Hissing with Sennheiser EW112P G3 wireless kit

I had a feeling that might be the case... when I first got it I always had the transmitter too loud and was getting distortion from overdrive. So think I went to the other extreme too much.
 
They come from the factory set for line level (+12db). In most instances, you'll probably want it about -18db to -12db on the transmitter and receiver. At least, that has been my experience.
 
-12 or -18dB (AF out) on the EK100 portable receiver should work good feeding mic level XLR inputs.
The SK100 bodypack transmitter's sensitivity setting will vary, depending on microphone, sound source SPL. The on-board meter will aid in proper adjustment. (As high as possible whilst leaving enough headroom for peaks)
 
There are 2 levels to manage.
1. Mic gain on transmitter, this is adjusted based on mic choice, placement, and the volume of the talent's voice. Here's how I set mic gain
a. Place mic on talent and check for clothing russle.
b. Ask the talent to speak as loud as they will deliver the dialog. If this is an interview situation, I will engage in conversation with talent.
c. As they speak, adjust gain for 2/3 deflection on meter on transmitter.
This adjustment needs to be done each time the mic is moved, or dialog changes drastically in volume meaning I set it differently for a screaming scene vs. a whispering scene. If there's both levels during the take, I will adjust for the scream.

2. Receiver Level
This is adjusted based on the device it's feeding. My G3s feed into my PSC Alphamix. Mixer input is mic level and the G3 af out is set at 0db. The direct outs of the mixer bump it up to line level which goes to my DR680. The is typically a set and forget unless your connecting to different devices.


ebsseattle said:
I had a feeling that might be the case... when I first got it I always had the transmitter too loud and was getting distortion from overdrive. So think I went to the other extreme too much.
Click to expand...
 
Thanks for the detailed response. I typically record into an FS700 - would you say I should be going in as line rather than mic? To be honest, I haven't really looked into the difference between these, just based it on assumption (probably not the best method). I assume "mic" uses an amp on the incoming signal whereas line uses the signal exactly as it is being sent in. Is that right?

If you were recording into the FS700, what method would you use? How about into a Zoom H6?

Lastly, given the garbage audio I have recorded, what method would you use to clean up that hissing in it? Or is there no real after-the-fact fix?

Thanks again!



gpforet said:
There are 2 levels to manage.
1. Mic gain on transmitter, this is adjusted based on mic choice, placement, and the volume of the talent's voice. Here's how I set mic gain
a. Place mic on talent and check for clothing russle.
b. Ask the talent to speak as loud as they will deliver the dialog. If this is an interview situation, I will engage in conversation with talent.
c. As they speak, adjust gain for 2/3 deflection on meter on transmitter.
This adjustment needs to be done each time the mic is moved, or dialog changes drastically in volume meaning I set it differently for a screaming scene vs. a whispering scene. If there's both levels during the take, I will adjust for the scream.

2. Receiver Level
This is adjusted based on the device it's feeding. My G3s feed into my PSC Alphamix. Mixer input is mic level and the G3 af out is set at 0db. The direct outs of the mixer bump it up to line level which goes to my DR680. The is typically a set and forget unless your connecting to different devices.
Click to expand...
 
"I assume "mic" uses an amp on the incoming signal whereas line uses the signal exactly as it is being sent in. Is that right?"
A lot of gear just applies attenuation to a signal when set to line level. The only way to know for sure, is to look the device's electronic schematic or block diagram. Even in that case, most prefer line level, it's a much hotter signal (almost 1 volt) which helps reduce pick up or RF spray and other extraneous noises.
In the case of the G2/3 EK100 portable receiver, an AF setting of +12dB (max), outputs around -3dB (nominal) if transmitter settings are optimal... which is a little anemic for some +4dB line level inputs. If the preamps on you're camera are decent, mic level is OK, the more important initial mic preamplification stage is done by in the wireless transmitter.
Removing hiss after the fact is best done with a noise reduction software. The best results are with constant 'din' type noise. In lieu of NR, the high frequencies can be rolled off starting at around 8kHz (on dialog).
 
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