Lav Article Debuts

Hi Jonathan:

I am afraid that article is still on my to do list. I actually had some specific requests for stories from my editors at Ken's site and with HD Video Pro about other gear come up before I could write that article and I have had a very busy summer. I will get to it eventually, sorry for the delay.

Dan
 
puredrifting said:
Hi Jonathan:

I am afraid that article is still on my to do list. I actually had some specific requests for stories from my editors at Ken's site and with HD Video Pro about other gear come up before I could write that article and I have had a very busy summer. I will get to it eventually, sorry for the delay.

Dan
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No worries, just thought I'd check in to make sure I didn't miss it. Busy is good!
 
Fantastic resource! For what it's worth: the signal of the Sanken audio file is significantly higher than all the other audio tracks. This gives the illusion that it sounds better than the rest (but it does sound very "open" and very good).

The DPA blew me away because it has the most neutral & detailed sound (not surprisingly; many high-end recording studios use DPA mics). Its the clear winner of your shootout, in my opinion. I'd rather get the 4062 version instead of the 4061 version, though, because the 4061 is a too sensitive for most applications.

I am having troubles finding a DPA 4061 with Sennheiser 3.5mm terminator here in the US. Does anyone know a dealer where I can order it?

Cheers!
 
B&H in NYC and Sweetwater Sound are both DPA dealers, they can get anything from DPA, although they may not have ALL of the models and options listed on their websites. Call them.

Dan
 
I have an Sennheiser MKH416 I use mostly for Narrative movies, but I've been getting some gigs @ conferences or training videos and so forth as of late, so I'm starting to think it's time for a lavalier.

My question is, is it better to get a Solid, yet cheaper Lavalier so as to afford 2x of them. Or should I double the price and get a rock solid lavalier that I can eventually cross cut between my Sennheiser aswell.

I also want the option to go wireless if needed. the Tram TR50 seems to be very solid according to this article/review, so I'm wondering if i I got a G2 system and replaced the mic with a TRAM TR50, that would mean I also have a 2nd, albeit worse microphone.

Any other options for wireless transmitters that go well with the TR50? I'm pretty sure that's the Lav I want. It's quite affordable actually.
 
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You can use the TRAM TR50 with just about any wireless systems, you just order it with the proper connection.

I normally like the choices and spans of all products in out industry. But for wireless systems, as far as I am concerned, anything besides Lectrosonics are just basically different levels of compromise.

Dan
 
I have a question. What sets the various wireless systems apart from one another? You have Lectrosonics, Sennheiser, Audio Technica, Shure, Sony, etc. What makes one better than the next and how can you tell without them side by side in the same situations with interference, signal reception and range? All of the units would need to have the same type of mic for a true comparison.
 
Cedric Akins said:
I have a question. What sets the various wireless systems apart from one another? You have Lectrosonics, Sennheiser, Audio Technica, Shure, Sony, etc. What makes one better than the next and how can you tell without them side by side in the same situations with interference, signal reception and range? All of the units would need to have the same type of mic for a true comparison.
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Generally the more money you pay for a wireless system the better quality it is. Lectrosonics is an industry standard but they cost a pretty penny. Sennheiser's G2/G3 line aren't exactly *broadcast* industry standard but they sound good and won't break the bank. I can't comment on the other brands as I haven't used them on more than one shoot.
 
puredrifting It's been awhile since you bought your 4061- care to update us on your experience with it?
I'm considering the 4061 or the 4071 (among the DPA brand) and would really appreciate your feedback -
 
Being on the DPA side of the water, I was intrigued to find out what you'd make of the DPA. Most of our work in theatre started using Sennheisers, with the MKE-2 as the most popular, but the DPAs have taken over in the lav and headset versions. Very expensive when they get destroyed, which the actors do fairly frequently. One of the big killers is sweat. Some people seem to have neat acid as sweat and it kills mics. We used to lose a fair few MKEs, but the DPAs sometimes get blocked, but a tap and a blow out always seem to cure them. It is outside of the remit of this excellent test, but we use these in the hairline, centre, or on the temple, or sometimes taped to the face in front of sideburns - and the quality of the DPA audio is almost a constant. Breakages and damage are always charged to the production company, and despite the high ticket value on the DPAs, they do save money!

The old B&K company product quality carried on, and they have some truly excellent mics in their range. If you visit their website, there is also what they call the microphone university with very detailed explanations of all the common stereo techniques. Well worth a read.

Thanks for the review - I'll be reading it again, I'm sure.
 
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