Azden 325ULT wireless lavalier system ?

Randall_Oelerich

Randall_Oelerich

Veteran
Could I go wrong buying the Azden 325 lavalier system?
http://www.google.com/search?hl=en&q=Azden 325ULT&gbv=2&ie=UTF-8&sa=N&tab=iw

I do not know much about lavalier systems, I only have a Rode NTG-2 shotgun mic for boompole, made one short film with it. I want a lavalier system that is battery powered so I can use it outdoors in the woods, and one where the receiver fits on my camcorder (Canon XHA1s).

My upcoming short film might require me to use a lavalier system to get the mic very close to the actors' mouthes to minimize background noise of a river over rocks, etc. I saw this system advertised in HDVideoPro. I am on a budget (no budget as always) so I really can not justify a whole lot, but this seems like a perhaps moderately okay lavalier system? Maybe not as good as a Sennheiser system, but if I can just get clean lavalier wifi dialog I would be happy.
~randall
 
This question is asked here basically every day, and every day the answers are the same; Sennheiser, Lectrosonics, Zaxcom. Wireless is not the area to go cheap.

If you can't afford to buy, you can always rent. You get access to the best gear, and it's very inexpensive. The big rental houses will ship virtually anywhere if you don't have a good shop locally.

(also, WiFi is a trademark for products based on IEEE 802.11 , it's got nothing to do with audio.)
 
jambredz said:
http://www.dvcreators.net/sennheiser-mics/
probabbly the best u'll get for the price.
Cheers.
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Thank you. I have come across that same system mentioned here in other searches, I think I will also consider it, I would have to add on another transmitter body back, but I know Sennheiser is a trusted high quality brand name. I am excited to get a good quality (not the best, but good) lav wireless system, should give me more choices when producing my short film. Thanks again!
~randall
 
why do u need another transmitter? that package has all u need..unless u want to run 2 mics....however each transmitter needs its own reciever with this mic, as i have read from numerous posts on the site. And u won't get any better wireless lav in that price range according to the guys here. (i keep refering to them cuz i'm no sound person but read ALOT of what these guys here say & keep seeing this touted as the best for the price...on this site as well as many others.) I myself am getting one soon.
 
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jambredz said:
why do u need another transmitter? that package has all u need..unless u want to run 2 mics....however each transmitter needs its own reciever with this mic, as i have read from numerous posts on the site. And u won't get any better wireless lav in that price range according to the guys here. (i keep refering to them cuz i'm no sound person but read ALOT of what these guys here say & keep seeing this touted as the best for the price...on this site as well as many others.) I myself am getting one soon.
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Two actors, two mics, two transmitters (body packs). So this receiver only receives one transmitter? Hmm. I would have to seriously rethink it then, too expensive if I need to buy two receivers. The Azden system comes with two transmitters and the receiver is dual channel to receive both transmitters.
 
The Sennheiser mics that come with these unit are not the best but they will do. You could substitute with Tram &/or Countryman B6, etc... I think there's a link above in the stickies area that goes into lav comparisons at length.

The Azden most often is unfit for use, unless a miracle recently happened.

One solution is to buy one unit and rent the other. This way the project gets completed using good (keeper) tools while you build a kit up over time, ready for the next production.
 
I think I might take a chance on the Axden 325ULT system. Found this review that helps, a little, but I would have liked to have heard the sound tests or seen sample video footage. But if I order this it looks like I could return it if it is unacceptable for about $30 (shipping round trip); I think it is worth $30 to give it a test, keep it in mint condition, return it if needed and count it as a lesson learned in what a $900 ($700 street) dual channel lav system gets me for short film filmmaking. ~randall
 
Randall_Oelerich said:
Two actors, two mics, two transmitters (body packs). So this receiver only receives one transmitter? Hmm. I would have to seriously rethink it then, too expensive if I need to buy two receivers. The Azden system comes with two transmitters and the receiver is dual channel to receive both transmitters.
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But be aware that Azden has a less than sterling reputation among serious workers. You get what you pay for. As suggested, you would be better off renting and save up for a more capable unit such as the Audio Technica dual channel.

Just so you understand the technology, each transmitter needs to operate on its own channel - they can't share the same frequency without interfering. Thus each transmitter needs to be mated to its own receiver, they can't share. "Dual channel" receivers such as the Azden consist of two receivers in one box sharing some of the audio and power supply circuitry between them.
 
Unfortunately there are no film/audio equipment rental houses here in the woods of northern Minnesota. Those of you living near LA are so fortunate to have access to equipment rental, zillions of actors, etc.
 
Call Full Compass over in Madison, they're more than willing to UPS stuff to people. I've gotten quotes from them on several occasions.
 
Likewise Trew Audio will ship their rental gear to your location.

As for the Azden wireless: they could be useful for extremely low-budget wireless sound reinforcement (eg. classroom lectures), but they just too noisey for video and film applications. You'd be wasting perfectly good batteries with them.
 
SMuir said:
Likewise Trew Audio will ship their rental gear to your location.

As for the Azden wireless: they could be useful for extremely low-budget wireless sound reinforcement (eg. classroom lectures), but they just too noisey for video and film applications. You'd be wasting perfectly good batteries with them.
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Thanks for the tips. And as for Azden, wireless, who knows, I might just decide to frame my shots and stick to a boom and shotgun, skip wireless. I can always record ADR on location to DAT,. etc and do ADR with that over wider shots where the boom and mic would normally show; save myself some bucks. Wait and get a better wireless system in the future. If I record dialog for wide shots, on location, I should get the right sound quality for dubbing later, right? I could record the scene one with shotgun mic up close, then the scene again without the mic (wideshot), then dub later, and I should have a similar audio quality to the dubbed sound, right?
~randall
 
I think you're on the right track, Randall. A good boom op' with a long shotgun mic can do wonders even with an extremely wide shot. Even if you can't get the mic close enough, record the take as best you're able rather than shooting the scene MOS and dubbing it. At the very least, you'll have a solid guide track for ADR. If you're really careful, you should be able to shoot the sequence without needing ADR. A double-system recorder like the DAT you mentioned will give you the flexibility to record all rehearsals and wild takes.

If you're going to run through a couple of rehearsals without rolling picture, have the boom op' record a wild take with the boom in an ideal position. If none of the later synch takes have acceptable sound, have the actors perform a number of wild takes while the performance is still fresh in their minds. If the wild takes' rhythm and energy are reasonably close to that of the synch take, a good dialogue editor shouldn't have any trouble matching the wild takes to the synch guide.

Whatever you do, don't assume that you can loop the dialogue in post-production. The cruel fact of the matter is that if you seriously considered buying an Azden wireless package, you do not have the budget to record good ADR (and the foley that goes hand in hand with it).
 
An interesting new development, but I might still forego lavaliers: today I happened to run into two people, strangers, at the local Best Buy. One of them just bought an XHA1 and a Sennheiser lavalier system that he thinks is dual channel (I am dubious) with two transmitters and an on camera receiver, a Bogen Manfrotto tripod, etc.-- and he is looking to dump it all, arthritis, says he just can not do what he wanted to do with it (virtual hiking trails video, etc). So he is going to email me the specs on his lavaliers (new in box he says, he will sell for 80% what he paid), I am willing to at least take a look at what his lav system is. But as I said, now I am thinking just save my money and go for good boompole and wired condensor shotgun mic, plan out my shots good so I can use a boom instead of lavs. But who knows, maybe I could pick up a nice Sennheiser lav system cheap! The other stranger has a big fishing boat, is a musician, wants to help me with sound, has done videos of his fishing, etc.-- I said hey why not make a short horror film using your big fishing boat! Well, in the least he is anxious to help me with sound on my short film, for free.
 
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