Which electronic radio mikes for 300

R

ryaninoz

Well-known member
I need to buy a radio mike kit, I'm looking at some lectro systems on eBay one is a cr185 system. Will that work with the 300?
 
it'll work, but not in the slot. you'll need to put the Rx on a plate. the only lectro unit that will be a drop-in is an SR receiver.
i would advise against the 185 systems - they're very old at this point and are not frequency agile.
i WOULD recommend lectro for sure, but go with something newer that has the ability to select a frequency. Look for UCR201s or 211 receivers and the corresponding TXs. those are still strong units. use 201s on the camera and 211s in a bag as the 201 don't like to be right next to transmitters (same with the 401/411s)

their lower-priced units (the 100-series) are a pretty good value, but you have to deal with mini-plug output of the receivers. not difficult, just something to configure correctly.

that said, the SRs are great and in my opinion, worth the money.
 
I have the slot-in Lectrosonics. Expensive - but best wireless setup I've ever used. I have yet to hear any static or interference of any kind and the range is truly impressive. It's also nice to know the receiver is always with you and has power (from the camera).
 
I use the Sennheiser 2000's and made an adapter to interface to the slot in connector which cost me about 10 bucks and change.. I think these units are really good, on par with others I have used or better, and they get really great battery life out of rechargeable double AA's, often running 8 - 10 hours per battery set. THe lectros Require disposable batteries which at least philosophically I'm opposed to as they create needless trash.

Of course you must consider what microphones you plug into the system you buy because a great transmitter receiver set wont make a crappy mic sound good. Think About Sanken Cos-11's or Country man b6's ...
 
Don't buy used radio mics. I currently have two on consignment with a well known audio house, my frequencies became outdated due to the government's digital switch over. Does the buyer know how many times I dropped them or was caught in the rain?

There are certain items in our biz where you can save money buying used, like tripods and lights, but something so complex and fragile as radio mics, we are really forced to buy things like that new for peace of mind. I don't want to list the disasters I have experienced due to radio mic problems. Plus we usually don't know about audio issues until we get into post and have the luxury of listening in a quiet room with large speakers. So if you respect the advice of your elders: Never buy used wirelesses!

I researched your same question very extensively for my new purchase a couple of months ago and came to the conclusion that there is really only one brand us pros can use, even though it's more expensive: Lectro. Whatever you save by going with the others you will lose when you get a client upset and lose that client due to audio problems. Or having to do extensive audio sweetening. Or repairs from dropping them, etc. Lectros are built much tougher than the others and you need their frequency agility. If your needs are simple then maybe a cheaper NEW set from a known manufacturer will suffice, but if you are shooting in a wide variety of situations with different ranges, then you are presently forced into Lectros.

Regarding Slot In: I did come within a hair's breadth of going slot in but after consulting about five or six soundmen I use I decided against it, although the model I bought will slide in. If you do only one-man-bands then definitely go slot in. However, if you are like me and need to go constantly between one-man-band and using a pro soundman who has a mixer in a bag, slot in is a terrible choice. The reason that was explained to me by my soundguys is that to switch from slot in to the mixer bag and vice vera takes about 10 minutes and includes dealing with screws that I know we will often lose. And the idea of not covering the slot to save time is an accident waiting to happen.

I can't afford to take the time to reconfigure, especially during documentary style shooting which I do a lot of. I have the plate and BEC box on the back. So I may be off doing one-man-band and then come back to my soundguy who quickly detaches it and puts it in the mixer bag. That takes just 20 seconds.

By the way, my system of 2 mics with one dual slot in style receiver was $3700. As a cameraman I hated to spend that kind of money but I had no choice. Lectro is the only way to go, or find some soundguys who will give you a good deal on their package. My two cents.
 
Thanks guys, Good advice I will steer clear of used radio mikes. I think the only way is to bite the bullet and spend the cash.
 
I'd say used radios are no more cursed than any other used item. You have to know what you are buying and whether it will suit your needs. I have bought and (sold) plenty of used gear and frequently it is a great value to find the right used Item at the right price.
 
nedcam said:
Regarding Slot In: I did come within a hair's breadth of going slot in but after consulting about five or six soundmen I use I decided against it, although the model I bought will slide in. If you do only one-man-bands then definitely go slot in. However, if you are like me and need to go constantly between one-man-band and using a pro soundman who has a mixer in a bag, slot in is a terrible choice. The reason that was explained to me by my soundguys is that to switch from slot in to the mixer bag and vice vera takes about 10 minutes and includes dealing with screws that I know we will often lose. And the idea of not covering the slot to save time is an accident waiting to happen.

I can't afford to take the time to reconfigure, especially during documentary style shooting which I do a lot of. I have the plate and BEC box on the back. So I may be off doing one-man-band and then come back to my soundguy who quickly detaches it and puts it in the mixer bag. That takes just 20 seconds.
Click to expand...

Ned,
when i'm working with a soundie, i simply take my two transmitters and give them to him to use for the hops from him to the camera. no reconfiguring needed. if your pro soundmen don't have other wireless sets in THEIR kit to put on talent, i'd question how pro they really are.
 
No, I go hardwired from the mixer to me unless we're in a crowd situation where I am worried about clothes-lining a member of the public. I do not want to be responsible for monitoring off the camera, figure that's his job. I have had several disasters when the audio sounds great on the mixer but is unusable on the camera, mainly from the Line/Mic switch being in the wrong position, so I figure the soundguy MUST monitor off the camera. About 20% of the time I am working with near total (audio) strangers.

Also, design wise, why didn't Panasonic make that a hinged cover for the radio mic slot? If I take the receiver out and give it to the soundman how do I (quickly) seal that port? I know would lose the screws in the first week.
 
nedcam said:
No, I go hardwired from the mixer to me unless we're in a crowd situation where I am worried about clothes-lining a member of the public. I do not want to be responsible for monitoring off the camera, figure that's his job. I have had several disasters when the audio sounds great on the mixer but is unusable on the camera, mainly from the Line/Mic switch being in the wrong position, so I figure the soundguy MUST monitor off the camera. About 20% of the time I am working with near total (audio) strangers.

Also, design wise, why didn't Panasonic make that a hinged cover for the radio mic slot? If I take the receiver out and give it to the soundman how do I (quickly) seal that port? I know would lose the screws in the first week.
Click to expand...

For ENG cameras, the wireless usually goes in and stays in. In my case, I never
take the Lectros out .. so I don't have a problem with the non-hinged design.
jeff
 
nedcam said:
I do not want to be responsible for monitoring off the camera, figure that's his job. I have had several disasters when the audio sounds great on the mixer but is unusable on the camera, mainly from the Line/Mic switch being in the wrong position, so I figure the soundguy MUST monitor off the camera. About 20% of the time I am working with near total (audio) strangers.
Click to expand...

so...you've had audio "disasters" but still don't monitor audio at the camera? sounds to me like you're askin' for it.

in my opinion, the product that comes out of the camera is the camera operators responsibility - picture and sound. i monitor audio on every shoot. period. outside of the obvious reason of making sure i'm getting good levels, etc...i'm also listening for content.

if i have people wired up, i can "eavesdrop" on them a bit to see what's going on. frequently, i can get a hint on what's coming next or they'll say something that I want to follow up on - something i probably wouldn't be able to hear with my naked ear.

recently, i had a couple sitting on a bench discussing the recent death of their son. i was backed off about 15-20 feet and would have NEVER heard what they were saying had i not been monitoring the camera - and would have probably missed some very key conversation between them. very touching stuff that will MAKE the piece.

as a camera operator, i think you're remiss in your duties if you don't monitor audio...but i've hijacked this thread enough already, so i'll stop now.
 
IF you are going to be an excellent Doc photographer - you absolutely MUST listen to the audio while you are shooting other wise you are just fooling yourself as to what it is you are doing. You could be getting great shots that make no sense or connect in any way to what the subjects are talking about.

At that point you are toast .

While the sound mixer is responsible for feeding camera good audio and making sure its recorded properly, I think in many situations its incumbent for the camera op to know what the content of the audio is and how that might affect what the shot is or might become.
 
nedcam said:
I have had several disasters when the audio sounds great on the mixer but is unusable on the camera, mainly from the Line/Mic switch being in the wrong position, .
Click to expand...
not to keep picking on this, but i see a good point to be made here. this is one of the reasons why you really should "tone-up" with your soundie and roll 10-30 seconds of bars and tone at the top of every shoot and when you change locations/setups/tapes/cards.

the other reason is to be able to set corresponding levels (both video and audio) in the edit room, but it also helps to bring mic/line/level issues to your attention. just be sure that your tone is coming down the line and not being generated internally by the camera.
 
I am already waiting 2 months for the delivery of the slot lectrosonics receiver and the senders. They can be delivered any moment. Yes they are extremely expensive (complete set : one slot receiver, the remote, plug-on sender for handheld mic and sender inclusive lavelier DPA almost 6500 euro) so I hope they are worth waiting for !!!

mountainmedia said:
I have the slot-in Lectrosonics. Expensive - but best wireless setup I've ever used. I have yet to hear any static or interference of any kind and the range is truly impressive. It's also nice to know the receiver is always with you and has power (from the camera).
Click to expand...
 
Hi Cees:

I am having to send in my Trams to get new connectors because my new Lectro transmitters don't connect "tight" with them, so be careful if you have Trams on your first few days of shooting. We are getting intermittent on/off due to connections.


As to monitoring off camera on days with a soundman: If I'm doing a one man band or working with a new audio guy I will monitor audio. But, I don't trust ear buds and I can't wear pro headphones into the monitor jack because I am often communicating with the talent/subject/client etc., I can't be attached.

So, if I'm paying good money for a professional audio man he can do what he's paid for. I think we have our hands full with lighting, framing, focus, exposure, client comm and usually I have to direct it all, so I don't think I'm going to pick up on subtle clothing rustle, Blackberry hits or wind noise, etc. If my soundman won't monitor off the camera then I could save money by hiring a chimp, train him with a treat if he keeps the needle from going into the red. I think going wireless from me to the mixer is adding several variables that will mess up, so unless I'm working in a crowd, why bother? To make the soundman's life easier by not having to keep up with my movements? That's why I want my slot in receiver in the mixer bag, for the days I have a pro soundman with me.
 
I've always got a Black Box Shadow earpiece in one ear to listen to content. Once I see tone hit the camera, I rely entirely on the audio operator to feed me the proper levels. I feel that monitoring for content is crucial - if not mandatory - for unscripted and documentary work.
 
Hi Ned

I am using a DPA. Received the Lectrosonics stuff. After one weak and only trying a it few times the RM remote is already defective and will be send back. The 2-channel slotreceiver, the HM (Plugon) and the SMA beltback seem to work ok. Can not comment yet on the final audio quality yet. Next week I will make a short docu with this new audio equipment.

Edit : the audio quality is really good with the DPA and lectrosonic radio transmitter/receivers


nedcam said:
Hi Cees:

I am having to send in my Trams to get new connectors because my new Lectro transmitters don't connect "tight" with them, so be careful if you have Trams on your first few days of shooting. We are getting intermittent on/off due to connections.


As to monitoring off camera on days with a soundman: If I'm doing a one man band or working with a new audio guy I will monitor audio. But, I don't trust ear buds and I can't wear pro headphones into the monitor jack because I am often communicating with the talent/subject/client etc., I can't be attached.

So, if I'm paying good money for a professional audio man he can do what he's paid for. I think we have our hands full with lighting, framing, focus, exposure, client comm and usually I have to direct it all, so I don't think I'm going to pick up on subtle clothing rustle, Blackberry hits or wind noise, etc. If my soundman won't monitor off the camera then I could save money by hiring a chimp, train him with a treat if he keeps the needle from going into the red. I think going wireless from me to the mixer is adding several variables that will mess up, so unless I'm working in a crowd, why bother? To make the soundman's life easier by not having to keep up with my movements? That's why I want my slot in receiver in the mixer bag, for the days I have a pro soundman with me.
Click to expand...
 
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