If that was my limited choice, I would go with the Senn XSW-1-835. The ATW1322 is more because of some features like the remote mounting receiver packs, automatic frequency finder, etc. I didn't care for the mic when I saw them.
Wireless mics
- Thread starter Scott Hanna
- Start date
I went to GTD as a temporary measure - needed mics "now" that were frq compliant.
I don't have lav mics with the gtd- they suck (the mic themselves - can't get crap for sound).
the GTD handhelds are very wind sensitive, short battery life (compared to the shure I have - 700mhz range)
Looking at teh qlxd I see a 2 channel lav/handheld for $1440.
GOT to be something good between $200 and $1400!
if not...I see an opportunity.
G-733H GTD Audio 2x800 Channel UHF Diversity Wireless Microphone - GTD Audio - (https://gtdaudio.net/gtd-audio-2x800-channel-uhf-diversity-wireless-microphone-p10.html)
Maybe a better capsule in the mic itself? Maybe a better lav/lapel mic?
Note the range - yes, i've tested it- thru walls/floor/big distances - no issues, no drops, no interference.
I don't see why a decent MIC is $1000...I can buy a good handheld wired one for under $200...
I don't have lav mics with the gtd- they suck (the mic themselves - can't get crap for sound).
the GTD handhelds are very wind sensitive, short battery life (compared to the shure I have - 700mhz range)
Looking at teh qlxd I see a 2 channel lav/handheld for $1440.
GOT to be something good between $200 and $1400!
if not...I see an opportunity.
G-733H GTD Audio 2x800 Channel UHF Diversity Wireless Microphone - GTD Audio - (https://gtdaudio.net/gtd-audio-2x800-channel-uhf-diversity-wireless-microphone-p10.html)
Maybe a better capsule in the mic itself? Maybe a better lav/lapel mic?
Note the range - yes, i've tested it- thru walls/floor/big distances - no issues, no drops, no interference.
I don't see why a decent MIC is $1000...I can buy a good handheld wired one for under $200...
there are priced accordingly b/c of the solid RF performance. Most of the extra cost is going to that.
The handheld portion ( wired SM58) is only $100, so I think you have your answer.
As mentioned a million times, the only reason I was willing to spend that much is b/c the others just didn't cut it. Having dropouts even once a gig is uncatchable and unprofessional.
And again, I bumped my prices up since my investment with QLXD/ULXD. I have 8 QLXD and 1 ULXD. Over $10,000 in wireless and it has been one of the smartest investments I have made in m business.
Need a wireless speaker over there, or how about there, or how about one in each corner. NO PROB! Need two mics over there, no prob. It gives me the edge against my competition and it is something I bring up at every sales pitch.
I have been told several times I was hired b/c I offered wireless speakers.
The handheld portion ( wired SM58) is only $100, so I think you have your answer.
As mentioned a million times, the only reason I was willing to spend that much is b/c the others just didn't cut it. Having dropouts even once a gig is uncatchable and unprofessional.
And again, I bumped my prices up since my investment with QLXD/ULXD. I have 8 QLXD and 1 ULXD. Over $10,000 in wireless and it has been one of the smartest investments I have made in m business.
Need a wireless speaker over there, or how about there, or how about one in each corner. NO PROB! Need two mics over there, no prob. It gives me the edge against my competition and it is something I bring up at every sales pitch.
I have been told several times I was hired b/c I offered wireless speakers.
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A LAV shouldn't be a high priority for DJs. They are not the right mic for live sound reinforcement. A LAV is best suited for video, broadcasting, and recording in the absence of a PA system. LAVS also come in different capsules as well - omni, cardiod, and super-cardiod. The most common cheap LAV capsule is an omni which will be a nightmare to use with the limited capabilities of DJ mixers.
At weddings it's okay for the videographer to use a LAV but, the DJ should be using something else unless he also has a comprehensive head end to process the signal and very good technical skills.
No mics should be open to the subwoofer. If the DJ mixer won't separate this for you then place an XLR low cut filter inline with the microphone. Minimum value should be 60Hz, but 100Hz is better for most males vocals. For females you may even do well as high as 120Hz. There's nothing in the vocals that falls into that range though your mic will cycle all kinds of rumble, noise, and other program content back through the subwoofer and intelligibility will suffer.
At weddings it's okay for the videographer to use a LAV but, the DJ should be using something else unless he also has a comprehensive head end to process the signal and very good technical skills.
No mics should be open to the subwoofer. If the DJ mixer won't separate this for you then place an XLR low cut filter inline with the microphone. Minimum value should be 60Hz, but 100Hz is better for most males vocals. For females you may even do well as high as 120Hz. There's nothing in the vocals that falls into that range though your mic will cycle all kinds of rumble, noise, and other program content back through the subwoofer and intelligibility will suffer.
Where did you buy the Shure mic?
There are lot of nearly indistinguishable counterfeits out there. Excessive handling noise can be indicative of a counterfeit that has no shock mount.
Another give away is to analyze the frequency response. Counterfeits, like other cheap mics are usually only 70Hz-10KHz or worse.
There's also something else to consider before spending tons of money on wireless. Are we placing to much emphasis on "wireless" in situations that are better served and more profitable with a wired mic? It may well pay big dividends to really look at a given setting and find ways to mic a particluar ceremony without having to put a LAV or wireless on anyone.
The same applies to the DJ gig. Are you really roaming all over the place as an emcee? If you are never out from behind the booth then why do you have a wireless mic at all? I know you will say: for the toasts! Well, now take a really good look at how you are staging those speeches or where the head table is located. Is this not easily doable with a wired mic?
There is definitely advantages to wireless, but don't let it blind you to other very effective and reliable ways to get the results you and the customer both want, or for additional and backup mics.
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I can't imagine trying to use a wired mic again for an officiant. I've done a suspended choir mic, but it's often a PITA to try and figure out how to install it. My opinion, the GTD with a single-ear headset mic is perfect. The capsules sound fine and 95% of my ceremony setups are a single K10 speaker, at the back of the audience. It's easy and it works in both indoor and outdoor settings.
Lav is handy for ceremonies. I'd say 1/3 or more of my weddings include a ceremony.
the shure mic came with the gear when I bought out out a DJ when I got started. It's genuine and likley 20 years old.
I do a lot of weddings where I need wireless mics - i don't like to hide behind my gear. For ceremonies wireless is the only way to go.
There's no single solution despite your preference for a once size fits all plan. Doing audio for a ceremony is not a DJ gig - it's an audio production and requires an individualized plan if you want to avoid the obvious PITA.
Also, the lack of front fill is really odd for an audience. To have the voice of the person coming from behind you while they are speaking in front of you is really queer. The same applies to video. The source of the sound should share coincidence with the visual position of the program.
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It's a tradeoff. Optimum vs functional. In my case, a headset/bodypack has worked beautifully, 100% of the time in the past 5 years for doing ceremonies. As for the directional aspect of shooting from behind, I've yet to receive any kind of complaint for this setup. It's quick, keeps speakers out of the pictures, and everyone can hear the ceremony. The positioning is of no consequence. The final tradeoff is that I can only get $150 for ceremony. If I try to charge more, nobody is willing to pony up for my "advanced production". You sell what the client wants, end of story (in my book).
How have you determined that?
If they get someone else to do their ceremony how much are they paying?
If you lose the whole reception on the basis of a ceremony price then why do you even offer that service?
or... I can sell what I want to the type of clients I want.
Defenders of cheap, defend on. Your experience is SUBSTANTIALLY different than that of the practitioners who aim higher.
I'm not completely defending CHEAP microphone sets, but here I present evidence that a $80 VHF Lavalier NADY Microphone system CAN work extremely well. I took some video of a ceremony in downtown D.C. at Dar Consitution Hall. Officiant is using a NADY Lav Mic. Sound is good. No drop outs occured. I also used a Shure Wireless for the readings. ...Note that I am positioned behind the entire audience during this wedding ceremony. I did not have a single drop out during that ceremony, and this is in a downtown area where there is a lot of potential for other signals interfering.
I was looking for the evidence .. it really didn't sound that good. There sounded like heavy companding issues on each speaker.
Good on ya, mate!
I doubt Nady is going to use that as a promotional tool...officiant sounded like he was in a barrel. YMMV.
Sound was good that day. Everyone heard speech fine. It caught the bride and groom's vowels.
Now, I admit that the sound quality of the Lav Mic on a Shure BLX system is much better. The Nady has a tinty sound to it.
In terms of construction. Well...I have had to replace the mic on my Shure BLX as the wire was falling apart, and finally the connection to the actual Microphone element deteriorated. Not a big deal. Replacement part was like $34 or so.
NADY lav mics have been transported many more times, and I did have to replace 1 microphone after a few years. Cost was like $20 for a new NADY lav mic element.
So in terms of durability, while the plastics used in the Shure body pack feel smoother, and appear higher quality...they are essentually the same in terms of taking road wear abuse.
In terms of quality of signal. ...I can change to a different channel if need be on the Shure system if signal is found to not be good during testing, BUT I would say I have had just as many, if not more drop outs with the Shure Lav system compared to the NADY system between all the times I have used both systems.
OK .. but "CAN work extremely well" and "Sound is good" don't seem to match what is on the recording. Maybe "it made sound" would describe it.
I personally couldn't live with that for other than a stag party or something. I know what it is SUPPOSED to sound like live, and work to get the same, just louder. I really don't care if anyone notices, I do, and I have high expectations.
Like Bob mentioned, I also have Countyman headset mics and a lapel. My packs and handhelds are middle of the road, but cost $500+ each (Audio-Technica 3000 series) and are a decent bang for the buck.
You are thinking about it from the perspective of an audio phile. Nobody at a wedding ceremony is that.
List of their concerns:
1. Can the officiant be heard?
2. Was there any bad/embarrassing feedback issues?
3. Was there signal drop outs?
- If there were any signal drop outs, was there just 1 quick one, or multiple ones, or was half the ceremony literally not picked up?
No MIC system is perfect. A very expensive mic system will surely minimize those issues, but is it worth the investment for a DJ? Some say yes, Some say no.