Sennheiser Evolution G2 100 Kit Question

PainTed

PainTed

Active member
Was looking at buying this kit but I guess I feel confused about something. It comes with one transmitter and one receiver. Say if I wanted to mic a bride and groom, wouldn't I need two transmitters? Can I have two total and still use the one receiver? It seems ridiculous to have two receivers plus two transmitters. Maybe I'm not understanding how it all works. Thanks for your help.
 
You need two of each. One transmitter/receiver pair on one freq, and the other on another freq. You can't "mix" the two signals into one frequency. You can however send one transmitter to two receivers. Read up on wedding mic'ing. Its quite common to mic only the groom or only the officiant and the rest is picked up on that mic. Something about brides not liking to wear lav mics on that fancy white dress...
 
Hi Ted,

Aside from memorizing the rules, the reason why we must have two complete transceiver pairs is because the units are not "VOX" operated - once the transmitters are turned on, its respective carrier wave is ALWAYS turned on. So a poor receiver gets confused when it receives two signals on the same frequency. That's the concept we call jamming or interference.

Certainly if we only had one transceiver we wouldn't tune the receiver to a frequency being used elsewhere. You might argue that the engineers should design the transmitters so they don't broadcast a carrier wave until it detects a voice that exceeds a certain threshold, like a CB unit works. But that approach inherently has lots of shortcomings which is why things work the way they do...

Regards, Michael
 
Along the lines of the ititial question...

Say I've got two actors in a moving car with an equal amount of dialogue, how could this be mic'd withought havin two sets of lavs/receivers?

I'm cheap and will be only able to afford the G2 500 set (1 receiver 1 trans I think). I have a HVX and no mixer, a mk012a and an AT4703a if that helps.

If I ever get off my ass my first indie feature will be a road movie so I'd like to know if I have any options other than spending a lot of money I don't have.

Ian
 
tmnt said:
Along the lines of the ititial question...

Say I've got two actors in a moving car with an equal amount of dialogue, how could this be mic'd withought havin two sets of lavs/receivers?

I'm cheap and will be only able to afford the G2 500 set (1 receiver 1 trans I think). I have a HVX and no mixer, a mk012a and an AT4703a if that helps.

If I ever get off my ass my first indie feature will be a road movie so I'd like to know if I have any options other than spending a lot of money I don't have.

Ian
Click to expand...

In a car you can mic the space with a lav mic mounted in the visor, rear view mirror or fastened to the dash or with a boundary layer mic fastened to the overhead.

Get creative - you don't need two transmitter/receiver pairs if you don't go wireless and lav doesn't automatically mean wireless. Remember the adage "If you are able, use a cable." Lav mics work just fine hard-wired to a recorder or mixer plus recorder. Hide a wired lav on each talent, run the cable down their shirt and pants and under the seats to a recorder on the floor or in the backseat.
 
Thanks Steve, yeah I'll go wired wherever possible. Will audio still be crisp if placed in the visor or dash?
 
I have been speaking with Sanken and their CUB-01 mic is VERY popular in Hollywood for car scenes and yes, you can get great sound with just one mic in a car, at least if both occupants are in the front seats.

Dan
 
tmnt said:
Thanks Steve, yeah I'll go wired wherever possible. Will audio still be crisp if placed in the visor or dash?
Click to expand...

Actually, we don't have enough info to answer your question since there are so many unknown environomental and mic factors. But yes, generall if you place the lavalier mic withing a foot of the talent, the sound can be crisp.

But if the windows are open, the road is rough, the car is travelling at higher speeds, the car is noisy, the talent has a soft voice, the talent is not facing the mic on the visor/dash, the mic doesn't have a shock mount, the mic has an incorrect polor pattern, the car (seats) absorb sound relatively well, etc... your mileage may vary.

How's that for a litany of caveats?

Good luck, Michael
 
moonlitnite said:
Actually, we don't have enough info to answer your question since there are so many unknown environomental and mic factors. But yes, generall if you place the lavalier mic withing a foot of the talent, the sound can be crisp.

But if the windows are open, the road is rough, the car is travelling at higher speeds, the car is noisy, the talent has a soft voice, the talent is not facing the mic on the visor/dash, the mic doesn't have a shock mount, the mic has an incorrect polor pattern, the car (seats) absorb sound relatively well, etc... your mileage may vary.

How's that for a litany of caveats?

Good luck, Michael
Click to expand...

Good disclaimer and very true.

Dan
 
moonlitnite said:
But if the windows are open, the road is rough, the car is travelling at higher speeds, the car is noisy, the talent has a soft voice, the talent is not facing the mic on the visor/dash, the mic doesn't have a shock mount, the mic has an incorrect polor pattern, the car (seats) absorb sound relatively well, etc... your mileage may vary.

How's that for a litany of caveats?
Click to expand...
Doing up a checklist spreadsheet now. :cheesy:

Thanks guys, gives me some food for thought.
 
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