5

The biggest thing is going to be careful EQing and using microphones as close to the actor's mouthes and as directional as possible. Feedback occurs when the amount of amplification applied to the microphone signal becomes enough that the background noise that the microphone picks up from the speaker is louder than the signal it is amplifying, thus forming ...


4

Hi Would be great if it were possible, but as far as I know the output from the receiver is mono and there is no way of getting a stereo signal from it. You would need to look into the Sennheiser IEM systems as these are stereo.


4

First, you will need to provide a power amplifier for each different speaker cabinet. You did not mention what model you have so we don't know what power, what kind of processing, etc. you would need. Then you will need to divide your signal (source not disclosed) into the channels appropriate for each speaker cabinet and come up with five wireless links ...


3

This just requires using advanced enough wireless systems. Shure ULX-P for example can support 1440 different frequencies. They most likely mix in to subgroups and then mix subgroups together. Large concert tours will use upwards of 160+ channels so dealing with 60 vocal channels really isn't that big of a deal, especially for a recorded environment ...


3

Have a look on stage audio sales sites for 'wireless monitors' - there is a huge range. The cost may be a little high, but generally the bandwidth on these devices is very good.


3

I use two rechargeable nickel metal hydride AA batteries with a wireless mic. They don't last as long as normal batteries, but I only need it run for two hours without recharging so it works well for me.


3

Musical theatre, more often than not, uses head-worn lavalier microphones that are positioned very close to the mouth. This gives a much greater signal-to-noise ratio for the Front-of-House mixer to work with. These mics are often flesh-coloured so that they are almost impossible to see. Lavalier mounting in musical theatre is a craft that requires an ...


3

Advantages: saves you rolling out 2 long cables. Disadvantages: it's a 2.4 GHz system so there's potential for interference from wifi. they add a bit of delay, although 4 ms is not horrendous. you have to remember to recharge the batteries for each gig. every 3-5 years you have to replace the batteries because they wear out. I use a couple of wireless ...


2

Yes, it can be done, but you'll have only mono sound on the 5D. Next week I'll start the post of a project where they've done it this way: For the audio to get in the 5D, they used this mic adapter: (http://www.bhphotovideo.com/c/product/674341-REG/Beachtek_DXA_5DA_DXA_5DA_DSLR_Cameras_Passive.html) The sound girl send a mono mixdown signal, wireless to ...


2

My first guess is no. In order to get synchronous playback from your recording device, while playing video back from a 5D, you would need one device to chase timecode from the other. The 5D has no provisions for timecode whatsoever (and they can have slippy internal clocking for video to begin with, so watch out for that in post). In that post you linked to, ...


2

Just off the top of my head, another possible way to do it would be to thread the lav wire through an elastic band, twist the band so it grips the wire, and then use hair pins to clips a loop of the elastic band to the hair. Just might be less troublesome than a tape/hair situation.


2

If you've got the budget to work with a Lectrosonic's 400 Series, then just do it. It's the best thing I've ever worked with on a production before and well worth the money. I've had a pair of Sennheiser G3 100's for a year now and they've worked pretty well for me. If you've got Tram's and COS-11 mics that will work with these transmitters, I'm sure it'll ...


2

I've been having a very good experience with Lithium-Polymer 9V rechargeable batteries in my Sennheiser wireless lapel mic. I was able to buy two batteries and a charger for $50.


2

Im pretty sure the feed is summed to send wirelessly. But you can always use two TXU / RXU and make it stereo the long way.


2

Compression followed by expansion is often called "companding" and is used in various fields to reduce noise. It is effective in reducing the final level of noise that is introduced between the compression and expansion steps. It will do nothing to improve noise introduced after expansion, and could make noise introduced before compression worse, or leave it ...


2

For Denmark, rules (band assignments) for PMSE will change 2020-04-04 (between 3. and 4. of April). The "700 MHz" band, primarily used for 'Digital Terrestrial TV' (DTV, from transmitters placed on the earth, not satellites) is handed over to cellular networks (4G?, 5G?). This reduces the available bandwidth for PMSE in the 700 MHz band to 2 guard bands (...


2

Sennheiser maintains a compilation of available frequency ranges and whether particular license is needed, country by country: https://en-us.sennheiser.com/sifa named β€œSennheiser International Frequency Advisor (SIFA)”. Hint: Scroll down to β€œTo Start please select a country:” and choose an area of interest. Although it still requires going through country ...


1

According to the service manual (available on the AKG website) the phantom power is 3.9v and is connected to pin 3, so the microphone connector should have pins 2 and 3 shorted. If I understand this correctly, the included cable won't have this short and will only connect pin 1 (ground) and pin 2 (signal) so there shouldn't be any risk. I have used the PT 40 ...


1

With a condenser microphone the 48-volt DC is applied to both audio lines, so it cancels out because the signal is sent as a difference between those two lines. With a headset jack the signal for each speaker is sent as the offset between a conductor and the ground line -- this is the same circuit as that used for delivering the phantom power. As a result ...


1

AJ is correct on all accounts. There are a couple more things I'd like to add: speaker placement, aim, and signal route. Since you have an arena theater setup, think about where to put your speakers, where to aim them, and what signals you want to route to them. As best as you can, route voices only to speakers facing away from the arena stage. Route ...


1

With todays modern tech its not that tough. The biggest issue is making sure every thing is on its own frequency and the frequencies are properly spaced. Shure makes a software tool for their mic units that will tell you what channels to use based on how many units you plan to run to make sure they are properly spaced. You can find it here http://www.shure....


1

I would first start by isolating devices to the minimum subset where you can reproduce the problem. For example, if the mixer isn't plugged in to the camera, is it still a problem? If levels are peaking, is gain set properly, does adjusting gain impact the problem more or less than expected? Does XLR vs 1/4" make a difference on the noise. Are the ...


1

Seems like you should start looking at other variables, namely trying another frequency, trying different transmitters (not receivers), changing batteries in one unit at a time, changing locations (I trust that you've checked for presence of microwave towers and other environmental concerns), etc. The variables are many and this will take a good while to ...


1

I have done half of this before. The biggest trick is to make sure that there are good DAC / ADCs in the devices. If the conversion from analog to digital or back again isn't very good, then the system isn't going to work well. I used to use a bluetooth DAC for my headphones because the DAC in my phone itself wasn't very good. I don't remember the brand, ...


1

You want a distribution amplifier. It is a device that takes a single input and produces 2 or more outputs at the same power level. Simply plug the microphone receiver in to the input of the DA and then plug one output in to the camera (or a dedicated audio recorder) and the other in to the sound board. You could do the same thing with just a simple ...


1

If in the UK... The main reason would be if you want to work in Channel 38 (which is the new designated band for radio mics) a license fee should of course be paid for this. Otherwise if they are G2 Band E (look on the back) they still will work legally for the future in the Channel 70 unregulated band - I wouldnt worry about it too much if channel 70 works ...


1

Historically radio transmission has been moving up in the frequency spectrum VHF = very high frequency UHF = ultra high frequency you may expect better quality and lower power requirements (higher battery life) from UHF, but the experts say the benefit is usually less battle for channels and smaller antennae. Familiarise yourself with the legalities of ...


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