Wireless lav sets recommendation for weddings

M

musiclover408

New member
I am looking to buy a Wireless Mic System. I have been looking at the :Sennheiser ew 100-ENG G2 21418 Condenser Wireless Mic Set


I like the idea of the wireless transmitter hook up directly into the DVX100B. So that is the kind of set up I would like. I will be filming mostly weddings, so I would like at least 2 lavs and maybe 1 handheld wireless mic. I'm thinking mic-ing the groom and the preacher. Unless there is a great mic out there and I only need to mic one person.

Please PM if you have something I might be interested in. OR, if you know of a place to order a new one online at a good price.

Thanks!
 
The Sennheiser is a great system, and is really the best performer in the sub-$1000/channel wireless system range. You won't find a G2 new, though. The G3 replaced it months ago. And because of the improvements made, I'd go for the G3 rather than trying to find a deal on a used/NOS G2.

The stock lavs that come with the G2/G3 systems are okay at best. Eventually, you may want to consider upgrading to something like a Countryman B3 or B6, or Sanken COS-11, or DPA. If you decide to get a replacement lav, just make sure you're getting an omni and not a cardioid (cardioids are not as common, but they're out there). The B3, B6, COS-11, DPA, and stock lavs are all omni.

As for use in a wedding situation, well... putting a mic on the groom and a mic on the priest/preacher/pastor is great, but that takes up both of the camera's channels and leaves you with no ambient sound for the mix. You may also look at a portable audio recorder and a couple of mics for the room.

You want to make sure there is ample coverage for everything that is happening. Is there a reading? String quartet? Singer? Once camera with two channels cannot cover it all, at least without a mixer. But even then you're mixing sources that are better utilized with individual control in post.
 
i shoot a looot of weddings. i freaking hate it, but its fairly easy and good money. majority of my bookings come from bride's complimenting my audio. i usually roll with 3 cameras. i send grooms mic to 2 of the cameras(1 tx and 2 rx'ers on same freq). a recorder hooked to the house board, which is usually a huge headache as their "sound mixer" usually have no idea about how to get a record out and i have to do all their work. and then another wireless on the officiant going to camera 3. and a spare wireless, either lav or butt plug on a shotgun if there is a reader or string group playing.

so my setup is this, using sennheiser g2's.
camera 1(canon 7D dslr): groom lav (for reference only, helps with plural eyes syncing)
camera 2: chan 1 groom lav, chan 2 potential 2nd wireless or shotgun on board
camera 3: chan 1 shotgun on board, chan 2 officiant lav
recorder: house mixer

and i'll place groom lav around the top button on his jacket so that the brides and grooms mouth are similar distances from the mic, which are countryman b6 grey band. usually the officiant's audio and grooms audio will be very close in quality, depending how close they are standing obviously, but it always helps.

and then i hand off to my editor the next day and get an "awesome audio man!" email a few days later.
 
Yeah it's best to have an external recorder like the Edirol R-44 to cover your bases. I just did a wedding, and after I was done filming they asked me to make sure I get the crowd in the audio, laughing at the jokes and applause etc. If I had just gone with the lavs, I would have disappointed them.

I had 2 cameras, so I could have used the other channels on that cam, but I wanted both cams to have a mic on them for ambiance. Here was my audio setup:

Camera one: Ch1 Lav on the groom, Ch2 Shotgun on the camera
Camera two: Shotgun on the camera going into both channels.

R-4 Pro (4 track recorder):

Ch1 - Lav on the Deacon
Ch2 - Line in from the PA (Awesome to have but don't rely on it alone)
Ch3 - Mic on the Harp, which was playing the walk-in music and "Here comes the Bride"
Ch4 - Unused

The sound man running the PA had a dynamic mic on a mic stand for the Deacon and Bride/Groom to use for their parts. So I ended up using the PA feed for most of the ceremony, but the lav on the groom came in handy for quiet whispers between the couple, and I left it on for later during the cake cut and other stuff. I could usually hear everything the couple said to each other. The mic on the harp was essential because how else would I have got the wedding music? I ended up not using the Deacon mic, but I had it as back-up. Remember you get only one shot at this day, so redundancy will save your ass.

I also suggest you use at least 2 cameras, even if one is just a wide shot and unattended. With one cam, if you make any mistakes, that is a mistake on the DVD that makes you look bad. I made lots of little mistakes or jerky moves etc, but my 2nd cameraman, who also made mistakes, didn't happen to make any at the same time I did, so the final video looks fine.

One other thing that worked out is that I have the plug on transmitter too. (Senn G3) Later when they were eating they did the toasts. I had planned on handing them my RE50 hand held with the plug-on to hold, but alas, they were using a wired mic going to the DJ's PA. So I could have put a mic by the PA speaker, but instead I talked to the DJ and got a line feed out of his PA. It was too hot as it was "Line Level", so again I was prepared with my trusty "In-Line Attenuator" that cuts the level by -10, -20 & -30db. I plugged an XLR cable into the back of the powered monitor, placed the in-line attenuator at the end, plugged in the plug-on transmitter and vuala... Perfect recording of the toasts, and I was untethered by cables. And I had my shotgun on the camera to pick up laughter etc...

So the external recorder made it possible for me to get the extra tracks needed for full coverage. I suppose I could have done it with a 2 channel recorder, but the 4 tracks are there to cover unforeseen situations. And the in-line attenuator saved the toast audio, which would have been distorted had I not used it>

I have 2 of these.
http://www.bhphotovideo.com/c/product/68085-REG/Audio_Technica_AT8202_AT8202_In_Line_Attenuator.html

And these are good too for coming off the back of a PA mixer:
http://www.bhphotovideo.com/bnh/controller/home?O=workaround.jsp&A=details&Q=&sku=274503&is=REG

The picture makes it look like there's a lot of cable, but it's just 2'. I have 2 of those too.

Be prepared!
 
Thanks so much for the ideas guys! I will definitely be using 2-3 cameras on my shoots. I plan on using 2 DVX 100B's as well as a 3 CCD Panasonic handycam mounted on a tripod somewhere unmanned.

So, I can use one of the Sennheiser wireless lavs into 1 XLR input on the camera, and then still be recording audio off the onboard camera boom mic?

I also bought a Zoom H2 (I know not the best, but it is something) to capture audio where need be. Just depends if there is house sound being used or what would be my best option to place that recorder.

Again, thank you both for your ideas and tips... and if anyone else wants to chime in, it is much appreciated! Weddings can be a little nerve wracking since there is definitely no "take 2" options!
 
musiclover408 said:
So, I can use one of the Sennheiser wireless lavs into 1 XLR input on the camera, and then still be recording audio off the onboard camera boom mic?
Click to expand...

Let's clear up a little terminology here: there is no such thing as an "onboard camera boom mic." Honestly, "boom" is not even a specific type of microphone. That is a term used to describe a mic (shotgun, hypercardioid, etc.) that is mounted on a boom pole. And "boom pole" is even a misnomer that's become vernacular. It's actually a fish pole. A boom, in the traditional sense, is a very long mechanism that is mounted on a large, pivoting stand. The boom operator, using a crank, can lengthen and shorten the boom. Using another manual control, the angle of the mic can be altered on the end of the boom. Booms were (are) used on large sets (talk shows, sketch comedy like SNL, sitcoms, some films) where the mic needs to cover a larger area from a greater distance.

But back to the mic... what's on your camera, if you are not using the mics mounted in the handle (I do hope you aren't using those), is probably a shotgun mic. Camera-mounted mics are still going to pick up lots of operator noise. Your best bet is to use a mic on a floor stand, not mounted to the camera.

But yes, if you have two cameras then you have 4 record channels. If you have two wireless mic systems, then feed one to each camera, and use the other channel on each camera for room or other source. Perhaps grab a board feed. You could plant your H2 to pick up the room ambience.
 
True, "onboard mic" pretty much tells us all we need to know. I really like the onboard on the HVX. For closeup shots it does the job to my satisfaction. I can't tell you about the one on the DVX. I imagine it will offer "decent" ambient sound for the wedding ceremony music, audience tone, whatnot. But as my fellow Knoxvillian mentioned you won't get great audio while the camera is actively being operated.

At the moment my master camera is recording from a wireless lav system and a Sennheiser ME67 lobar stationed away from the camera operator on a mic stand.
 
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OK, like CV2 and Knoxworth said, you can put a wiireless on each camera, and use the on-cam shotgun of the HVX to pick up ambient sound.

If you are recording from a PA to the Zoom H2 you still need to remember that a PA usually puts out "Line Level" signal, and the H2 input is at "Mic Level". So the Line level signal will be too loud for the mic level input, and you'll get distorted audio. BUT I have a solution.

http://www.core-sound.com/attenuator-cables.html

That little cable will step down the volume of anything going into your zoom and prevent clipping. You can order it at -11db, or -20db. Get the -20db.

So if the PA has RCA outputs you get another cable: http://www.zzounds.com/item--HOSCMR2

Then you take the 1/8" male and go into the 1/8" female end of the attenuator cable, then plug the male end into your zoom. With that set-up you should be fine. 2 cables from the PA to your Zoom. It would be wise to talk to the sound person running the PA before the day of the wedding to make sure. They may only have an XLR out on the PA, do you need to use the XLR cables I suggested before and the in-line attenuator I linked before to, with one last cable to go from XLR to 1/8' stereo:

http://www.amazon.com/Hosa-Right-Angle-Stereo-XVM-101M/dp/B003X0F1OE

You should have all these on hand and you'll be covered I think. Unless there is live music being played for the ceremony that is not going through the PA. Then you can sacrifice one of the camera mics and run a mic to the instruments.


Another thought is to get a CD from the couple that has all the songs they want, and all the songs used for things like first dances, garter toss, etc. Then you can edit the CD music in when you edit. Often DJs play the music very loud, and chances are you'll be getting distorted audio on the dance floor. Plan on turning your trim/volume down when you record dancing stuff.
 
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