Sennheiser G2 wireless systems are rubbish - true or false?

D

David See

Active member
Hi all,

Up until October 2008 I was shooting on a Sony DSR570 with Sony's V-mount WRR wireless mic system. I had a lapel mic and hand-held mic (Sony WRR series as well) to go with the receiver. It was a flawless system that worked every time over long distances without fail. I had complete confidence in it. In the 5 years I was using it, I never had a problem with dropouts or spurious signals and interference.

After wrecking that camera (accidentally - I would never have gotten rid of it otherwise) insurance would only cover to a certain amount and all that I could get for the money was the Panasonic 502 P2 format camcorder.

Now, because the 502 does not have a slip-in slot for radio mics, for one reason and another, I opted for the Sennheiser EW100 series wireless mic system. I have a butt-plug for the hand held mic and a lapel transmitter pack. I have two receivers.

Now, ok the system is not a diversity system and is most likely not classed the same as the Sony WRR series, but I have to say the Sennheiser system is utter crap. Dropouts and interference daily, no matter what settings I have or if I do a scan for free channels, with or without new batteries. Quite frankly, this and the fact that it is a "cling-on" system makes it a complete pain in the butt.

Sometimes it performs so poorly that the talent can be standing not 6 feet from the camera and they might suddenly turn that it creates a "phhht" sound.

Anyway I contacted the retailer who gave me the "never heard of the problem before". That made me decide to make comment on the net.

Is anyone else having the same problem? I am curious because I have tried two of the systems and had the very same problems with both. Surely someone else out there must have this problem.

These things are advertised as adequate to use professionally, but I really don't think that is the case.

I understand that there is a new diversity model out and I am hoping I can return the two sets I have and exchange them for something that actually works.

Cheers,

David
 
Hey David,

Well, I have owned both. Do you know what band your 100's are on? Here in California, they always said "C" band is the way to go for the least number of interfering frequencies.

I always loved the Sony's, but for me, the range was utter garbage. never worked correctly on multiple systems. The 100's would go long distances before having any drop outs, but it would make that "PHHHHHT" sound when it did.

I would play with some more frequencies. Tune them yourself rather than take a pick of theirs.
 
In my experience, despite the 100 series being the cheapest, it has cut down features, not performance. I have 11 100 systems (it should have been 12, but one looks like a Sennheiser, but is a Chinese knock off product - which actually is fine RF wise, but doesn't sound as good as the genuine ones)

I've also got some Trantecs (another popular brand here in the UK and the OEM some of the budget Sennheisers). The Sennheisers do have an edge - simply on audio quality.

I've always found that RF issues can be difficult, but are almost always down to problems in the location they are used in. The diversity feature in the camera mount systems is compromised by the receiver antennas being so close together, so very often dropouts cannot be recovered by switching, as the weak signal is also a problem for the other antenna too. With spaced antennas, diversity reception is an excellent way to get better performance, but the effect with on camera units is minimal.

At 6 feet distance, the signal strength should be so strong that it should work even if you forgot to attach an antenna!

If you get poor performance at such a close range, then either a transmitter or receiver fault is likely, or there must be huge amounts of RF in the vicinity desensitising the receiver, and that's pretty unlikely. If you have had repeated cases of this, then you need to do some deeper research into what is going on.

If you have tried two - something is very wrong here. If you still have both systems, then a planned course of fault finding is the next step.

One thing - I know this is daft, but sometimes I have mis-read the frequency settings and set a tx channel ending in 025 and the rx as 075 - in the dark, it's quite easy to do, and when they are very close, they often work (badly, but work) - however, just moving a short distance away gives the familiar phttt sound and off they go. worth checking?
 
I occasionally have an issue with my 500 interfering with my sennheiser g2 systems on both blocks a and c. its only occasionally, but it is definitely interference coming from the 500 as the mics work great as long long as they are 3+ feet from the camera. wierd
 
We have 2 sets of the G2 100's and they have performed flawlessly for 2 years. I have mine mounted on top behind the handle with Velcro. We have used them in various situations from studio, to ENG, and as far away as about 70' with no dropouts.

I was very skeptical prior to buying primarily because of the low cost and the lack of true diversity, but after doing some research, I went with them and have been really happy with the performance.

-Brad
 
I've had my set for close to 5 years and love them. I've heard that "PHHHHHT" sound before but never bad enough to warrant getting rid of the kit.
 
Hello Dave,

One thing I have found with the Senn units is they like fresh batteries often. I wouldn't start a days work without a new set all around. Reception suffers quickly if they aren't tiptop and you might need more than one set per day depending.

If you already do this, I'll just go blow smoke.

Seriously, the G2 systems work pretty well, mine are C-block

Grant
 
Oh, Yeah they start to pop and static if they are not fed clean batteries often, other than that
they sound clear and strong through many an asylum wall and brick sanatorium!
We have used them countless times on many camera set-ups.
Our are A series.
Cheers
 
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