Sennheiser G3, ME2 Noise..

M

MarxWays

Member
Got the Sennheiser ew 100 G3, with omnidirectional ME2.

And now when I have done a test with it, I think it got a lot of noise..

test1: http://www.zshare.net/audio/84967406b0c3f09f/

test2: http://www.zshare.net/audio/8496762116b4a3b1/


I have no idea why "test2" got more noise actually.. but I think both are noisy.
Both are set to -18 in "Sensitivity" (transmitter) and -6 in "AF Out" (receiver).

What setting should I have to get as little noise as possible?


Is the ME2 use to sound like this? Does it matter what I record on (recorded on a Canon Xl2)? How can I fix it?
Would buying a better mic solve the problem, will I get rid of the noise? Sanken Cos11?
 
I listened to both clips. I think you're talking about the background hiss. It's not the mic. Although the ME2 has limitations, this hiss is not due to the mic.

The hiss is coming from the preamps between the receiver and the recording unit. If you aren't using a field mixer, then it's almost certainly due to the preamps in the Canon XL2.

Best way to deal with this, assuming you don't want to buy a field mixer, is to turn up the output gain of the Sennheiser receiver, and turn down the input gain on the XL2. This puts more of the amplification load on the Sennheiser unit (which will sound fine), and less on the XL2, thus minimizing the noise from of the XL2.

It's easy enough to try it and see.
 
Thanks, I'll try that! :)

I'm actually considering buying a mixer, probably Sound Devices 302, what difference will it make?
Also I'm upgrading to a Sony Ex1r..
 
With radio mic systems you have to set the levels twice. First at the transmitter for the highest safe level, then at the camera for the highest safe input level. What complicates matters is that the first setting can be done only in 10 dB steps, so at worst that adds 10 dB of hiss. Next problem is to get the strongest acceptable signal to camera, line level is better, as then you can bypass the mic preamps there and the hiss will be less.

SD302 is an extra unit, but in my experience makes things easier, as you can calibrate it with the camera so that you can forget all the camera audio settings after that. That way it works as an audio front end for the camera, but is easier to adjust, monitor and it has great limiters. Get a breakaway cable for it with headphone return, you can monitor either the incoming signal or the camera with a turn of a knob.
 
The G3 offers 3db increments for input sensitivity adjustment on the transmitter.

Petrus said:
With radio mic systems you have to set the levels twice. First at the transmitter for the highest safe level, then at the camera for the highest safe input level. What complicates matters is that the first setting can be done only in 10 dB steps, so at worst that adds 10 dB of hiss. Next problem is to get the strongest acceptable signal to camera, line level is better, as then you can bypass the mic preamps there and the hiss will be less.

SD302 is an extra unit, but in my experience makes things easier, as you can calibrate it with the camera so that you can forget all the camera audio settings after that. That way it works as an audio front end for the camera, but is easier to adjust, monitor and it has great limiters. Get a breakaway cable for it with headphone return, you can monitor either the incoming signal or the camera with a turn of a knob.
Click to expand...
 
Petrus said:
With radio mic systems you have to set the levels twice. First at the transmitter for the highest safe level, then at the camera for the highest safe input level. What complicates matters is that the first setting can be done only in 10 dB steps, so at worst that adds 10 dB of hiss. Next problem is to get the strongest acceptable signal to camera, line level is better, as then you can bypass the mic preamps there and the hiss will be less.

SD302 is an extra unit, but in my experience makes things easier, as you can calibrate it with the camera so that you can forget all the camera audio settings after that. That way it works as an audio front end for the camera, but is easier to adjust, monitor and it has great limiters. Get a breakaway cable for it with headphone return, you can monitor either the incoming signal or the camera with a turn of a knob.
Click to expand...


Line level?

What is preamps good for? What is good preamps and bad preamps?

Calibrate it (the mixer) with the camera?


could you explain these three things, I don't get it..
 
MarxWays said:
Line level?

What is preamps good for? What is good preamps and bad preamps?

Calibrate it (the mixer) with the camera?


could you explain these three things, I don't get it..
Click to expand...

Audio signals come in two basic varieties, mic level (very weak) and line level (about 1000 times higher voltage). Mic level comes from microphones, line level is used to carry the signal between different units. Line level is much more resistant to interference.

Microphone preamplifier is needed to amplify the mic signal to line level before it is sent to camera or ADC (analog to digital converter).

Professional mixers put out line level signals as standard. Camera line input levels need to be adjusted so that when the mixer level meters show 0 dB VU using the analog scale the camera meters show -20 dBFS using the digital scale. After this alignment is made all audio level adjustments are done with the mixer, not camera. Mixers have a 0 dB VU 1 kHz test signal for this calibration.

This was just for pointers for further home study.
 
I'm having the same issue with Senn G3/ME 2 into a zoom H4N. Haven't been able to find a combination of settings yet that produce a clean signal without the background hiss (although mine is a little bit less than the ones in your example.)
 
These things are called radio mics, but the reciever can put out a line level signal. It is a common mistake to use low level output from the reciever and use mic-in on the recorder/camera, which means that the signal goes through mic-pres twice. First turn the output signal to maximum, try line in. If that does not work, then try something else.
 
Petrus said:
These things are called radio mics, but the reciever can put out a line level signal. It is a common mistake to use low level output from the reciever and use mic-in on the recorder/camera, which means that the signal goes through mic-pres twice. First turn the output signal to maximum, try line in. If that does not work, then try something else.
Click to expand...

Very wise - this is the best way to use a radio system.

You add noise by attenuating the receiver down to mic. level and putting it into a mic. input and boosting the signal all over again. Much better to go line-in.
 
Petrus said:
These things are called radio mics, but the reciever can put out a line level signal. It is a common mistake to use low level output from the reciever and use mic-in on the recorder/camera, which means that the signal goes through mic-pres twice. First turn the output signal to maximum, try line in. If that does not work, then try something else.
Click to expand...

How do I put out a line level signal? Do I have to have to change any settings?
How do I change the settings in the camera/recorder to line in?

Or am I mistaken?..
 
How about getting out the Manual. For both the reciever and the camera. There might be something about different reciever output levels and mic/line inputs for the cam.
 
@ SBell


Did you manage to solve your problem with the Zoom H4N and the ME2 clip on the Seen G3 ?
I have a Zoom h4n and plan to buy the same Senn G3 ME2 kit as your but your comment made me worry about the possibility to get a clean signal with this set.
Did you manage to get clean sound now ?

Thx
 
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