Wireless xlr mic setup tips

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    • #73766

      I have a tascam dr-40 + a pair of xlr lavalier mics for interviews. Now when I like to monitor the audio and I am behind the camera far away from the persons I am filming I thought I could go wireless and have the tascam recorder + reciever where I am and be able to monitor the sound as I am recording.


      So to do that, any advice / experience on a simple setup? I have seen examples like the reliable sennheiser g3 system that I noticed has the SKP 300 addition now.


      However since I have high quality xlr mics I figured it would be a waste to mess around and convert to non-xlr-cables into the sennheiser system and then back again to xlr into the tascam recorder?


      Perhaps a very not-so-good-working solution here

      But at least it looks like it is pure xlr all the way…


      Any thoughts? 🙂




    • #209928

      How far is far away? If it's 50 ft. or less, just use XLR cables and save yourself the potential heachaches of wireless. You can make or buy good ones for far less than 2 wireless kits will cost you. Make sure that you use gaffer tape to tape them down so that no one trips over them.

      I have the Sennheiser G3 Evolution kit and am very happy with it. Mine came with both the belt pack and the SKP 300 plug.

      As you know, the COS 11 comes without a plug and you tell them what kind of end you want on it.  I bought mine from Trew Audio and when I told them my uses for it, they recommended that I get the Ambient EMP3,5.


      This let me put a mini 3.5 plug on the COS 11 so that it would plug directly into the Sennheiser transmitter. Using the Ambient plug lets me plug my Sanken into it (a locking 3.54 mm. connector) and then into an XLR cable to feed my camera.



    • #209929

      Ok well I have the cos-11 dbp so its allready fitted with xlr and I already have a bunch of feets with extra xlr-cables. It´s just that I always end up with a lot of cables on the floor and It´s difficult when someone wants to move. If I have two persons talking I have my tascam dr-40 and they are both wired to the same recorder. Imagine them walking together on video wired to eachother and with the tascam hanging between them 🙂 Getting one more tascam is also expensive and it is kind of bulky to wear and I have no way to monitor that sound (if they are walking around). Connecting the sanken to a SKP 300 plug or something like that seems more compact.

      But since I still like to have my tascam next to me with headphones, and it has got xlr possibility, would´nt it be best to look for a reciever that can output via xlr cable natively which it seems the sennheiser can´t do right?



    • #209931

      I use a Tascam DR40 with lavs when I shoot DSLR. I use a single Tascam with cables. I always use a sound recordist, who carries the Tascam in a field mixer pouch. If the piece is a walk-and-talk, an assistant wrangles the cables. Setup might be simpler with wireless mics, but I'd need to spend about $2,000 to get sound as good as what I get with cables, and I'd still need the recordist. That's always kept me from going wireless.

    • #209933

      I agree with Laguna Hiker about having a recordist. A lot of of my work is single person interviews and even then I sometimes struggle to effectively monitor audio while shooting the interview.

      You're correct that the Sennheiser does not have XLR connectors but then again no inexpensive wireless kits have this option.  I looked at offereings from AKG and Audio Technica when I was looking and settled on the Sennheiser as the best bang for the buck.

      To get into a wireless that has XLR outs raises the price considerably ($2,000 and up!!).

      You can buy an 18" long Sennheiser 1/8" to XLR cable from B&H for $30 but that's on top of the wireless transmitter and receiver which is in the $800 range.

      Audio Technica sells the ATW-1822 kit which includes two plug on transmitters and a dual channel receiver. The receiver output is a TA3M connector and TA3M to XLR cables are supplied. This kit is $1,400 at B&H.

      The other issue is finding a place for your talent to wear the plyg on transmitter. I have no problems finding a place to clip on a trasmitter pack but the plug ons are bulky and somewhat clumsy to mount anywhere easily.

      You stilll need to figure out how you're going to mount the receiver on your Tascam recorder and monitor both channels if you have two people using mics.

      Easier said than done 🙁



    • #209939

      I agree on that as the sitation gets more complicated I would need people helping me with the equipment. I have no complaints at all so far regarding the quality of the sound using non-wireless equipment. I guess if I go WL I´ll have the interference to worry about and perhaps also some loss of quality so you have a point there.

      Yes the clip ons for xlr seems a bit bulky to attach to someones belt. The other transmitters that are non-xlr seems more flat since the connections also are thinner.

      I am in no way a wireless expert, but if I choose wireless later maybe I can just use the included sennheiser mics in the g3 pack and leave the xlr for sit-down situations with cables since I assume I am losing the extra quality I might have with xlr-connections anyway.


      OT: How the heck do they run the wires on the body in shows like ELLEN when she and the guests are frequently jumping and dancing and doing moving activities with lavaliers in their shirts?

      I mean when I try my lavs in my couch and doing the slightest movement I can hear a loud clothing rustle when I monitor my sound. Even just if I touch the cable ever so slightly with the tip of my finger I hear that(!)…

      I regularly (I think) see for example the Sennheiser mke2 on tv-shows with activities so perhaps some mics are better at hiding friction sound. Perhaps also it is not always good to have a very good quality and sensitive mic for these situations and instead have something that cuts all frequencys other than voice or how to they solve it otherwise for live-shows?

    • #209940

      What you need to understand is that it's not the cable that's making the rustling noise but the mic head itself rubbing against something. Skin, clothing, etc.

      I just tried a quick test by plugging my COS 11 into an audio board and cranking up the speakers. No matter how much I rubbed the cable I could not hear any noise. Lightly touch the capsule itself and, as expected, there was all kinds of noise.

      You were asking how performers on shows such as Ellen can jump around while wearing a lav. The answer is the same way that actors and dancers on stage and in movies do and that is that the mic cable and head are secured and protected to prevent this.

      Here's one way to do this. The COS 11 comes with a small square rubber mount called an RM-11. You slide the mic into this and then secure that to your talent using whatever method you find best. Moleskin is just one of several methods used to secure it. Snot tape (yes, that's what it's called) and Joe's Sticky Stuff are other types of tape used to stick it to clothing. You always want to use the correct medical tape like Transpore, Durapore or Micropore if you're going to secure it to skin.

      Go to the website I mentioned earlier and check the appropriate thread. You'll find that there are numerous ways to mount and secure a lav mic. You don't say where you live but, if it's in or near a major city , I strongly encourage you to find a pro audio shop. Not a band equipment shop but a pro audio place such as Trew Audio, Pro Sound and Gotham Sound. These places specialize in location audio gear and you'll find that they are very willing to help you and offer suggestions to make your audio life much easier.



    • #209941

      While searching that forum I came across this very relevant post with lots of useful tips.Enjoy.




    • #211231

      One of my first rules of audio – never go wireless if you don't have to.  In order to broadcast audio wirelessly you have to roll of the low end and compress the signal on the transmission, then expand the audio and bump the low end on the receiver end.  Huge compromise in audio quality, not to mention all of the "gremlins" that appear in wireless audio – RF is suseptable to so many pitfalls that change constantly.  Not as big a deal if you are just dealing with talking heads, but if you don't have to go wireless – DON'T.

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