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Sennheiser ew 100 G3 question

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Richard Kuenneke
Sennheiser ew 100 G3 question
on Apr 7, 2012 at 7:54:52 pm

I need some help understanding the sensitivity feature on the Sennheiser ew 100 G3. The manual offers no information other than how to adjust it. If the source of the audio is LOUD, I want to decrease sensitivity? The least sensitive setting is "0" and you can reduce sensitivity in -3db increments to -60 db. For standard interviews, the - 6db seemed to work. But the same setting failed when I pinned it on a guy who seemed unable to lower his voice below a shout (construction site).

Is there a preferred setting I should use and then adjust the record level on the camera?

Rich


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Richard Crowley
Re: Sennheiser ew 100 G3 question
on Apr 7, 2012 at 10:55:55 pm

There is no "preferred setting" because microphones and situations are all different. That is why it is adjustable. When you see that you have a loud-talker or a soft-talker, it is just part of the setup routine to test and adjust the sensitivity setting on the transmitter.

If you have a lot of experience, you can guess at the setting and probably get it right most of the time. But that is no substitute for actually testing it.


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Craig Alan
Re: Sennheiser ew 100 G3 question
on Apr 8, 2012 at 5:14:46 am

https://wikis.utexas.edu/download/attachments/15045757/Sennheiser+G3+tech+t...

If you are not riding the levels with a mixer during the shoot, you might want to set the sensitivity a little conservatively, that is leaving a bit more headroom, so that if your talent suddenly speaks louder it won't clip. The transmitter has a level meter but it is a bit basic. Just keep it above 1/2 way but not clipping and like i said leave a bit more headroom than the article suggests. Make sure your talent is giving you a performance level. A lot of folks tend to speak too quietly when doing a sound check. Tell them to talk at the loudest level they might.
Also if your camera has crummy (noisy) preamp, you might want to set the output level (AF out) from the receiver at a higher level and lower the gain knob on the camera.

MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Panasonic AG-HPX170, Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.


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Eric Toline
Re: Sennheiser ew 100 G3 question
on Apr 8, 2012 at 6:06:57 am

If you set both the tx & rx at -20 you're at a good place to start. A lot depends on wether the rx feeds a mixer that feeds the camera at line level into line input on the camera. If you have a mixer to feed the camera and can generate a test tone from the mixer, set the mixer level at "0" and the camera at -20 then you'll be good to go. Keeping the levels on the camera at about -12 will insure you have enough headroom to avoid clipping.

Eric


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Richard Kuenneke
Re: Sennheiser ew 100 G3 question
on Apr 8, 2012 at 2:12:55 pm

Thank you - very much - for the great responses! I'm especially grateful for the step-by-step set up guide.


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Craig Alan
Re: Sennheiser ew 100 G3 question
on Apr 8, 2012 at 3:51:22 pm

If you are a one-man band and want to up your audio quality I would recommend the mixpre-D from sound devices. Gives you two professional inputs, professional monitoring, and with one hand to the side of your cam you can ride the levels. It attaches under the cam. If you are not a one man band then the sad 302 is a step up in that it has 3 inputs not 2 and two stages of adjusting the input sound levels which makes it really easy to adjust the levels for each input.

Here's hoping that when we all finish moving to 4k or 3D 4k or whatever is more real than real that manufacturers will start paying as much attention to audio quality as they do visual resolution. Hollywood has decided that not only can you fix it in post you can do it in post (when it comes to sound). That's great for the fat cats but for the rest of us it would be great to have high quality sound built in both in terms of components and ergonomics. Little things like 3-7 thousand dollar cams with crappy headphone amps and mediocre preamps? Really? Why?

MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Panasonic AG-HPX170, Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.


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Richard Crowley
Re: Sennheiser ew 100 G3 question
on Apr 8, 2012 at 4:59:21 pm

" Little things like 3-7 thousand dollar cams with crappy headphone amps and mediocre preamps? Really? Why?"

Because low-end camcorders are made to be simple and cheap, so they only have a couple of 50-cent electret capsules behind the grille. And mid-price (prosumer and pro) camcorders have serviceable audio good enough for ENG. It is assumed that if you are using them for something more serious than the 11pm local news, you will be using double-system sound and serious audio equipment. And at the high end, many film cameras had no sound features at all. And even current high-end cameras (Red, et.al.) have only modest audio because it is assumed that you are using double-system sound where you have dedicated audio equipment (and perhaps more important) dedicated sound crew whose prime directive is getting good sound, independent of what the camera crew's priorities are.


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Eric Toline
Re: Sennheiser ew 100 G3 question
on Apr 8, 2012 at 8:07:40 pm

About the best camera audio is on the Arri Alexa. 24/48 line in only. Input connection is a 5 pin XLR. It is a bit pricey though at $70,000 for the camera w/o glass.

Eric


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Craig Alan
Re: Sennheiser ew 100 G3 question
on Apr 8, 2012 at 9:06:05 pm

[Richard Crowley] "It is assumed that if you are using them for something more serious than the 11pm local news, you will be using double-system sound and serious audio equipment."

That might be the reasoning but it’s rather arbitrary. Historically I think it was because the good picture quality was the flashy thing that consumers wanted. And because video cams began with really poor picture quality.

But there are more and more folks using and becoming skilled at using prosumer level gear. They are often one-person bands and/or low budget and the need for camcorders with professional quality audio is there.

Do you remember the outcry when the Sony pd150/vx2000 line (the next gen of the vx1000 which began the whole video revolution) had noisy audio? Do you notice that a lot of reviewers comment that although DSL’s used as camcorders have great video that the need for double system is a point against them over traditional form factor camcorders?

If for an additional amount you could get higher end audio components in a prosumer level camcorder, I bet the large majority of folks would ante up. Most of these cams come in two packages one with xlr and the other with miniplugs. That certainly implies some folks want pro level audio and are not recording double system.

Richard I agree with you that given the state of things any one who is serious about recording high quality artistic videos will record double system but not usually out of choice.

MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Panasonic AG-HPX170, Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.


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Richard Crowley
Re: Sennheiser ew 100 G3 question
on Apr 9, 2012 at 12:13:46 am

"But there are more and more folks using and becoming skilled at using prosumer level gear. They are often one-person bands and/or low budget and the need for camcorders with professional quality audio is there. "

Maybe. But I don't recommend holing your breath waiting for video camcorders with better than average audio specs. I suspect it will be a very long wait.


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Craig Alan
Re: Sennheiser ew 100 G3 question
on Apr 9, 2012 at 1:56:57 am

Well it's been that way for a long time. But it's getting very competitive in the camcorder market. When we record to the Ki Pro we get much better sound. The headphone amp still is horrible but the recorded sound is better than our cams. I just think it's an obvious move to give a cam a competitive edge. On the professional level things are becoming modular and maybe one level of that could be quality audio. Just makes sense. On the other hand, software is becoming very good at syncing up sound. And maybe we will follow Hollywood's lead in using ADR and foley. On location sound is always difficult even with good audio equipment. It's hard to tell the world "quiet on the set."

MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Panasonic AG-HPX170, Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.


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Richard Kuenneke
Re: Sennheiser ew 100 G3 question
on Apr 10, 2012 at 2:39:42 am

Thank you - I learned a huge amont in this string and now understand the importance of quality pre-amps, etc. I used to think following the typical rules with audio was enough. Now I know.

Rich


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