Shooting A Series of Television Show Pilots Seeking Audio Gear Info

[funproducer]

Some audio advice please.
We're shooting a pilot for a few networks and in the event they do or don't get picked up we are going to move forward and produce them anyway. We are using the Panny HMC 150s so far and haven't yet decided on audio cofigs.

The shows themselves are in one host narrative format they are non scripted and feature a lot of improv vocalizing and interviews - similar to a lot of the stuff on HGTV (See PIE TOWN PRODUCTIONS) and also (DISNEY's 365 stuff). The thing is our talent varies (ALOT) in vocal age, (KIDS) and range, and we're trying to get the best wireless stuff in audio gear for the money for a pilot (meaning I don't wanna buy this twice (NADY) but don't have Lectro money in the budget either), so far we have decided on the Sennheiser MKH as a boom but that's it.

So far my max onscreen talent count is 3 , and we do need ar least 1Wireless handheld and 2 lavs, ideally a nice bodypack combo would be ideal. I've been looking at the g2s but wonder if I should wait for the g3s to come out by Senn. Budget for all the wireless is at $1400-2000. And obviously operational range dictates I'm looking for UHF. I've heard B and H has some nice used AT gear that may fit the bill but thought I would run this by you guys first.

Any feedback would be awesome.

 

[Alex H.]

First, there are hundreds of threads in this forum discussing very similar issues and gear recommendations. A quick use of the SEARCH function will lead you to a wealth of information. And the stickies at the top of the forum have great write-ups and comparisons about shotguns and wireless systems.

That said, have you looked at the Rode NTG-3 as opposed to the Sennheiser for your shotgun?

Also, the forthcoming G3 systems may be worth the wait since they add diversity, but keep in mind that the stock lavs that come with these bodypack systems are less-than-pristine and most folks who buy G2 systems end up getting better lavs to go with them. This can add $200-350 to the price of one system. Look at the Countryman B3, B6, or EMW. Also look at Sanken COS11, Tram TR50, or DPA.

Now, if you were to get to G2 bodypack systems and one G2 handheld, you'd still have money within your $2k to get two better lav mics.

Also don't forget that, to handle all of these mics, you'll need a mixer. Three channels will do you well. Four channels are better. Sound Devices 302 or 442. And you'll need headphones, like Sony MDR-7506. Plus an ENG snake or two, other assorted XLR cables, and an audio bag to carry it all.

 

[Rippie]

And dont forget someone who actually knows how to run everything.

And here's a bit of helpful advice.
ALWAYS have a parent or witness next to you when wiring kids.
Ive heard the horror stories.

 

[j1clark@ucsd.edu]

Also, the forthcoming G3 systems may be worth the wait since they add diversity,

Are there any systems out there, were one would have multiple receivers, the signals picked up an fed back to a common control? One would want to maintain these as separate feeds until editing and picking the 'best' for a given situation.

 

[Alex H.]

Are there any systems out there, were one would have multiple receivers, the signals picked up an fed back to a common control? One would want to maintain these as separate feeds until editing and picking the 'best' for a given situation.

What?

I was talking about the new feature in the G3 that uses the audio output cable from the receiver as a second antenna for diversity reception.

 

[j1clark@ucsd.edu]

What?

I was talking about the new feature in the G3 that uses the audio output cable from the receiver as a second antenna for diversity reception.

Yes, I know, but for before that is available, is there the ability to receive wtih two different receivers, separated by some distance, such that one or the other is receiving a good signal. In a static setup, perhaps not that much value, but if the person with the mic is moving, perhaps being occluded on some occasion from one receiver, being picked up by the second.

 

[Alex H.]

Yes, I know, but for before that is available, is there the ability to receive wtih two different receivers, separated by some distance, such that one or the other is receiving a good signal. In a static setup, perhaps not that much value, but if the person with the mic is moving, perhaps being occluded on some occasion from one receiver, being picked up by the second.

Technically speaking, yes. With frequency-agile receivers, you can certainly tune two receivers to the same channel as one transmitter... but, with out an adaptive processor that can evaluate and choose the better of the two signals, it would require two record channels.

 

[DadinWestchester]

Are there any systems out there, were one would have multiple receivers, the signals picked up an fed back to a common control? One would want to maintain these as separate feeds until editing and picking the 'best' for a given situation.

What you are talking about is a voting system used by two way radio repeaters. A very expensive idea for what you have in mind. Much more cost effective and completely overkill to use two receive/record systems.
Best bet is diversity receiver.
de wb9yrr

 

[funproducer]

No sweat BRH...I get you're still mad about me not being able to pick up your shift at Mickey D's bro, I thought we went over that. I will order a McBagel though, get on it!
Thanks everyone else for the great feedback.

 

[j1clark@ucsd.edu]

What you are talking about is a voting system used by two way radio repeaters. A very expensive idea for what you have in mind. Much more cost effective and completely overkill to use two receive/record systems.
Best bet is diversity receiver.
de wb9yrr

LMR is my life these days... But ok, not done for wireless mics...

But actually what I had in mind was recording both(multiple) feeds, then later selecting the 'best'... similar to what I've seen mentioned to split the audio, then record one 6 dB lower than than the other, then one can select which is best, if there's considerable differences in the audio over time.

It will be interesting to see how well diversity works in the wireless mic world.

 

[Alex H.]

It will be interesting to see how well diversity works in the wireless mic world.

Diversity in the wireless mic world has been around for a while now and is a proven technology. One chassis contains two individual receivers and a processor that selects the one with the most signal strength, and it constantly (and seamlessly) switches between the two.

Diversity makes for much more reliable reception with fewer dropouts.

And on rack units, and with Lectro field units (and others), the BNC-attached antennae can be remotely place to extend coverage. There are even amplified antennae out there for that exact purpose.

 

[j1clark@ucsd.edu]

Diversity in the wireless mic world has been around for a while now and is a proven technology. One chassis contains two individual receivers and a processor that selects the one with the most signal strength, and it constantly (and seamlessly) switches between the two.

Diversity makes for much more reliable reception with fewer dropouts.

And on rack units, and with Lectro field units (and others), the BNC-attached antennae can be remotely place to extend coverage. There are even amplified antennae out there for that exact purpose.

Well, I am familiar with the process, but it seemed that people were waiting for the Sennheiser option, which I sort of took as 'not to much in the way of offerings'. Or is the G3 a 'low cost' solution, whereas the unit you mentioned is more expensive.

 

[Alex H.]

Well, I am familiar with the process, but it seemed that people were waiting for the Sennheiser option, which I sort of took as 'not to much in the way of offerings'. Or is the G3 a 'low cost' solution, whereas the unit you mentioned is more expensive.

It's really more that the G2 system has taken a major foothold in the market share for budget wireless, despite non-diversity reception. The competitors in the same price range, Sony and AT, both offer diversity units. I bought a couple of Audio-Technica AT-U101 diversity systems back in 1997, about $600 each system. Those have been replaced by the 1800-series, but I sold my U101 systems to get G2 systems. And I tested a Sony UWP system before purchasing the G2s and was not happy, even though it offered diversity when the G2 did not. So the excitement is that the new G3 field systems now take what's already proven as a solid contender and add diversity, which just ups the ante for Sennheiser.

The compatible G2 rack units, priced roughly the same, have had diversity reception in them. It's just been the field units that have not.