Not very DIY, but: Has anyone got any practical experience of the various wireless instrument links available? I'm interested in getting a feed from a few acoustic instruments (and an iPad analogue output) to mixer inputs at the back of a room.
I'm also interested in any recommendations for in-ear monitor systems.
Unless the players are moving around - as a pop guitarist may do - stick to cables. Make up a decent snake to go the length of the room to cut down on rigging time.
Trantec are decent value for money.
Some permitted frequencies have been changed recently so watch you don't end up with out-of-date and illegal apparatus.
Owain
In message , Nospam writes
I have very little practical experience, but I do occasionally use a dual channel AKG system that has a guitar "bug" plus a mic channel.
I bought it for a specific event, but have used the bug at home for recording both an acoustic guitar with built-in powered pickup and an early 60's semi-acoustic with pre-humbucker plastic cased coil pickups.
It worked well enough. I suspect the occasional crackle on the older high impedance guitar was due to the well travelled jack socket on the instrument not liking even a small amount of RF stuck up it.
It was legal when I bought it, and I think it still is. I still stick to cable if I can, though.
Until fairly recently even pop guitarists auditioning to be gymnasts seemed to cope with a cable... But I agree cables just work.
Yep. Have a dig about on the CPC site. Flyer here has 12 way 20m (DP3103847) for =A339.00 but for some strange reason the 8 way 20m is =A3=
45 (DP3104147) (ex VAT). That'll be cheap chinese XLRs and cheap twin screened multi cable but it'll probably work just fine. Just treat it gently.Aye.
Yes do not buy any Ch69 kit (854 to 861 Mhz or there abouts). That will =
be illegal to use after December and once 4G gets going may well become =
unuseable as well.
Best bet is Ch70 (863 to 865 MHz) or 173.8 to 175 Mhz (if you can find any kit that uses that band) both of these bands are "licence free".
You'll probably find kit on Ch38 (606 to 614 Mhz) but to use that legall= y you need a licence from JFMG that costs =A3135 for 2 years or =A375 for = a single year. And you may find you get problems if a professional TV/film/news crew are in the vicinity.
Thanks to both. That CPC cable assy is much cheaper than I'd expected, although wireless has the attraction of more flexibility and less to transport - against that there's cost, batteries and interference!
Very useful! I was wondering about 2.4GHz WLAN stuff but have heard that some of it has an issue with latency and isn't too good for live performances ... has anyone any good/bad experience?
I was rather surprised as well, hence comment about "cheap chinese", but= I'm used to pro equipment prices of around =A33 per Neutrik XLR connecto= r so that's 70 odd quids worth of XLRs alone for a 12 way snake...
Not sure you get more flexibility with wireless but you do open a can marked running costs, interference, reliabilty.
You'll also be shareing space with any WiFi, Video streamers, BlueTooth etc etc that is in the area.
We use units made by Barix
they are audio encoders/decoders.
On their best firmware for radio broadcast studio to transmitter links they manage at best 350 milliseconds delay thats over a 5.8 Ghz link much the same as wi-fi on 2.4 I don't know of anything that much quicker as yet. Its rumoured that one of the bigger codec makers is going to bring one out that is a shade quicker but you have to encode and decode in the digital domain and that takes time....
350 ms, ouch, no good for live performance work by a very long chalk. Anything above about 10 ms is going to be problematical get to 30 or 40 ms and the performers w w wil s st st start t t to st st stu stutter...
Zaxcom digital radio mics manage less than 3 ms.
Well the olde link used to manage delays of around 100 ms and the presenting talent managed with that and no complaints!...
Yes they prolly don't have to do a digital to ethernet format enc/decode..
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