/frequency selection to obtain (almost) trouble-free operation.

[Richard Crowley]

IMHO, you are FAR better off (both performance quality AND cost/benefit) using a small inexpensive digital recorder to capture the DJ mix. Use the audio channels on the camera(s) to record the AMBIENT sounds.

[Steven Digges]

Originally Posted by Roger Van Duyn

I have better results if I use the transmitter that attaches to a hand held microphone (some people have called it a butt plug) than with a body pack transmitter when attaching to my mixer. The XLR plug on the hand held transmitter plugs into the back of the mixer without need of a cable. The little cables on many body pack transmitters aren't shielded, and are more problematic. IIRC, the transmitter for the hand held microphone screw in locking mechanism works on my mixer the same way it locks when attaching a microphone.

Several times I have used this setup to transmit audio from the booth in a large indoor arena to my camera more than 50 yards away in a large arena. Of course, since I was WAY up top just as high as the booth, there was nothing to block line of site transmission.

Roger, Heads up, you might be flying without an antenna. My Sennheiser mics are the original EW100 system before those mics started getting a G designation too, so YMMV. My hand held plug in transmitter is designed to turn the metal body of an attached microphone into the antenna for the transmitter. For that reason, I do not use it for anything other than a mic transmitter. And usually for EFP work so the distance is close anyway.

Much of my work these days takes place in the corporate convention arena. Often, I am responsible for overseeing the video recording and all other audio visual aspects of my clients program. One thing I can tell you guys for sure is that transmitted microphone signals have a "scary factor to it" ;). What I am referring to is the fact that a mic with a weak link in it may perform well during initial testing. The week link will be there ticking like a time bomb and go off later when your live. Mic drop out is painful and gets me fired. Not the audio guy. I work for my clients, not him. So I am kicked down the road. For that reason we go to great lengths to make sure it does not happen (like using paddle array antennas, signal level tests, etc). Because I like to work!

Ralph, If I understood one of your comments correctly you said something about using the mic to record from a separate room? One word: Don't! You are asking for a disaster to occur.

Steve

[Paul R Johnson]

You mentioned the 'R' word - reliability. If you want reliability use a cable or a recorder. Radio links at the Sennheiser price point are not inferior to more expensive ones, and they all can suffer from signal related problems - doesn't matter if it's digital or analogue. Some have better receive systems that can cope with the paths dropping out, but this is available in the G3 - but if you want guaranteed signal paths, radio is not the best option, at any price.

[Roger Van Duyn]

Originally Posted by Steven Digges

Roger, Heads up, you might be flying without an antenna. My Sennheiser mics are the original EW100 system before those mics started getting a G designation too, so YMMV. My hand held plug in transmitter is designed to turn the metal body of an attached microphone into the antenna for the transmitter. For that reason, I do not use it for anything other than a mic transmitter. And usually for EFP work so the distance is close anyway.

Steve

Hi Steve,

I also had a recorder plugged into another output. Redundancy has saved the job many times. I normally "run a cable whenever able" but didn't have fifty yards of cable to run under all those stadium seats. It was a mild surprise that it worked. I fully expected to need the audio from my recorder, but there has nary a dropout so far using the transmitter setup in that venue. Other places, not so lucky.

[Steven Digges]

Wired mics are nice when you can use them. We use them on interviews and small video sets.

The corporate presentation world revolves around wireless systems. It is not unusual for us to run 10 - 20 wireless units at a time for some shows. Hopefully not all of them are hot at the same time, but it happens. I am a TD, NOT an A-1. My fundamental audio skills are good, but you will never see me standing behind the board when it gets that intense. It does not matter if there is one wireless mic or twenty. There is always a wired podium mic ready for emergency use.

Did someone say backup? I am a big time backup guy. Especially when it comes to the audio portion of recording video.

Steve