Side note: First time editing in Resolve (v14) since the last time I tried in v12. I wanted to see how well Fairlight is coming along. Still pretty rough in my opinion. Automation will be amazing once the bugs are worked out. I'll try again when v15 is out of beta. The funkiness with the music at the start is a result of automation gone awry and 60 minutes of trying to fix it didn't get me any closer to resolution.
I hate Resolve. Often it simply doesn't work properly. It may be some detail in my sound card settings, or it may be something else - all of which wouldn't be a problem in any other application. And the software gives you absolutely NO help in detecting, let alone fixing the issue. I once spent hours trying to solve it on my own, and I finally succeded. Video editing didn't work unless my sound card was set to 48 khz sampling rate. But for the next project the issue had returned, and this time the same fix didn't solve it, so I gave it up. It seems you always have to re-solve the problems, so it's aptly named.
It sounds like you might not have a very good system. I've used Resolve on my iMac Pro on a professional level for months now. I find it extremely easy to use and very powerful. Have you tried v15 beta? It's pretty powerful.
Love all your videos! When it comes to sound, you are the first authority I seek out on TH-cam! Thank you so much for your competent, professionally delivered content!
Curtis, I listen to a lot of TH-cam instructional videos. Yours are incredibly helpful and informative. Like the A10 in this video, you are the pro level.
At the TV station I retired from, we used the Sennheiser G3 systems extensively (About 20 systems in 5 day a week use) for ENG. Quality was fine, and failure (repair) rate was about 35-40% on an annual basis. A rate on par with the Sonys in the studio. Failures were mostly mic elements, antennas and moisture related issues.
Sony has two different G3/G4 systems - the EW100 (shown in this video) and the EW500. The EW500 are substantially more professional than the EW100. They look almost the same, but the 100's have worse transmitting power and afaik don't even have a symmetric connection on the cable (at least they didn't use to on the older G2 models). The EW500 series also has more menu options and more channels.
Nice video. As a note, I had some problems with the Rode Link and interference with the cable too. Found out they fixed that. I wrote them and they were kind enough to send me a much better shielded cable for free.
Who did you write to, what email address? I spent over $400 buying that kit..and I never use them because the cable is such crap. Makes such bad static noise. I definitely want Rode to replace that for me...i own bunch of their other mics..NTG3, NTG4+...Videomic Pro...no problem with anything else...except the Lavs. Thank you.
Hey Ron. I sent them a message both on Twitter and Facebook telling them I heard the shielded cable was bad. You can also try their Website as I am sure they have support and contact info there.
The last 5 years I've been recording lav mic to external recorded concealed on me, but wireless systems are the next step. I just never got around to testing and finding out what are the pros and cons of solutions within my budget. This RodeLink vs. Sennheiser comparison told me everything I need to know. Thanks!
I love your videos. They are very informative, nicely made and professional. (Often times you see someone reviewing sound systems their sound isn't as good as it should be.) Thank you very much for your videos! :)
Dear Curtis First I want to thank you for your great support. In Sennheiser G4 series there are two models: - EW 112P G4 - EW 512P G4 What is the main differences between them? Which is the best with: - No Cut - No Noise - Clear Sound I will use it in a noisy environment where there are a lot of Wi-Fi and Mobile network stations. In addition noise comes from near electrical devices like air conditioners etc. Distance is not a matter, approximately from ~10 m to ~ 30 m.
Hi Adel, There are actually three series in the Sennheiser G4 product line: 100, 300, and 500 series. You can have a look at this site for details: en-us.sennheiser.com/wireless-microphone-musicians-evolution-g4 The main differences: The 500 series can bet set to stronger output power (up to 50mW), can phantom power if you're using a wireless boom, and can handle a wider frequency range and support more simultaneous channels if you're going to use a lot of them at the same time. The 500 series will probably hold the signal a little better because you can set it to output at 50mW but comes at a price premium for a difference that I'm not sure how to quantify. All wireless systems, even the multi-thousand dollar systems are subject to signal dropouts depending on the location. I don't know all the details on where you'll be working and whether you're doing live sound or film, but for most scenarios, the 100 series should work nicely.
Thank you, Mr. Judd, for your great work in this sphere. I am a newbie/novice in the videography field and appreciate the passion you've put into your videos in which you teach us all about audio and lighting. Thanks again.
Awesome breakdown of the pros and cons of each class of hardware! I've run into issues with the Rode where my audio dropped out due to interference and it was a nightmare. I'll likely be upgrading to a new system in next year where I can deal with these issues better.
Thank you, Curtis, for another well considered and researched. These educational videos are distinguished by how they consider how equipment relates to production requirements and market segmentation. I can relate to this specific topic. Several years ago, on good advice at B&H, I invested in a Sony analog UHF band wireless kit consisting of a body transmitter, a plug-on transmitter, and a single band receiver. For my purposes - mainly no-budget ENG shooting - it was the perfect system - reliable, rugged, good sounding, versatile, and with a professional fit and finish. The right tool for the job is the main thing.
Hi Curtis! Another great video comparing/contrasting hardware. The line between consumer and professional gear is getting narrower every day. From your recommendations, I have picked up a MixPre 6 and the Sennheiser G4 and couldn’t be more happy with the purchases. It’s a great time to be working in video!
Hello Curtis. Would love to see you review the Saramonic UWMic9 system. 1 receiver and 2 transmitters. Also congratulations on 100k subscribers. Well deserved!!
Thanks Mr. Director! I actually tried to review the UWMic9 system but after two separate kits, I could not get them working reliably in my locality. I don't know if I was just unlucky, but based on my experience, I cannot recommend them. I hope that helps!
Hi, First time messenger, long time listener. I'm always impressed with your deep understanding of audio and the ease of your impressions and advice. Thanks.
Hey Curtis! I'm glad you're a fellow fan of the Rodelink system, I use them quite a bit on my short films. They certainly don't give you the control or gain-staging tools of Lectrosonics, but they do have great sound quality for the cost. You are correct that Rodelink's included microphone capsules have BRUTAL interference issues. I contacted Rode about this, and it seems that the earlier models (I was an early adopter of Rodelink as well) had RF shielding that actually wore off over time. I'm still under warranty, so they sent me their newer lavalier capsules as a replacement, and the RF issues are gone completely. So it appears to have been a known issue. Hope this helps!
I am totally impressed with all your videos! You have superb content delivered with levity and fun to watch. As a non-professional single shooter wedding videographer, I have a cost-performance dilemma. With weddings you have little to no control over environment. Also, there is only one take! Not capturing the wedding vows, or a ruined over-modulated wedding march song is simply not tolerable. Equipment reviews talking about line-of-site dropouts have me concerned. In the past I’ve used multiple H1’s with a post production sync headache. So I value reliability as a primary factor. I’m planning to add a Mixpre-6 to capture and time sync multiple audio sources. What do you recommend for a wireless setup?
Thanks John! The Audio Ltd A10 is great, but you're looking at about $6000 USD for two channels. What kind of budget are you looking at? The trick I've found is that the 2.4GHz consumer/prosumer systems just aren't very reliable, especially outdoors where the RF signal doesn't have as many surfaces to reflect off of. Sennheiser and Sony both make good UHF systems but they're closer to $650 per channel.
Curtis Judd I’ve seen the need for at least 3 audio tracks (groom, unamplified music, and religious readings) so the A10 is out of my league. Prosumer costs are doable ($500 per channel more or less). With running and gunning, and the need to move about the venue without fear of dropouts, the analog systems seem to have a performance edge. What do you think?
I film in a kitchen environment and I find that the RODE Rodelink is PERFECT! also it is covering my whole house which is quite big. totally love this product! (but the A10 recording into transmitter internally is one huge, HUGE feature!!)
Hi Chris, I’ve revisited this tutorial because my G3’s antennas have to be replaced- after 10 years on continuous use. So I was considering the rodelink or set of G4’s on eBay. I’ll check out yr tutorial on the wireless Go but that appears for consumer market. Thanks for the years of support!
Hi Moz, agreed, RODE Wireless GO is no replacement for Sennheiser G3/G4 system. Eaiser to use, yes, but cannot get you out of situations where the 2.4GHz band is fully saturated or you need longer transmission distances.
Thanks Curtis! Amazing and informative as usual. I'm one of those passion consumer types. I record for school bands, ss they are always ill funded or ignored (compared to sports). So I opted with 3 sets of the G3's. Use either DPA instrument mics for solos, or AKG C414s if cables are not an option, I use the SKP300's with my C414's. Since I volunteer for the schools and no $$ Sennheiser I thought was a good choice. Thanks again!!
Great comprehensive review! On the Sennheiser G4, is it possible to get a better voice sound by searching through different frequencies? I tend to be getting more of a thin sound and not as rich. I'm using a Sanken cos11d lav mic too.
Hi Mark, microphone placement will go a long ways to shaping the sound. If you're getting interference and crackling, then yes, you'll want to work on choosing a better frequency and possibly changing the squelch setting. But if you just sounds "thin", then mic placement is your main tool to improve things.
The quality of audio is what I have been dreaming about these last few weeks. Finally. It's worth the $2400 and makes sense why. Im using 3:14 - 3:26 as an audio reference from now when mastering my audio. Im using the Rode Go with the Rode Lavalier, but I'll do my best to try to master it like your amazing audio. Thanks so much, Happy Thanksgiving
This was so helpful and informative (and just flat out interesting), thank you for putting this together. Haven't ever commented on a TH-cam video before, but was compelled to do so here. Thanks!
Excellent review as per usual! My comments on using the RØDE system: Never had problems with audio quality or radio quality. Hate that they only supply 3.5mm lead and recommend crappy XLR adaptors - I try to buy the Sennheiser XLR leads, which work more reliably. Also the XLR transmitter pack works well with the receivers. Annoyances: mainly the cable placements on the side of the receiver, makes really awkward use in sound bags! I would also love to have a dual channel receiver, than can output to TRS. What are your thoughts on the Sony UDP range, especially the Dual channel receiver?
Hi again! I have heard that the newer generation RODE Lavalier have improved RF shielding. That might be why I'm getting some issues from time to time but others are not (I have two RODELink Filmmaker kits from the first production run). Good to hear your experience with the kit! I haven't used the Sony UDP range yet, but would like to give it a try at some point.
I have just bought the Comica CVM-WM300A system and I am very impressed. They are built like tanks and the Lav mics are way much better than the mic that came with the Zoom F2 system. I've got the UK 606 to 647mhz system and a PMSE license and I think they are absolutely great. So easy to set up and the sound quality is well beyond the price I paid. Totally happy with this kit.
Which microphone works well in a more urban environment where there is a lot of traffic, people, wifis and other signal causing yours to be weaker and losing line of sight constantly ? Would the sound break ? Which microphone would you suggest that doesn't have this problem and doesn't lose signal frequently ? Cause i bought RODE Filmmaker and the signal is actually really weak when you lose line of sight at around 10 meters it starts getting bad already. Does Sennheiser G4 have this problem as well ?
Thanks for an informative video. As a photographer on a 'convergence' journey, I'm a newbie to sound seeking to learn more, before deciding what to buy for DIY video production. I have subscribed as it's clear you are someone with good experience and clear delivery from whom I can learn much from. I like the look of high quality kit (if not the expense), but everything is a trade off and to bastardise an old metaphor - I need to learn to walk before attempting a marathon.
Nice video, thanks. My only gripe would be with use of the term "professional" without explaining that you meant film industry. It might give a false impression. I mean, Broadcast TV is professional too (at least I hope it is, I've been working in television for 20+ years, not sound but camera) and rarely you'd find A10 there, it's mostly sennheisers and sound devices. Otherwise, the video explains the differences clearly, thank you. And thanks for other videos - I've learned so much from them.
Thanks for the clarification, sbozinovic, good point. We happen to also use it where I work in corporate video. But yes, I think you'll find the A10 system mostly in film and TV shows on the boom operator's boom pole.
Curtis, loved the video again! I completely ditched wireless mic's in favor of the Tascam DR-10 system. If you're already wearing a bodypack, there's no problem and since it's so easy to sync audio, it's the way I do it now. The sound quality is really good and not only using Lav mic's, I also can use a Rode NT3 handheld with a windscreen as needed. Of course, the audio guys can't hear the sound immediately, but it is pretty failsafe since there's nothing wireless.
I don't have a wireless system yet but I must admit that the Sony UWP-D21 system really interests me. For Tx, Rx and Lav mic you are paying about £550 and also getting away from the busy 2.4Ghz frequency. I think Sony R&D is second to none and they can absorb some of this cost without passing it on to the consumer simply by the size of the company. I don't think you ever did a review of this system. Love to see one.
Great deep dive! As one of the passionate hobbyists you mentioned, the price of the truly pro stuff has always somewhat baffled me. Now it makes sense. (And the first point really hit home!)
At first I thought, 'Huh?' Then I thought 'Ha!'! I realized I should have been more specific. I meant 'What background do you use for your videos? A blue wall? Blue paper? And how do you light it? It looks really good. Also, if you use a teleprompter, you are really good at it because your dialogue comes off as very off-the-cuff.
Haha! That's white paper that I usually light with either a daylight balanced LED light (5600K) while the key light is tungsten colored (2800-3200K). Of course the camera is white balanced to the tungsten balanced key light so the background ends up looking blue. I tried to use a teleprompter several years ago and it was basically a disaster. The videos you see here are edited quite a lot to make them smoother in terms of what I'm saying. That is to say, I make a ton of mistakes and say stupid things and that all gets edited out.
I've become so addicted to your channel Curtis! i mean... I've been following you for years but lately I am investing in new video and audio gear as I am finally starting my own video prod company! And I haven't found better tutorial, tips, reviews and general knowledge about professional audio gear than on your channel! So... THANK YOU SO SO MUCH! Quick question though! I just purchased the Sound Devices Mixpre 3 but I realise that my RODE NTG3 and my Rodelink are far from my ideal equipment for my documentary projects (mainly because of self and floor noise and the lack of clarity!). So after watching your videos I decided to invest in a Audio Technica AT4053B for my boom mic setup and I was thinking of purchasing the Sennheiser G3 or G4 for a wireless mic system. But lately I fell in love with the sound quality of the DAP lavalier miucrophones so my question for you would be : Do you think the combination of the MIXPRE 3, the Sennheiser G3/G4 with a DAP D:screet 4060 would work well? I can't seem to find if the DAP 4060 would be compatible with the Sennheiser G3 wireless system... Anyway thank you so much again for all your hard work and for sharing such good quality content! You're like the best Sound Design school on earth! haha ;-) Maxime
Hi Maxime, Thanks! I think that the NTG3 is actually quite good, if boomed and positioned correctly. But if you cannot do that on a documentary shoot, then a lavalier may be a better choice. Yes, I've had very good experience with the G3 and DPA. You can find a version of the DPA 4060 wired for Sennheiser wireless here: bhpho.to/2r9SqXE Best wishes!
@@curtisjudd thank you Curtis for your advice. I live in France so unfortunately the link you kindly sent me won't be ideal but I found a great website for europe delivery. Yes I agree the NTG3 is excellent but I record a lot of indoor interviews and sometimes in spacious reverberant rooms so I feel like these conditions are where the ntg3 has its limits mainly because of its pattern apparently. The audio technica will do amazingly I am sure of it thanks to your videos! I'M EXCITED! :)
Hi Curtis, just for ou to know, we do boom mics wireless for a long while, usually with "plugon"-s (dedicated wireless transmitters), more rarely with tx which is originally made for lavs (some of them can supply phantom power, or there are power transformers which produce the phantom for the mic)
Curtis - this is a great video that touches clearly upon the differences in equipment types and how that can play out on a shoot. I would also add another aspect of that typically sets professional equipment (as well as some prosumer level) equipment apart: Can it be repaired if it breaks or has a malfunction that causes RF interference (which you as the sound tech is responsible to prevent)? One aspect of the "consumer" level that might be somewhat useful in a niche type of way is the global universal nature of the 2.4G spectrum. Working with an NGO that is active in 100 countries across the various regions, I have noticed that this makes it easier to travel and not worry about having to hire gear in each location to stay in compliance. But the downsides are as you have noted - less control, less robust builds, etc. Are there any Wideband receivers that you are aware of at the more professional level that take advantage of the 2.4/5.8ghz bands?
Hi webguy, good point, thanks for bringing that up. I agree. I believe we are about to start seeing the first wave of at least prosumer grade wireless using 2.5gHz early next year (Deity).
I haven't used the Sony, so I can't say based on experience. The Sony system is generally more expensive and requires microphones specifically wired for Sony, but I suspect it may be a bit more robust in terms of range.
As a freelance cameraman I have a fairly comprehensive sound kit, suitable for most small gigs (which includes Sennheisser gear) but as it’s just part of a much larger collection of equipment centred on image acquisition, all my sound gear needs to fit into one Pelican case. If the scope of the production is larger then, in my view, you need a dedicated sound person who, because this is the only gear he or she is bringing, can afford to have more gear of a higher quality. Also when there’s multiple sources etc, it’s a big ask for a camera person to stay on top of the sound as well as vision.
I have rodes and g3's and i have observed similar things as you in terms of quality. I will say that the rode is extremely solid despite being plastic - i have dropped it from shoulder height a few times and even in water(completely submerged for a minute) - still works entirely, something which im not sure the G3 would have survived. That said(as you mentionned), the rode has less range and drops out more then the sennheiser g3.
Hey again Chris, I’m not doing this as a hobby... I’m looking to sell my films through a distributor so I need really great sound. I’ve already got the MixPre 6 and Seenheiser 416 which I love. I now need to know if the Sennheiser wireless systems are a fit for me or should I go with the $2,400 wireless system? I want the best clarity without having to bring the actors in to overdub. Your help is always appreciated....
Curtis Judd think I’m gonna stick with the shotgun boom pole for the film. It’s gonna be a simple film similar to the SECRET WINDOW... So I’ll make sure all dialogue is in close proximity....
Wow! I love the phantom power on the A10 transmitters. I bet the next gen Sennheisers will do that. Speaking of... Not only are the G4s $30 cheaper per channel than the G3s at B&H, but you get a $100 gift card too! Merry Christmas!
Thanks for another great, methodical video! Do you have an opinion on the Saramonic and/or Comica dual transmitter systems? I am looking for a set up for interviews and the dual systems seem convenient. Also, you did a review on the Azden Pro XD system with an upgraded mic. Would you still recommend that package for prosumer? Thanks again for all your hard work!
Hi Jeff, The ProXD system is definitely more of a consumer grade wireless system that worked better than I expected. The build quality is the poorest of all the systems I’ve used but it transmitted surprisingly well in my tests. Since I did the review they have also started shipping the system with a newly designed microphone. If one is going to spend less than $400 per mic channel on wireless, this is the only one I would recommend. I have attempted to review several of Saramonics wireless systems - both analogue and digital - and the performance was unusable in my tests. It may just be my geographic setting that doesn’t work well with these since other reviewers had a seemingly much better experience with them. But in my testing there were so many dropped signals at close range I had to abandon the review. I have had a bad experience with Comica at a business relationship level so I am not in a position to recommend any of their products. I hope that helps and happy recording!
Hi 1991ClarkJames, unfortunately, I haven't used the Sony UWP system so can't say for sure. I believe they are different types of systems - the Sennheiser transmits an analogue signal while I believe the Sony UWP-D systems transmits a digital signal. Some day I hope to try the Sony.
Quality content, as usual :) Lectrosonics has smaller transmitters, which is a blessing on set, and actors prefer them too. We had Audio Limited gear on Marco Polo Season 2. I was just a trainee then, but I found that the older AL gear was really funky. Sometimes it worked from a far distance, sometimes it lost connection. The A10 system seems promising, but they need to come up with a smaller transmitter. Here in Hungary all the pros use Lectro (Blade Runner 2047, Red Sparrow, Nat Geo's Picasso, etc) ///I've never seen a Zaxcom wireless system used here, only recorder/mixers.///
Yup, a big benefit of the Lectrosonics range is they have some great options for very small sized transmitters. Something that Audio Ltd hasn't done yet. Hopefully soon?
Curtis, what think of the idea of also reviewing LED projectors? Especially for business/educational/Church use. I’m currently looking at: 1). the Crenova Native 1080p LED Video Projector, 5500 Lux HDMI. My gosh that RED! And, 2). the Xiaomi XGIMI H2 Smart True 1080P Full HD 4K Projector 1350ANSI lm Built-in Harman/Kardon Speakers. Know ur busy, thx for considering this.
This video is more about the general differences between consumer, prosumer, and pro level wireless systems than recommending a particular wireless system. Is there a particular use case you’re looking to address?
Great video, as always, Curtis! I've been using the Shure GLX-D, which has many, many pros, however the biggest con has been the necessity for a power source for the receiver. So, when trying to record outdoors it is very tricky, especially since, for me, that usually equates to capturing talent working in a large area for horsemanship events. I'm wondering if you can comment on how the battery operated receivers you've worked with compare sound-wise to the Shure GLX-D? Cheers!
Hi Ben, Yes, I'm betting that most of us have heard Shure wireless in live event scenarios since they're quite ubiquitous and high quality. They sound pretty good in my experience. My sense is that Shure seems to cater more to the live sound reinforcement market. Does the GLX-D system have a small receiver for sound bags?
The receiver is fairly small in that it comes with brackets for mounting in a 1u rack, and takes half-space in width. It's about 6-inches deep, and the antennae are attached on the rear, which makes for interesting mounting capability (most rack enclosures are way too deep for this). I don't know how a sound bag might support this layout.The transmitter, however, is amazing. It has a tiny antenna, about the size of a sewing thimble, and is sold metal construction. I'm using the Sound Devices Mix-Pre 3 with this system, which I purchased after watching your review, and am quite pleased with the audio quality. Is there a rechargeable power source you would recommend for powering the receiver? It has an 1/8" barrel-style threaded jack for connecting an adaptor to a standard outlet. That "sure" would make life easier. (Sorry for the bad pun)
Hi Curtis, I really appreciate your videos! I noticed that in this video you talk about power distribution centers and show us a BDS V4U. Is this the power distribution system you use? Any other systems you would recommend for pro level production?
Hi Izzy, yes, I use the Remote Audio BDS V4 (I did not hut the U version which adds a USB output but is larger). PSC also makes a system that is pretty well regarded. I haven’t used it before. Gotham Sound, Trew Audio and the other Sound houses can cover the details on differences. Ive had good luck with Gotham.
Great comparison Curtis! For anyone considering something in the RodeLink/G3/G4 range, I'd recommend checking out the Sony UWP-D11s as well. I've worked on several shoots where I've had both A Sony and a G3 running at the same time, and I've never once had a interference issue with the Sonys. I can usually expect to have some sort of issue with the G3s though. Just my experience, and it could have been related to the frequencies I was tuned to (maybe they were different), but I've several other people agree with me. Can we expect a review of the G4 coming up Curtis? Or is it just way too similar to the G3?
Hi Ahriik, Thanks for the info regarding the Sony UWP-D11 system. Good to have another data point. I talked with Sennheiser at NAB and it appears that G4 100 series is pretty much identical to the G3 100 series so probably would be more worthwhile for me to spend some time with the Sony system. :) The G4 top end series have some additional features including adjustable output level and phantom power.
Thanks for that Curtis. I'd love to see a review and your thoughts on the AVX system, I noted the latency, I 'm thinking of adding one to my existing G3s for DSLM (GH5) single person interviews.
Interesting and entertaining as ever. I have worked with sound-folk using Sennheiser G series wireless almost all my career, covering CA and docs for mainstream broadcast. Always thought of them as "pro", but I can see Star Wars / feature level... maybe not so much.
Hi John, I agree, the G2 and G3's have been in use for years by many pros. It could be argued that it fits into the pro realm instead of the prosumer realm. Certainly pro in terms of people doing paid jobs with them, including my brother and I. My sense is that the full-time location sound mixers these days will almost always opt for Lectrosonics, Zaxcom, Wisycom, or Audio Ltd. over the G3 if they're working in TV/film.
Hi Curtis, I would love to watch a TH-cam video by you comparing a bodypack to wireless. Personally, I think that I am going to choose the Tentacle Track E's, however, being able to monitor the sound during recording is a huge advantage of wireless. Thanks.
You've touched on the BIG difference between the two. So everyone just needs to decide which is more important to them and their workflow - the ability to monitor or not. For TV and film audio production, they almost always choose wireless over body pack recorder. In 99.9% of cases.
Hi, Love your videos. I was very close to buying the A10 system until I saw your video, explaining that the reciever needed a external battery. That's a real bummer for me. As I am a one man band I need to have it mounted on camera. Do you have any other systems you would recomend that are similar to the A10? I need internal recordering, preferable analog limiters, dual band reciever, and a way to mount it on camera. Would love you input!
Well if you’re looking at the a10 then Zaxcom has the RX200 receiver (only supports one transmitter) that has AA battery support internally. It’s about $1750, plus you’ll need a transmitter depending on which one ranges from $1750-2000...so about $3500 for one channel. But they do have the patent on internal transmitter recording to a chip...so if there are any dropouts you can get the audio off the transmitter. They also have neverclip which is the dual ADC’s so it has really high dynamic range. And some see this as a weakness but they claim the physics of RF backs them up in transmitting a 32khz sample rate, so its frequency response is 20-16,000 hz, Where the a10 is 48khz.
Good morning from Sydney! Hope you’re well Curtis. So, after your help with capture cards the other week, thank you again, I’m now onto wireless systems, and wondering where to start again. Choosing a sennheiser ew112 g4 for my videography seems straightforward enough thanks to you. However, I’d like the ability to use the unit for live stage presentation applications. If i get the 512 model with the wireless handheld unit, can I use both transmitters simultaneously into some sort of PA system. Or do I need a beefier receiver to plug into the PA or sound board? I’m happy to keep the setup for live applications small to start with, but I’m just wondering if I’d be better off buying something other than the ew112 p4, to future proof myself. Thanks for your advice Curtis, Andrew 😊
So, refining my question, if there is a wireless bodypack/receiver combo that would serve as on camera duty and on stage duty for small events, that would be a good start. If not, a g4 100 or even 2nd hand g3 might suffice for camera work, with some sort of ? Shure dual receiver with a headworn/handheld combo for separate stage applications. The higher spec’d 500 g4, especially with the phantom power body pack intrigues me, but I don’t reaaaly need it. Be nice for a wireless shotgun, and even nicer if it served a very light weight live setup I don’t know Curtis. Please make sense on my ramblings. Just finishing a12 hr nursing shift...forgive me!
@@andrewp1513 Hi Andrew, first, thanks for your nursing work! I hope you are staying healthy and well. There are so many options, but the G3/G4 are a great place to start. They work well and will give you chance to learn all of the nuances associated with wireless sound. You must have a receiver for every transmitter so there is not a way to send both a body pack transmitter and a plug-on transmitter to a single ew100 or 300 series at the same time - it is one or the other. This is also true of the 500 series single receiver but I haven't looked more into the 500 series to know whether there is a rack mount multichannel receiver or even a dual channel slot receiver. I don't think there is. I'm pretty sure you need to move up into their pro wireless system for that. Best wishes!
Hello :) thank you for your awesome videos which helped me a lot! Is there another transmitter beside the Sennheiser that can produce a better quality without spending that much on a Audio Limited A10?
Great video as usual thanks for that great comparison I really like the part about the lapel mics. May i ask what is the best one in ypur opinion? I am looking for a pro grade lapel mic 3.5mm jack to use with my H6 Zoom.
Hi Bander, I'm not sure there's one best mic. But I've been very happy with the DPA 4160 and the VoceTechnologies VT500. I also like the Countryman B6. Couple of reviews for you: Voice Technologies VT500: th-cam.com/video/9c74PsslcOk/w-d-xo.html Countryman B6: th-cam.com/video/Lh1qVoBieVI/w-d-xo.html
Interesting video, i really enjoyed it. I'm currently using the Sennheiser G4 system, but the A10 really got to me in this video. Built in time code generator and 48v phantom power. Those are some accessories i would need to buy for around 1000 euros to go with my G4 system. Adding that up with the cost for my two G4 systems, the price is almost the same! Question: How does the A10 transmitter battery time affect when using 24/48v phantom power to drive a boom mic? My G4 runs (without turning it off between takes) for around 4,5 hours. But i bet the battery time when providing 48V phantom power would be greatly reduced?
It affects it significantly - Probably around 2 hours on a new set of eneloop pros when feeding 48V phantom. That's a guess, I haven't officially timed it.
Hi Curtis! I've been watching your videos on wireless systems thinking about upgrading mine. I'm using two very decent DPA lav mics, but with an old UHF series One from Samson. I never had any problem with it, but I was wondering if changing to the Sennheiser G4 would help me get the best out of my mics? Or would the difference not be worth it? I'm always connecting to a Beachtek or MixPre-3, then sending this signal to my camera (GH5). Can a good mic shine on subpar system? Keep up the good work!
Hey Curtis, are you going to review the new Sennheiser EW-DP system? Curious to hear what you think comparing to pro level systems (lectrosonic, audio limited). Thanks
Hi Curtis...unfortunately, I don't have the budget to purchase a Lectrosonics (or comparable) wireless system but I am considering the Sennheiser EW G4 500 series which is their more professional-ish system as I understand it. I'll be going into a Sound Devices recorder and probably never into a camera. Other than the convenience of a small footprint, is there any advantage to a rack mounted receiver versus the the small one that can be clipped to a sound bag or camera? If you are familiar with the Sony UWP system, do you have any thoughts on how it compares with the Sennheiser 500 series? As always, I appreciate your channel and have learned so very much from you.
Hi Todd, I would suggest you consider what specific problems you are looking to solve when making this purchase. I haven't used the G4 500 series or Sony UWP-D system first hand, but I'd be they're fairly similar in terms of audio quality. I believe the G4 system is an analogue companding system while the UWP-D is a digital system. Sometimes the digital systems don't transmit quite as far, but that isn't a hard/fast rule. If there's any possibility, I'd advise you rent or borrow each before purchase which will allow you some hands-on time which will help you assess whether one or the other meets your specific needs.
Just wanted to make a quick comment about what you said at 12:36: While the quality of the Audio Ltd. system is impressive to be sure, I have to bite my tongue regarding what Kish Patel said about the A10 system being the first to be used for boom mics. I had quite a long exchange with the sound mixer on a union set recently about this very topic (i.e: wireless transmitters for boom mics) and he assured me that Lectrosonics HMa plug-on transmitters have been used on big productions for years. Now, I am only speaking from experience on Canadian sets so I'm unsure as to how mixers in L.A or elsewhere operate, but I was told that boom transmitters have been an industry standard for quite some time. As far as the words of Kish Patel are concerned; I think part of what he said at NAB was promotional for the A10 system.
I don't have first-hand experience with it, but Sony does have their UWP-D wireless system which sits between the two. It is mostly used for news from what I can tell, as the system has receivers for both bag, DSLR, and to slot into their broadcast cameras.
The dominant pro wireless system still seems to be lectrosonics, if you have access to the audio limited and a lectrosonics, I'd love to see a comparison (and maybe sound examples) of those two. Btw I think you failed to mention that a dual receiver is actually quite a big deal once you have to use two transmitters ... And also puts the price of the A10 in a different perspective to one channel systems.
Hi Brot, thanks for the input. Agreed that Lectrosonics is what I see most among other sound mixers. I own the A10 (just received it last week so only getting started with it). If at some point I have the time and access to one of the Lectro kits, will definitely compare. Dual receiver is definitely a big benefit. There are so many things I didn't have time to cover in detail. Thanks!
Curtis Judd an additional wish (since you seem to be one a the few people who actually know what they are talking about): wireless frequency selection 101... This seems to be an extremely complicated subject, especially when it comes to choosing frequency blocks that are compatible for use in the USA and Europe.
thanks Brot, great idea. I'll need to bring someone on with a bit more experience. What I do is talk with local mixers and the dealers where I purchase (pro sound houses) as all of my work so far has been based locally or in neighboring states.
Hey Curtis, thank you for your videos! Question, does wireless transmition vary in audio quality outside of possible RF and latency? I.e. Are there significant audio quality benefits to more expensive transmitters? Trying to avoid a quality bottleneck.
Yes, absolutely. And the higher-end lavalier microphones usually come with terminations for the pro level wireless systems - the microphone probably makes the biggest impact on overall sound quality. And the pro level transmitters usually either have analogue limiters or in several of the newer systems that have been introduced since I recorded this video, they have designs where you do not set gain at the transmitter and have lots of headroom so that clipping is virtually impossible, especially for dialogue recording.
Hi Curtis, do you know of any different digital systems that have the some of the same abilities (analog limiters, 48v for boom option) but with a receiver that is not only purposed for bag use? This A10 looks amazing, but I would want to use it for everyday gigs going straight into the camera, as well as the occasional bag job. It would be nice if there was something a bit less expensive too. Thanks!
Hey Chad! You're looking for all digital? Lectro does some sort of hybrid encoding and I'm not sure whether Wisycom is digital (I suspect it is still analogue). But both have analogue limiters and are priced about the same as the Audio Ltd. I'm not positive but I'm not sure anything exactly like this exists. Maybe Zaxcom, but that mostly benefits those using Zaxcom mixers.
How about on update in wireless mic systems? and a further explanation of available frequencies? has the situation changed in four years? what are the frequencies per region? or state?
Always great content and knowledge! Is it possible to get the recording inside the body pack transmitter functionality in Canada or it is the same patents here too?
Thanks. I assume they can sell the lavalier recording version in Canada. You’ll want to confirm that with your local Audio Ltd. dealer or contact Audio Ltd support.
Thank you Curtis Your reviews are always well covered and confirmed by you actually working in field with them. Very appreciated as always! Cheers, Pete
Hello, Curtis!!! First off, thank you very much for all your content! It has been really helpful and I think it's started to guide me in a right direction. However, I still have a couple of newbie questions I've not been able to find a clear answer to. I'd love tour help if you can. Wireless systems being discussed, I still do not know if consumer or prosumer level systems would have problems in a 7 wireless lav mics scenario in the controlled environment of a studio. What do you think? Finally, I fear it sounds dumb, but could different brand mics, let's say, Audio Technica, work with Sennheiser, Shure transmitter/receiver? Sorry if its too basic, but it'd be very clarifying if I could get some help with these questions! Love your content and best wishes!! :)
Hi Alejandro, 7 wireless channels is quite a bit. I believe the RODELink can support up to 8 at a time so that'd be pushing its limits. On most of the pro systems, you can choose separate frequencies for each channel so you'll have more control when you're working with that many channels of wireless. RODELink might work fine, but if it doesn't you don't have any options to change its settings. That's where the pro systems are more flexible. Generally, no, a TX from one brand does not work with an RX from another brand as a pair. Of course, you can use a RODELink TX and RX for one channel and a Sennheiser TX and RX for a different channel at the same time without any problems.
@@curtisjudd Thank you very much for helping me clarify! I see I would be taking a bit of a risk. I'm sorry to keep bothering, but I'm left wondering, regarding the different brands topic, would it be possible to hook up, let's say, an Audio-Technica AT899 to a Sennheiser G4 wireless kit or SK/EKP XLR (with proper adapters)? And if it's possible, is it too much of a bad practice? Thanks you so much and best regards!! :)
Hi Alejandro, I'd avoid adapting and instead send the mic in to have it rewired for the system you'll be using. That way you reduce the risk of the adapter pulling out.
@@curtisjudd I hadn't thought about it, but sounds like a way to go!! Nonetheless, I'll try to keep things simple and avoid crossing brands. Here's hoping! Thanks you so much for your advice!! It's been so clarifying! Hope you have a great week! Thanks again!! :)
Thanks so much for all your work! Quick question: I just got the Sennheiser G4 and it comes with the new ME2-ii lav mic. Do you know how that compares to other mics? I know it appears to be better than the ME2 from the G3 pack. Just wondering about upgrading Lav mics or if the ME2-ii along with some post production sweetening would make it a solid mic?
It is definitely an improvement over the original ME2. I'd work with the ME2 II for a bit and see how you get on. If you find yourself frustrated after that, here's a look at several pro-level lavalier microphones I've used: th-cam.com/video/tXb7Ov-S6dc/w-d-xo.html
Hi Curtis I'm subscribed to you great channel from a bit now - it is very very useful to know what to buy - May I ask if you never tested the Movo WMIC80 because it has 2 transmitter and 1 receiver in one package and that's what I need to make interact 2 actors acting together - so I woul like to know if you know these microphones and I know the cost of them is about 200 euro in Europe - so if you tested them let me know and I will appreciate a lot .
Curtis which wireless mic would be good - in case we have monitor speakers pointed at the Preacher on the stage. Will there be howling ? is tha A10 , Sennheiser or Rode take care of this
Hi Curtis! I'm a videographer who sometimes needs to do my own sound recording. My main uses would be interviews, corporate shoots, presentations etc. I'm looking for something reliable and easy to use, and considering the G4. Just wanted to hear if there's any other system you'd recommend, or is the G4 the way to go for me? Thanks a lot, love your reviews!
Hi Nathan, The Sennheiser AVX is easier to use and really designed for solo operators/videographers, though not quite as flexible as the G4. So it depends on how important ease of use is vs. "I can change to a different frequency if one isn't working out".
Hi. Not sure if you can help me. I have Sony UWP-D11 Integrated Digital Wireless Bodypack Lavalier Microphone System and I connected it directly to my sony Ax53 camcorder so I didn't have to sync on post. But it sounds bad. What do you think I should get to make it sound better? I only do youtube videos inside my house.
Can be hard to troubleshoot via comments, but I would suspect an issue with settings or mic placement. In what ways does it sound bad? Do you have any sample recordings or videos with in online?
Hi Curtis, in 2020 what are the main pro wireless systems out there that can compete with the A10? And how do they compare to the A10 in terms of both pros and cons? Thanks in advance.
Hi Y. Zhao, there are wireless offerings from Lectrosonics (both digital and hybrid), Wisycom, Zaxcom, Sennheiser, and Shure. I'm not as familiar with the others but hope to make a video on them when I get a bit of experience with them.
@@curtisjudd Thanks Curtis. I've seen a lot of Lectrosonics and people have talked about the advantages of both, however have never seen a direct comparison in sound quality, but I'm sure they are close. Just want to know as much as possible before making an investment.
Hey Curtis! Blew my ears out with my G4 system this morning turning it on plugged into my MixPre3. As soon as I turn the G4 receiver on, I get about 4 seconds of the most deafening static (replicated this evening) maxing the meters on my MixPre3ii at a moderate input/gain level. I do a lot of critical listening in a recording studio, so the precision and longevity of my hearing are top priority. Having head shell shock and a headache all day as a result of the static blowout this morning I'm ready to throw the G4s on eBay tonight. What I need is a FAILSAFE against these kind of unexpected static explosions. I've never had great luck with analog wireless systems in this regard. I've blown my ears out way too many times. 1) Would a digital transmitter such as the A10 be a failsafe against this kind of static/interference (i.e. everything but obvious user error like me pulling out an xlr with my headphones on)?--I've read that dropouts on digital wireless are basically quiet hiss? Is this true? We are doing our current project at 32bit float/96 with the MixPre3s. Typically we are running and gunning with two shotguns, but now we are doing a bunch of interviews where we need lavs. We don't really have more than 1500k to spend right now, so I don't know if I can afford an A10 receiver at the moment...I don't mind setting a Version 2.0 A10 US transmitter model to record internally 24/48khz for the lav (I'm assuming incorporating 24/48 and 32/96 stuff in Resolve will not be the end of the world...). 2) Would that be the highest fidelity option (*with a failsafe for my ears) for a reasonably sized on-talent recorder/transmitter? Or is there another way around all of this that I am missing where I can still get the most out of 32/96 with a wireless lav and have a setup with a failsafe against deafening static explosions? Thanks so much! Hope you are having a great weekend. -Alec
Hi Alec, I have not had any blow-out experiences with the A10 system. The other day we were getting some static which turned out to be a loose connection on one fo the microdot connectors on the lavalier mic. Dropouts can still have a clicking sound, but I've never found them to be super loud and painful in terms of amplitude or longevity. Note that the recording on the transmitter in the US only works with boom mics, not lavaliers due to patents held by another company.
@@curtisjudd Curtis, thanks so much as always for the super informative response. Is that 5-10 seconds of static explosion that I experienced at the beginning of turning on a G4 system typical, just a part of the game? It's been a number of years since I've used these... Thanks so much for your commitment to helping us all learn about live audio. -Alec
@@AlecEagon I don't have my G3 system any longer - gave it to my brother. From memory, I don't remember any major static discharge issues sounding in my SD633 mixer when the G3 was connected.
Side note: First time editing in Resolve (v14) since the last time I tried in v12. I wanted to see how well Fairlight is coming along. Still pretty rough in my opinion. Automation will be amazing once the bugs are worked out. I'll try again when v15 is out of beta. The funkiness with the music at the start is a result of automation gone awry and 60 minutes of trying to fix it didn't get me any closer to resolution.
do you think one day you will test a "Aaton Cantar" ?
Gday
Have you ever used Presonus Studio One DAW ?
I hate Resolve. Often it simply doesn't work properly. It may be some detail in my sound card settings, or it may be something else - all of which wouldn't be a problem in any other application. And the software gives you absolutely NO help in detecting, let alone fixing the issue. I once spent hours trying to solve it on my own, and I finally succeded. Video editing didn't work unless my sound card was set to 48 khz sampling rate. But for the next project the issue had returned, and this time the same fix didn't solve it, so I gave it up. It seems you always have to re-solve the problems, so it's aptly named.
It sounds like you might not have a very good system. I've used Resolve on my iMac Pro on a professional level for months now. I find it extremely easy to use and very powerful. Have you tried v15 beta? It's pretty powerful.
Nice video Curtis I didn't notice any issues with the video thanks for the comparison of wireless systems.
From one Sound mixer to another Sound mixer, I really appreciate your work in creating this content.
The Lectros we use are old, but they work great.
Thanks Jason! Those Lectrosonics seem solid and long living.
Love all your videos! When it comes to sound, you are the first authority I seek out on TH-cam! Thank you so much for your competent, professionally delivered content!
Thanks Serge!
Curtis, I listen to a lot of TH-cam instructional videos. Yours are incredibly helpful and informative. Like the A10 in this video, you are the pro level.
Thanks Christopher, that makes my day!
At the TV station I retired from, we used the Sennheiser G3 systems extensively (About 20 systems in 5 day a week use) for ENG. Quality was fine, and failure (repair) rate was about 35-40% on an annual basis. A rate on par with the Sonys in the studio. Failures were mostly mic elements, antennas and moisture related issues.
Great info, thanks Pail!
Sony has two different G3/G4 systems - the EW100 (shown in this video) and the EW500. The EW500 are substantially more professional than the EW100. They look almost the same, but the 100's have worse transmitting power and afaik don't even have a symmetric connection on the cable (at least they didn't use to on the older G2 models). The EW500 series also has more menu options and more channels.
Nice video. As a note, I had some problems with the Rode Link and interference with the cable too. Found out they fixed that. I wrote them and they were kind enough to send me a much better shielded cable for free.
Good to know, thanks Basic Filmmaker!
Who did you write to, what email address? I spent over $400 buying that kit..and I never use them because the cable is such crap. Makes such bad static noise. I definitely want Rode to replace that for me...i own bunch of their other mics..NTG3, NTG4+...Videomic Pro...no problem with anything else...except the Lavs. Thank you.
Hey Ron. I sent them a message both on Twitter and Facebook telling them I heard the shielded cable was bad. You can also try their Website as I am sure they have support and contact info there.
Basic Filmmaker thank you so much. Yes I contacted them inspired by you. They are sending me a new cable ..so thank you 🙏🙏
Great. Glad to be of help.
Very detailed and well explained. I'm a run and gun production company so the Sennheiser is perfect for me. Thank you for a great video.
👍
The last 5 years I've been recording lav mic to external recorded concealed on me, but wireless systems are the next step. I just never got around to testing and finding out what are the pros and cons of solutions within my budget. This RodeLink vs. Sennheiser comparison told me everything I need to know. Thanks!
👍
I love your videos. They are very informative, nicely made and professional. (Often times you see someone reviewing sound systems their sound isn't as good as it should be.) Thank you very much for your videos! :)
Thanks for the feedback, Nerdact!
as always..my favorite video production related youtube channel.
Thanks Electronics Developer!
Dear Curtis
First I want to thank you for your great support.
In Sennheiser G4 series there are two models:
- EW 112P G4
- EW 512P G4
What is the main differences between them?
Which is the best with:
- No Cut
- No Noise
- Clear Sound
I will use it in a noisy environment where there are a lot of Wi-Fi and Mobile network stations.
In addition noise comes from near electrical devices like air conditioners etc.
Distance is not a matter, approximately from ~10 m to ~ 30 m.
Hi Adel, There are actually three series in the Sennheiser G4 product line: 100, 300, and 500 series. You can have a look at this site for details: en-us.sennheiser.com/wireless-microphone-musicians-evolution-g4
The main differences: The 500 series can bet set to stronger output power (up to 50mW), can phantom power if you're using a wireless boom, and can handle a wider frequency range and support more simultaneous channels if you're going to use a lot of them at the same time.
The 500 series will probably hold the signal a little better because you can set it to output at 50mW but comes at a price premium for a difference that I'm not sure how to quantify. All wireless systems, even the multi-thousand dollar systems are subject to signal dropouts depending on the location. I don't know all the details on where you'll be working and whether you're doing live sound or film, but for most scenarios, the 100 series should work nicely.
I should just add that I massively appreciate you taking the time to do the content
Thanks.
Thanks for another great video Curtis!
Thank you!
Thank you, Mr. Judd, for your great work in this sphere. I am a newbie/novice in the videography field and appreciate the passion you've put into your videos in which you teach us all about audio and lighting. Thanks again.
Thanks, James.
This video is awesome! Very good content. Made my buying decision easy. I'm going with the Sennheiser G3.
Thanks yeaboy707
Awesome breakdown of the pros and cons of each class of hardware! I've run into issues with the Rode where my audio dropped out due to interference and it was a nightmare. I'll likely be upgrading to a new system in next year where I can deal with these issues better.
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Thank you, Curtis, for another well considered and researched. These educational videos are distinguished by how they consider how equipment relates to production requirements and market segmentation.
I can relate to this specific topic. Several years ago, on good advice at B&H, I invested in a Sony analog UHF band wireless kit consisting of a body transmitter, a plug-on transmitter, and a single band receiver. For my purposes - mainly no-budget ENG shooting - it was the perfect system - reliable, rugged, good sounding, versatile, and with a professional fit and finish. The right tool for the job is the main thing.
Thank you Owen, definitely appreciate the feedback.
Hi Curtis! Another great video comparing/contrasting hardware. The line between consumer and professional gear is getting narrower every day. From your recommendations, I have picked up a MixPre 6 and the Sennheiser G4 and couldn’t be more happy with the purchases. It’s a great time to be working in video!
Great time, indeed!
Hello Curtis. Would love to see you review the Saramonic UWMic9 system. 1 receiver and 2 transmitters. Also congratulations on 100k subscribers. Well deserved!!
Thanks Mr. Director! I actually tried to review the UWMic9 system but after two separate kits, I could not get them working reliably in my locality. I don't know if I was just unlucky, but based on my experience, I cannot recommend them. I hope that helps!
Hi, First time messenger, long time listener. I'm always impressed with your deep understanding of audio and the ease of your impressions and advice.
Thanks.
Thanks canicas777, I appreciate the feedback!
As an extreme amateur, I appreciate your advice and videos… thank you.
Thanks buildflow.
I do appreciate the pro-sumer vs pro comparisons in your videos. Very useful information. Thanks!
Thanks for the feedback!
Hey Curtis! I'm glad you're a fellow fan of the Rodelink system, I use them quite a bit on my short films. They certainly don't give you the control or gain-staging tools of Lectrosonics, but they do have great sound quality for the cost.
You are correct that Rodelink's included microphone capsules have BRUTAL interference issues. I contacted Rode about this, and it seems that the earlier models (I was an early adopter of Rodelink as well) had RF shielding that actually wore off over time. I'm still under warranty, so they sent me their newer lavalier capsules as a replacement, and the RF issues are gone completely. So it appears to have been a known issue. Hope this helps!
Hey Nathan, that is very helpful and good to hear! That makes RODELink an even better option!
I am totally impressed with all your videos! You have superb content delivered with levity and fun to watch. As a non-professional single shooter wedding videographer, I have a cost-performance dilemma. With weddings you have little to no control over environment. Also, there is only one take! Not capturing the wedding vows, or a ruined over-modulated wedding march song is simply not tolerable. Equipment reviews talking about line-of-site dropouts have me concerned. In the past I’ve used multiple H1’s with a post production sync headache. So I value reliability as a primary factor. I’m planning to add a Mixpre-6 to capture and time sync multiple audio sources. What do you recommend for a wireless setup?
Thanks John! The Audio Ltd A10 is great, but you're looking at about $6000 USD for two channels. What kind of budget are you looking at? The trick I've found is that the 2.4GHz consumer/prosumer systems just aren't very reliable, especially outdoors where the RF signal doesn't have as many surfaces to reflect off of. Sennheiser and Sony both make good UHF systems but they're closer to $650 per channel.
Curtis Judd I’ve seen the need for at least 3 audio tracks (groom, unamplified music, and religious readings) so the A10 is out of my league. Prosumer costs are doable ($500 per channel more or less). With running and gunning, and the need to move about the venue without fear of dropouts, the analog systems seem to have a performance edge. What do you think?
@@johndimiceli5733 I agree. I found the Sennheiser G3 system to work well.
I film in a kitchen environment and I find that the RODE Rodelink is PERFECT! also it is covering my whole house which is quite big. totally love this product! (but the A10 recording into transmitter internally is one huge, HUGE feature!!)
RODELink is pretty impressive for its price and I’m so glad to hear it works so well for you!
Hi Chris, I’ve revisited this tutorial because my G3’s antennas have to be replaced- after 10 years on continuous use. So I was considering the rodelink or set of G4’s on eBay. I’ll check out yr tutorial on the wireless Go but that appears for consumer market. Thanks for the years of support!
Hi Moz, agreed, RODE Wireless GO is no replacement for Sennheiser G3/G4 system. Eaiser to use, yes, but cannot get you out of situations where the 2.4GHz band is fully saturated or you need longer transmission distances.
Thanks Curtis! Amazing and informative as usual. I'm one of those passion consumer types. I record for school bands, ss they are always ill funded or ignored (compared to sports). So I opted with 3 sets of the G3's. Use either DPA instrument mics for solos, or AKG C414s if cables are not an option, I use the SKP300's with my C414's. Since I volunteer for the schools and no $$ Sennheiser I thought was a good choice. Thanks again!!
👍 thanks for helping the bands and good choice on the G3’s.
Many thanks for a flawless account of cordless microphones, Curtis. Much appreciated.
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I learn so much from your vids Curtis.
Sound is so underrated when people make vids.
Recently bought a mix pre 6. Really love it.
Thanks Chris! Great to hear about the MixPre! Happy recording!
Great comprehensive review! On the Sennheiser G4, is it possible to get a better voice sound by searching through different frequencies? I tend to be getting more of a thin sound and not as rich. I'm using a Sanken cos11d lav mic too.
Hi Mark, microphone placement will go a long ways to shaping the sound. If you're getting interference and crackling, then yes, you'll want to work on choosing a better frequency and possibly changing the squelch setting. But if you just sounds "thin", then mic placement is your main tool to improve things.
The quality of audio is what I have been dreaming about these last few weeks. Finally. It's worth the $2400 and makes sense why. Im using 3:14 - 3:26 as an audio reference from now when mastering my audio. Im using the Rode Go with the Rode Lavalier, but I'll do my best to try to master it like your amazing audio. Thanks so much, Happy Thanksgiving
Bet wishes and happy recording!
This was so helpful and informative (and just flat out interesting), thank you for putting this together. Haven't ever commented on a TH-cam video before, but was compelled to do so here. Thanks!
Thanks James!
Excellent review as per usual!
My comments on using the RØDE system:
Never had problems with audio quality or radio quality.
Hate that they only supply 3.5mm lead and recommend crappy XLR adaptors - I try to buy the Sennheiser XLR leads, which work more reliably. Also the XLR transmitter pack works well with the receivers.
Annoyances: mainly the cable placements on the side of the receiver, makes really awkward use in sound bags! I would also love to have a dual channel receiver, than can output to TRS.
What are your thoughts on the Sony UDP range, especially the Dual channel receiver?
Hi again! I have heard that the newer generation RODE Lavalier have improved RF shielding. That might be why I'm getting some issues from time to time but others are not (I have two RODELink Filmmaker kits from the first production run). Good to hear your experience with the kit!
I haven't used the Sony UDP range yet, but would like to give it a try at some point.
I have just bought the Comica CVM-WM300A system and I am very impressed. They are built like tanks and the Lav mics are way much better than the mic that came with the Zoom F2 system. I've got the UK 606 to 647mhz system and a PMSE license and I think they are absolutely great. So easy to set up and the sound quality is well beyond the price I paid. Totally happy with this kit.
Great to hear, thanks Graham.
Which microphone works well in a more urban environment where there is a lot of traffic, people, wifis and other signal causing yours to be weaker and losing line of sight constantly ? Would the sound break ? Which microphone would you suggest that doesn't have this problem and doesn't lose signal frequently ? Cause i bought RODE Filmmaker and the signal is actually really weak when you lose line of sight at around 10 meters it starts getting bad already. Does Sennheiser G4 have this problem as well ?
If you have the budget for it, the Audio Ltd A10 has worked really well for my work. You can adjust the output power for those tough situations.
Hey Curtis! Great video, thank you very much. May I ask what microphone setup you are using for this video? It sounds perfect.
Hi, thanks. I used the Sennheiser MKH 8050 boom mic.
Great to know. As I said, this video has perfect audio, in my opinion! :) Very helpful video as well. Thank you. :)
@@curtisjudd
Thanks for an informative video. As a photographer on a 'convergence' journey, I'm a newbie to sound seeking to learn more, before deciding what to buy for DIY video production. I have subscribed as it's clear you are someone with good experience and clear delivery from whom I can learn much from. I like the look of high quality kit (if not the expense), but everything is a trade off and to bastardise an old metaphor - I need to learn to walk before attempting a marathon.
Thanks Ricky. I agree, best to start with something like the RODELink. That's where I started and have no regrets.
Thank YOU, sir! You're now my go-to man for reviews. :D
Thanks! 🎤
my headphones literally unplugged right at 12:34 and i thought you were trolling 😂😂
Haha!
Nice video, thanks. My only gripe would be with use of the term "professional" without explaining that you meant film industry. It might give a false impression. I mean, Broadcast TV is professional too (at least I hope it is, I've been working in television for 20+ years, not sound but camera) and rarely you'd find A10 there, it's mostly sennheisers and sound devices. Otherwise, the video explains the differences clearly, thank you. And thanks for other videos - I've learned so much from them.
Thanks for the clarification, sbozinovic, good point. We happen to also use it where I work in corporate video. But yes, I think you'll find the A10 system mostly in film and TV shows on the boom operator's boom pole.
@@curtisjudd Thank you.
Thanks for your straightforward reviews that a prosumer/consumer audience can understand.
👍
Excellent content! Hope your channel grows fast - you definitely deserve it.
Hi Milos, thanks!
Curtis, loved the video again! I completely ditched wireless mic's in favor of the Tascam DR-10 system. If you're already wearing a bodypack, there's no problem and since it's so easy to sync audio, it's the way I do it now. The sound quality is really good and not only using Lav mic's, I also can use a Rode NT3 handheld with a windscreen as needed. Of course, the audio guys can't hear the sound immediately, but it is pretty failsafe since there's nothing wireless.
👍That's cool that you can use the Tascam with an NT3. How do you get phantom power to the mic?
Ah, nevermind, NT3 takes a battery...
I don't have a wireless system yet but I must admit that the Sony UWP-D21 system really interests me. For Tx, Rx and Lav mic you are paying about £550 and also getting away from the busy 2.4Ghz frequency. I think Sony R&D is second to none and they can absorb some of this cost without passing it on to the consumer simply by the size of the company. I don't think you ever did a review of this system. Love to see one.
Me too! Just need some time and money.
@@curtisjudd Don't we all....lol
Great deep dive! As one of the passionate hobbyists you mentioned, the price of the truly pro stuff has always somewhat baffled me. Now it makes sense. (And the first point really hit home!)
Thanks Daniel
Your videos are the most professional that I have seen. Great job! What is your background? You are so succinct. Do you script or use a teleprompter?
Thanks Alan, for my day job I am a product manager at a software company and the video guy there as well. 🙂
At first I thought, 'Huh?' Then I thought 'Ha!'! I realized I should have been more specific. I meant 'What background do you use for your videos? A blue wall? Blue paper? And how do you light it? It looks really good. Also, if you use a teleprompter, you are really good at it because your dialogue comes off as very off-the-cuff.
Haha! That's white paper that I usually light with either a daylight balanced LED light (5600K) while the key light is tungsten colored (2800-3200K). Of course the camera is white balanced to the tungsten balanced key light so the background ends up looking blue.
I tried to use a teleprompter several years ago and it was basically a disaster. The videos you see here are edited quite a lot to make them smoother in terms of what I'm saying. That is to say, I make a ton of mistakes and say stupid things and that all gets edited out.
Thanks! Keep up the good work! I always check your channel when I get a notification.
I've become so addicted to your channel Curtis! i mean... I've been following you for years but lately I am investing in new video and audio gear as I am finally starting my own video prod company! And I haven't found better tutorial, tips, reviews and general knowledge about professional audio gear than on your channel!
So... THANK YOU SO SO MUCH!
Quick question though!
I just purchased the Sound Devices Mixpre 3 but I realise that my RODE NTG3 and my Rodelink are far from my ideal equipment for my documentary projects (mainly because of self and floor noise and the lack of clarity!). So after watching your videos I decided to invest in a Audio Technica AT4053B for my boom mic setup and I was thinking of purchasing the Sennheiser G3 or G4 for a wireless mic system. But lately I fell in love with the sound quality of the DAP lavalier miucrophones so my question for you would be :
Do you think the combination of the MIXPRE 3, the Sennheiser G3/G4 with a DAP D:screet 4060 would work well?
I can't seem to find if the DAP 4060 would be compatible with the Sennheiser G3 wireless system...
Anyway thank you so much again for all your hard work and for sharing such good quality content! You're like the best Sound Design school on earth! haha ;-)
Maxime
Hi Maxime, Thanks!
I think that the NTG3 is actually quite good, if boomed and positioned correctly. But if you cannot do that on a documentary shoot, then a lavalier may be a better choice. Yes, I've had very good experience with the G3 and DPA. You can find a version of the DPA 4060 wired for Sennheiser wireless here: bhpho.to/2r9SqXE
Best wishes!
@@curtisjudd thank you Curtis for your advice. I live in France so unfortunately the link you kindly sent me won't be ideal but I found a great website for europe delivery. Yes I agree the NTG3 is excellent but I record a lot of indoor interviews and sometimes in spacious reverberant rooms so I feel like these conditions are where the ntg3 has its limits mainly because of its pattern apparently. The audio technica will do amazingly I am sure of it thanks to your videos!
I'M EXCITED! :)
Hi Curtis, just for ou to know, we do boom mics wireless for a long while, usually with "plugon"-s (dedicated wireless transmitters), more rarely with tx which is originally made for lavs (some of them can supply phantom power, or there are power transformers which produce the phantom for the mic)
Thanks Péter. I have some friends who use the A10 transmitter for boom mics as well. Whicher works best is a fine tool!
Curtis - this is a great video that touches clearly upon the differences in equipment types and how that can play out on a shoot.
I would also add another aspect of that typically sets professional equipment (as well as some prosumer level) equipment apart: Can it be repaired if it breaks or has a malfunction that causes RF interference (which you as the sound tech is responsible to prevent)?
One aspect of the "consumer" level that might be somewhat useful in a niche type of way is the global universal nature of the 2.4G spectrum. Working with an NGO that is active in 100 countries across the various regions, I have noticed that this makes it easier to travel and not worry about having to hire gear in each location to stay in compliance. But the downsides are as you have noted - less control, less robust builds, etc. Are there any Wideband receivers that you are aware of at the more professional level that take advantage of the 2.4/5.8ghz bands?
Hi webguy, good point, thanks for bringing that up. I agree. I believe we are about to start seeing the first wave of at least prosumer grade wireless using 2.5gHz early next year (Deity).
Great video!! I always appreciate your analysis. What do you think about Sennheiser G4 vs Sony UWP-D?
I haven't used the Sony, so I can't say based on experience. The Sony system is generally more expensive and requires microphones specifically wired for Sony, but I suspect it may be a bit more robust in terms of range.
As a freelance cameraman I have a fairly comprehensive sound kit, suitable for most small gigs (which includes Sennheisser gear) but as it’s just part of a much larger collection of equipment centred on image acquisition, all my sound gear needs to fit into one Pelican case. If the scope of the production is larger then, in my view, you need a dedicated sound person who, because this is the only gear he or she is bringing, can afford to have more gear of a higher quality. Also when there’s multiple sources etc, it’s a big ask for a camera person to stay on top of the sound as well as vision.
Yes, this matches my experience as well.
So helpful - thanks, Curtis. The pro gear seemed expensive until I compared it to some of my ham radio stuff... well-built precision gear is dear!
Thanks Mike! Yes, there’s a reason for the seemingly high prices.
Curtis Awesome Video and really appreciate all the great advice and again your Reviews have been absolutely fantastic.Thanks for sharing Deb. 👌👍
Thanks Deb!
I have rodes and g3's and i have observed similar things as you in terms of quality. I will say that the rode is extremely solid despite being plastic - i have dropped it from shoulder height a few times and even in water(completely submerged for a minute) - still works entirely, something which im not sure the G3 would have survived. That said(as you mentionned), the rode has less range and drops out more then the sennheiser g3.
Thanks Francois, all good points.
Hey again Chris, I’m not doing this as a hobby... I’m looking to sell my films through a distributor so I need really great sound. I’ve already got the MixPre 6 and Seenheiser 416 which I love. I now need to know if the Sennheiser wireless systems are a fit for me or should I go with the $2,400 wireless system? I want the best clarity without having to bring the actors in to overdub. Your help is always appreciated....
If you've got the budget, I've been very happy with my a10 system.
Curtis Judd think I’m gonna stick with the shotgun boom pole for the film. It’s gonna be a simple film similar to the SECRET WINDOW... So I’ll make sure all dialogue is in close proximity....
@@BobbyWashingtonvlog Good call!
Curtis, your lighting on this is really nice. Niceeeee. Great vid.
Thanks Wesley!
Wow!
I love the phantom power on the A10 transmitters. I bet the next gen Sennheisers will do that. Speaking of... Not only are the G4s $30 cheaper per channel than the G3s at B&H, but you get a $100 gift card too! Merry Christmas!
Hi Ricardo. The G4 consists of 100, 300, and 500 series. I believe only the 500 series transmitters can supply phantom power.
Thanks for another great, methodical video! Do you have an opinion on the Saramonic and/or Comica dual transmitter systems? I am looking for a set up for interviews and the dual systems seem convenient.
Also, you did a review on the Azden Pro XD system with an upgraded mic. Would you still recommend that package for prosumer? Thanks again for all your hard work!
Hi Jeff, The ProXD system is definitely more of a consumer grade wireless system that worked better than I expected. The build quality is the poorest of all the systems I’ve used but it transmitted surprisingly well in my tests. Since I did the review they have also started shipping the system with a newly designed microphone. If one is going to spend less than $400 per mic channel on wireless, this is the only one I would recommend.
I have attempted to review several of Saramonics wireless systems - both analogue and digital - and the performance was unusable in my tests. It may just be my geographic setting that doesn’t work well with these since other reviewers had a seemingly much better experience with them. But in my testing there were so many dropped signals at close range I had to abandon the review.
I have had a bad experience with Comica at a business relationship level so I am not in a position to recommend any of their products.
I hope that helps and happy recording!
Hey Curtis! Great video as always! Would you pick the Sennheiser G4 or a Sony UWP-D21 as an upgrade to my Rode Filmmaker kit?
Hi 1991ClarkJames, unfortunately, I haven't used the Sony UWP system so can't say for sure. I believe they are different types of systems - the Sennheiser transmits an analogue signal while I believe the Sony UWP-D systems transmits a digital signal. Some day I hope to try the Sony.
Quality content, as usual :) Lectrosonics has smaller transmitters, which is a blessing on set, and actors prefer them too. We had Audio Limited gear on Marco Polo Season 2. I was just a trainee then, but I found that the older AL gear was really funky. Sometimes it worked from a far distance, sometimes it lost connection. The A10 system seems promising, but they need to come up with a smaller transmitter. Here in Hungary all the pros use Lectro (Blade Runner 2047, Red Sparrow, Nat Geo's Picasso, etc) ///I've never seen a Zaxcom wireless system used here, only recorder/mixers.///
Thanks! Good to hear about what’s out there in the field!
Yup, a big benefit of the Lectrosonics range is they have some great options for very small sized transmitters. Something that Audio Ltd hasn't done yet. Hopefully soon?
thanks
You’re welcome.
Hey Curtis! I learn a lot from your tutorials! thanks a lot for the effort!
Thanks Roderik!
Curtis, what think of the idea of also reviewing LED projectors? Especially for business/educational/Church use. I’m currently looking at:
1). the Crenova Native 1080p LED Video Projector, 5500 Lux HDMI. My gosh that RED! And,
2). the Xiaomi XGIMI H2 Smart True 1080P Full HD 4K Projector 1350ANSI lm Built-in Harman/Kardon Speakers.
Know ur busy, thx for considering this.
Hi Glen. I appreciate the confidence in me but I don’t know a thing about projectors. 😀
Curtis Judd Ah okay. Thanks again. 🙂
Hi Curtis, thank you for doing this. Would you still recommend these systems in 2022? Or would you change your recommendations?
This video is more about the general differences between consumer, prosumer, and pro level wireless systems than recommending a particular wireless system. Is there a particular use case you’re looking to address?
Great video, as always, Curtis! I've been using the Shure GLX-D, which has many, many pros, however the biggest con has been the necessity for a power source for the receiver. So, when trying to record outdoors it is very tricky, especially since, for me, that usually equates to capturing talent working in a large area for horsemanship events. I'm wondering if you can comment on how the battery operated receivers you've worked with compare sound-wise to the Shure GLX-D? Cheers!
Hi Ben, Yes, I'm betting that most of us have heard Shure wireless in live event scenarios since they're quite ubiquitous and high quality. They sound pretty good in my experience. My sense is that Shure seems to cater more to the live sound reinforcement market. Does the GLX-D system have a small receiver for sound bags?
The receiver is fairly small in that it comes with brackets for mounting in a 1u rack, and takes half-space in width. It's about 6-inches deep, and the antennae are attached on the rear, which makes for interesting mounting capability (most rack enclosures are way too deep for this). I don't know how a sound bag might support this layout.The transmitter, however, is amazing. It has a tiny antenna, about the size of a sewing thimble, and is sold metal construction. I'm using the Sound Devices Mix-Pre 3 with this system, which I purchased after watching your review, and am quite pleased with the audio quality. Is there a rechargeable power source you would recommend for powering the receiver? It has an 1/8" barrel-style threaded jack for connecting an adaptor to a standard outlet. That "sure" would make life easier. (Sorry for the bad pun)
There are a variety of battery banks available depending on the voltage and current requirements of the receiver. amzn.to/2GW4aST
Hi Curtis,
I really appreciate your videos! I noticed that in this video you talk about power distribution centers and show us a BDS V4U. Is this the power distribution system you use? Any other systems you would recommend for pro level production?
Hi Izzy, yes, I use the Remote Audio BDS V4 (I did not hut the U version which adds a USB output but is larger). PSC also makes a system that is pretty well regarded. I haven’t used it before. Gotham Sound, Trew Audio and the other Sound houses can cover the details on differences. Ive had good luck with Gotham.
Great comparison Curtis!
For anyone considering something in the RodeLink/G3/G4 range, I'd recommend checking out the Sony UWP-D11s as well. I've worked on several shoots where I've had both A Sony and a G3 running at the same time, and I've never once had a interference issue with the Sonys. I can usually expect to have some sort of issue with the G3s though. Just my experience, and it could have been related to the frequencies I was tuned to (maybe they were different), but I've several other people agree with me.
Can we expect a review of the G4 coming up Curtis? Or is it just way too similar to the G3?
Hi Ahriik, Thanks for the info regarding the Sony UWP-D11 system. Good to have another data point.
I talked with Sennheiser at NAB and it appears that G4 100 series is pretty much identical to the G3 100 series so probably would be more worthwhile for me to spend some time with the Sony system. :) The G4 top end series have some additional features including adjustable output level and phantom power.
Very pleasing 'Rembrandt' lighting.
Thanks.
Thanks for that Curtis. I'd love to see a review and your thoughts on the AVX system, I noted the latency, I 'm thinking of adding one to my existing G3s for DSLM (GH5) single person interviews.
Hi apntv, your wish is my command. AVX Review: th-cam.com/video/U9RjMXtmVLc/w-d-xo.html
Curtis Judd brilliant, thanks Curtis.
great video! probably should have mentioned the rode newsshooter kit.
Thanks! Haven't used the Newsshooter yet but hopefully some day. I like the performer and filmmakers kits.
Interesting and entertaining as ever. I have worked with sound-folk using Sennheiser G series wireless almost all my career, covering CA and docs for mainstream broadcast. Always thought of them as "pro", but I can see Star Wars / feature level... maybe not so much.
Hi John, I agree, the G2 and G3's have been in use for years by many pros. It could be argued that it fits into the pro realm instead of the prosumer realm. Certainly pro in terms of people doing paid jobs with them, including my brother and I. My sense is that the full-time location sound mixers these days will almost always opt for Lectrosonics, Zaxcom, Wisycom, or Audio Ltd. over the G3 if they're working in TV/film.
Hi Curtis,
I would love to watch a TH-cam video by you comparing a bodypack to wireless. Personally, I think that I am going to choose the Tentacle Track E's, however, being able to monitor the sound during recording is a huge advantage of wireless.
Thanks.
You've touched on the BIG difference between the two. So everyone just needs to decide which is more important to them and their workflow - the ability to monitor or not. For TV and film audio production, they almost always choose wireless over body pack recorder. In 99.9% of cases.
Hi,
Love your videos. I was very close to buying the A10 system until I saw your video, explaining that the reciever needed a external battery. That's a real bummer for me. As I am a one man band I need to have it mounted on camera. Do you have any other systems you would recomend that are similar to the A10? I need internal recordering, preferable analog limiters, dual band reciever, and a way to mount it on camera.
Would love you input!
Sony makes a dual channel receiver that I believe has internal batteries: bhpho.to/2FHVy3S
Well if you’re looking at the a10 then Zaxcom has the RX200 receiver (only supports one transmitter) that has AA battery support internally. It’s about $1750, plus you’ll need a transmitter depending on which one ranges from $1750-2000...so about $3500 for one channel. But they do have the patent on internal transmitter recording to a chip...so if there are any dropouts you can get the audio off the transmitter. They also have neverclip which is the dual ADC’s so it has really high dynamic range. And some see this as a weakness but they claim the physics of RF backs them up in transmitting a 32khz sample rate, so its frequency response is 20-16,000 hz, Where the a10 is 48khz.
Good morning from Sydney! Hope you’re well Curtis. So, after your help with capture cards the other week, thank you again, I’m now onto wireless systems, and wondering where to start again. Choosing a sennheiser ew112 g4 for my videography seems straightforward enough thanks to you. However, I’d like the ability to use the unit for live stage presentation applications. If i get the 512 model with the wireless handheld unit, can I use both transmitters simultaneously into some sort of PA system. Or do I need a beefier receiver to plug into the PA or sound board? I’m happy to keep the setup for live applications small to start with, but I’m just wondering if I’d be better off buying something other than the ew112 p4, to future proof myself. Thanks for your advice Curtis, Andrew 😊
So, refining my question, if there is a wireless bodypack/receiver combo that would serve as on camera duty and on stage duty for small events, that would be a good start. If not, a g4 100 or even 2nd hand g3 might suffice for camera work, with some sort of ? Shure dual receiver with a headworn/handheld combo for separate stage applications. The higher spec’d 500 g4, especially with the phantom power body pack intrigues me, but I don’t reaaaly need it. Be nice for a wireless shotgun, and even nicer if it served a very light weight live setup I don’t know Curtis. Please make sense on my ramblings. Just finishing a12 hr nursing shift...forgive me!
@@andrewp1513 Hi Andrew, first, thanks for your nursing work! I hope you are staying healthy and well. There are so many options, but the G3/G4 are a great place to start. They work well and will give you chance to learn all of the nuances associated with wireless sound. You must have a receiver for every transmitter so there is not a way to send both a body pack transmitter and a plug-on transmitter to a single ew100 or 300 series at the same time - it is one or the other. This is also true of the 500 series single receiver but I haven't looked more into the 500 series to know whether there is a rack mount multichannel receiver or even a dual channel slot receiver. I don't think there is. I'm pretty sure you need to move up into their pro wireless system for that. Best wishes!
Hello :) thank you for your awesome videos which helped me a lot! Is there another transmitter beside the Sennheiser that can produce a better quality without spending that much on a Audio Limited A10?
Sony has some gear worth a look, but I am not intimately familiar with it.
@@curtisjudd thanks for the reply! I will have a look into it :)
Great video as usual thanks for that great comparison I really like the part about the lapel mics.
May i ask what is the best one in ypur opinion?
I am looking for a pro grade lapel mic 3.5mm jack to use with my H6 Zoom.
Hi Bander, I'm not sure there's one best mic. But I've been very happy with the DPA 4160 and the VoceTechnologies VT500. I also like the Countryman B6. Couple of reviews for you:
Voice Technologies VT500: th-cam.com/video/9c74PsslcOk/w-d-xo.html
Countryman B6: th-cam.com/video/Lh1qVoBieVI/w-d-xo.html
Interesting video, i really enjoyed it. I'm currently using the Sennheiser G4 system, but the A10 really got to me in this video. Built in time code generator and 48v phantom power. Those are some accessories i would need to buy for around 1000 euros to go with my G4 system. Adding that up with the cost for my two G4 systems, the price is almost the same!
Question: How does the A10 transmitter battery time affect when using 24/48v phantom power to drive a boom mic? My G4 runs (without turning it off between takes) for around 4,5 hours. But i bet the battery time when providing 48V phantom power would be greatly reduced?
It affects it significantly - Probably around 2 hours on a new set of eneloop pros when feeding 48V phantom. That's a guess, I haven't officially timed it.
@@curtisjudd Thanks Curtis! Will definately look into this.
Hi Curtis! I've been watching your videos on wireless systems thinking about upgrading mine. I'm using two very decent DPA lav mics, but with an old UHF series One from Samson. I never had any problem with it, but I was wondering if changing to the Sennheiser G4 would help me get the best out of my mics? Or would the difference not be worth it? I'm always connecting to a Beachtek or MixPre-3, then sending this signal to my camera (GH5). Can a good mic shine on subpar system? Keep up the good work!
I wouldn't expect a big difference moving to a G4, to be honest.
Hey Curtis, are you going to review the new Sennheiser EW-DP system? Curious to hear what you think comparing to pro level systems (lectrosonic, audio limited). Thanks
Yes, it is on its way
Hi Curtis...unfortunately, I don't have the budget to purchase a Lectrosonics (or comparable) wireless system but I am considering the Sennheiser EW G4 500 series which is their more professional-ish system as I understand it. I'll be going into a Sound Devices recorder and probably never into a camera. Other than the convenience of a small footprint, is there any advantage to a rack mounted receiver versus the the small one that can be clipped to a sound bag or camera? If you are familiar with the Sony UWP system, do you have any thoughts on how it compares with the Sennheiser 500 series? As always, I appreciate your channel and have learned so very much from you.
Hi Todd, I would suggest you consider what specific problems you are looking to solve when making this purchase. I haven't used the G4 500 series or Sony UWP-D system first hand, but I'd be they're fairly similar in terms of audio quality. I believe the G4 system is an analogue companding system while the UWP-D is a digital system. Sometimes the digital systems don't transmit quite as far, but that isn't a hard/fast rule. If there's any possibility, I'd advise you rent or borrow each before purchase which will allow you some hands-on time which will help you assess whether one or the other meets your specific needs.
Just wanted to make a quick comment about what you said at 12:36: While the quality of the Audio Ltd. system is impressive to be sure, I have to bite my tongue regarding what Kish Patel said about the A10 system being the first to be used for boom mics. I had quite a long exchange with the sound mixer on a union set recently about this very topic (i.e: wireless transmitters for boom mics) and he assured me that Lectrosonics HMa plug-on transmitters have been used on big productions for years. Now, I am only speaking from experience on Canadian sets so I'm unsure as to how mixers in L.A or elsewhere operate, but I was told that boom transmitters have been an industry standard for quite some time. As far as the words of Kish Patel are concerned; I think part of what he said at NAB was promotional for the A10 system.
Thanks for the clarification, Nick.
Hey Curtis, is there anything between the top two packs/mics
that are worth consideration?
I don't have first-hand experience with it, but Sony does have their UWP-D wireless system which sits between the two. It is mostly used for news from what I can tell, as the system has receivers for both bag, DSLR, and to slot into their broadcast cameras.
The dominant pro wireless system still seems to be lectrosonics, if you have access to the audio limited and a lectrosonics, I'd love to see a comparison (and maybe sound examples) of those two.
Btw I think you failed to mention that a dual receiver is actually quite a big deal once you have to use two transmitters ... And also puts the price of the A10 in a different perspective to one channel systems.
Hi Brot, thanks for the input. Agreed that Lectrosonics is what I see most among other sound mixers. I own the A10 (just received it last week so only getting started with it). If at some point I have the time and access to one of the Lectro kits, will definitely compare.
Dual receiver is definitely a big benefit. There are so many things I didn't have time to cover in detail. Thanks!
Curtis Judd an additional wish (since you seem to be one a the few people who actually know what they are talking about): wireless frequency selection 101... This seems to be an extremely complicated subject, especially when it comes to choosing frequency blocks that are compatible for use in the USA and Europe.
thanks Brot, great idea. I'll need to bring someone on with a bit more experience. What I do is talk with local mixers and the dealers where I purchase (pro sound houses) as all of my work so far has been based locally or in neighboring states.
Hey Curtis, thank you for your videos! Question, does wireless transmition vary in audio quality outside of possible RF and latency? I.e. Are there significant audio quality benefits to more expensive transmitters? Trying to avoid a quality bottleneck.
Yes, absolutely. And the higher-end lavalier microphones usually come with terminations for the pro level wireless systems - the microphone probably makes the biggest impact on overall sound quality. And the pro level transmitters usually either have analogue limiters or in several of the newer systems that have been introduced since I recorded this video, they have designs where you do not set gain at the transmitter and have lots of headroom so that clipping is virtually impossible, especially for dialogue recording.
Hi Curtis, do you know of any different digital systems that have the some of the same abilities (analog limiters, 48v for boom option) but with a receiver that is not only purposed for bag use? This A10 looks amazing, but I would want to use it for everyday gigs going straight into the camera, as well as the occasional bag job. It would be nice if there was something a bit less expensive too. Thanks!
Hey Chad! You're looking for all digital? Lectro does some sort of hybrid encoding and I'm not sure whether Wisycom is digital (I suspect it is still analogue). But both have analogue limiters and are priced about the same as the Audio Ltd. I'm not positive but I'm not sure anything exactly like this exists. Maybe Zaxcom, but that mostly benefits those using Zaxcom mixers.
How about on update in wireless mic systems? and a further explanation of available frequencies? has the situation changed in four years? what are the frequencies per region? or state?
Looking cool in that t-shirt !
👍
Always great content and knowledge! Is it possible to get the recording inside the body pack transmitter functionality in Canada or it is the same patents here too?
Thanks. I assume they can sell the lavalier recording version in Canada. You’ll want to confirm that with your local Audio Ltd. dealer or contact Audio Ltd support.
Thanks for the fast reply @@curtisjudd !!! I will. Thanks
Thank you Curtis
Your reviews are always well covered and confirmed by you actually working in field with them.
Very appreciated as always!
Cheers, Pete
Thanks Pete!
Hello, Curtis!!! First off, thank you very much for all your content! It has been really helpful and I think it's started to guide me in a right direction. However, I still have a couple of newbie questions I've not been able to find a clear answer to. I'd love tour help if you can.
Wireless systems being discussed, I still do not know if consumer or prosumer level systems would have problems in a 7 wireless lav mics scenario in the controlled environment of a studio. What do you think?
Finally, I fear it sounds dumb, but could different brand mics, let's say, Audio Technica, work with Sennheiser, Shure transmitter/receiver?
Sorry if its too basic, but it'd be very clarifying if I could get some help with these questions!
Love your content and best wishes!! :)
Hi Alejandro, 7 wireless channels is quite a bit. I believe the RODELink can support up to 8 at a time so that'd be pushing its limits. On most of the pro systems, you can choose separate frequencies for each channel so you'll have more control when you're working with that many channels of wireless. RODELink might work fine, but if it doesn't you don't have any options to change its settings. That's where the pro systems are more flexible.
Generally, no, a TX from one brand does not work with an RX from another brand as a pair. Of course, you can use a RODELink TX and RX for one channel and a Sennheiser TX and RX for a different channel at the same time without any problems.
@@curtisjudd Thank you very much for helping me clarify! I see I would be taking a bit of a risk.
I'm sorry to keep bothering, but I'm left wondering, regarding the different brands topic, would it be possible to hook up, let's say, an Audio-Technica AT899 to a Sennheiser G4 wireless kit or SK/EKP XLR (with proper adapters)? And if it's possible, is it too much of a bad practice?
Thanks you so much and best regards!! :)
Hi Alejandro, I'd avoid adapting and instead send the mic in to have it rewired for the system you'll be using. That way you reduce the risk of the adapter pulling out.
@@curtisjudd I hadn't thought about it, but sounds like a way to go!! Nonetheless, I'll try to keep things simple and avoid crossing brands. Here's hoping!
Thanks you so much for your advice!! It's been so clarifying! Hope you have a great week! Thanks again!! :)
Thanks so much for all your work! Quick question: I just got the Sennheiser G4 and it comes with the new ME2-ii lav mic. Do you know how that compares to other mics? I know it appears to be better than the ME2 from the G3 pack. Just wondering about upgrading Lav mics or if the ME2-ii along with some post production sweetening would make it a solid mic?
It is definitely an improvement over the original ME2. I'd work with the ME2 II for a bit and see how you get on. If you find yourself frustrated after that, here's a look at several pro-level lavalier microphones I've used: th-cam.com/video/tXb7Ov-S6dc/w-d-xo.html
Get the MKE-2, or better yet get a Sennheiser G4 EW500 set that already comes with the MKE-2.
Hi Curtis I'm subscribed to you great channel from a bit now - it is very very useful to know what to buy - May I ask if you never tested the Movo WMIC80 because it has 2 transmitter and 1 receiver in one package and that's what I need to make interact 2 actors acting together - so I woul like to know if you know these microphones and I know the cost of them is about 200 euro in Europe - so if you tested them let me know and I will appreciate a lot .
Hi Tony, good to hear from you! I have not tested the Movo wireless system but if I do, you'll see the review posted here on my channel. Best wishes!
Curtis which wireless mic would be good - in case we have monitor speakers pointed at the Preacher on the stage. Will there be howling ? is tha A10 , Sennheiser or Rode take care of this
No, speakers should be pointed away from the preacher.
Hi Curtis! I'm a videographer who sometimes needs to do my own sound recording. My main uses would be interviews, corporate shoots, presentations etc. I'm looking for something reliable and easy to use, and considering the G4. Just wanted to hear if there's any other system you'd recommend, or is the G4 the way to go for me?
Thanks a lot, love your reviews!
Hi Nathan, The Sennheiser AVX is easier to use and really designed for solo operators/videographers, though not quite as flexible as the G4. So it depends on how important ease of use is vs. "I can change to a different frequency if one isn't working out".
I did get the Rode and I am happy with them.Thank you
Good! Thank you.
Thanks, Curtis. You are the best! Great info. Cheers!
Thank you, Michael.
Hi. Not sure if you can help me. I have Sony UWP-D11 Integrated Digital Wireless Bodypack Lavalier Microphone System and I connected it directly to my sony Ax53 camcorder so I didn't have to sync on post. But it sounds bad. What do you think I should get to make it sound better? I only do youtube videos inside my house.
Can be hard to troubleshoot via comments, but I would suspect an issue with settings or mic placement. In what ways does it sound bad? Do you have any sample recordings or videos with in online?
Hi Curtis, in 2020 what are the main pro wireless systems out there that can compete with the A10? And how do they compare to the A10 in terms of both pros and cons? Thanks in advance.
Hi Y. Zhao, there are wireless offerings from Lectrosonics (both digital and hybrid), Wisycom, Zaxcom, Sennheiser, and Shure. I'm not as familiar with the others but hope to make a video on them when I get a bit of experience with them.
@@curtisjudd Thanks Curtis. I've seen a lot of Lectrosonics and people have talked about the advantages of both, however have never seen a direct comparison in sound quality, but I'm sure they are close. Just want to know as much as possible before making an investment.
Hey Curtis! Blew my ears out with my G4 system this morning turning it on plugged into my MixPre3. As soon as I turn the G4 receiver on, I get about 4 seconds of the most deafening static (replicated this evening) maxing the meters on my MixPre3ii at a moderate input/gain level. I do a lot of critical listening in a recording studio, so the precision and longevity of my hearing are top priority. Having head shell shock and a headache all day as a result of the static blowout this morning I'm ready to throw the G4s on eBay tonight. What I need is a FAILSAFE against these kind of unexpected static explosions. I've never had great luck with analog wireless systems in this regard. I've blown my ears out way too many times.
1) Would a digital transmitter such as the A10 be a failsafe against this kind of static/interference (i.e. everything but obvious user error like me pulling out an xlr with my headphones on)?--I've read that dropouts on digital wireless are basically quiet hiss? Is this true?
We are doing our current project at 32bit float/96 with the MixPre3s. Typically we are running and gunning with two shotguns, but now we are doing a bunch of interviews where we need lavs. We don't really have more than 1500k to spend right now, so I don't know if I can afford an A10 receiver at the moment...I don't mind setting a Version 2.0 A10 US transmitter model to record internally 24/48khz for the lav (I'm assuming incorporating 24/48 and 32/96 stuff in Resolve will not be the end of the world...).
2) Would that be the highest fidelity option (*with a failsafe for my ears) for a reasonably sized on-talent recorder/transmitter? Or is there another way around all of this that I am missing where I can still get the most out of 32/96 with a wireless lav and have a setup with a failsafe against deafening static explosions?
Thanks so much!
Hope you are having a great weekend.
-Alec
Hi Alec, I have not had any blow-out experiences with the A10 system. The other day we were getting some static which turned out to be a loose connection on one fo the microdot connectors on the lavalier mic. Dropouts can still have a clicking sound, but I've never found them to be super loud and painful in terms of amplitude or longevity. Note that the recording on the transmitter in the US only works with boom mics, not lavaliers due to patents held by another company.
@@curtisjudd Curtis, thanks so much as always for the super informative response. Is that 5-10 seconds of static explosion that I experienced at the beginning of turning on a G4 system typical, just a part of the game? It's been a number of years since I've used these... Thanks so much for your commitment to helping us all learn about live audio. -Alec
@@AlecEagon I don't have my G3 system any longer - gave it to my brother. From memory, I don't remember any major static discharge issues sounding in my SD633 mixer when the G3 was connected.
@@curtisjudd Thanks, Curtis!
I sure learned a lot in the last 20 minutes
👍🏻