I've been using the 4th gen (and 3rd gen) UWP-D series mics for a few years now. They've been fantastic! They always just work and sound great. Puts other systems I've used in this segment of the market to shame.
I absolutely love my UWP-D systems! Started using a D11 (3rd gen version) several years ago near the beginning of my location sound career, and have just continued adding channels from the UWP-D series to my kit ever since. I don't really have major qualms with the Sennheiser EW systems and still occasionally rent a couple G4s for projects that require more wireless channels, but I've always really appreciated how the Sonys don't hiss and crackle when the wireless connection is interrupted - they simply just go silent. Obviously not ideal either, but in my experience the latter tends to be a lot easier to work with in post when editing dialogue. I imagine it has something to do with the Sennheiser using fully analog transmission as opposed to the hybrid system of the Sonys. Also love the flexibility of being able to use the Sonys as IFBs if needed. The unique 3.5mm wiring scheme that Sony uses can certainly be annoying, especially when trying to rent lavs (at least in my area), but like you mentioned pretty much any major lavalier manufacturer offers Sony-compatible termination, or if using microdot then Sony adapters are easily attainable. Honestly not even that difficult to terminate/re-terminate yourself. And for pinch situations, I just keep a Sennheiser 3.5mm to Sony 3.5mm adapter in my kit. Curtis, at 13:24 you mention that the transmitter supports 48v phantom power. I should point out that this not actually the case with the standard UTX-B40 bodypack transmitter - only the UTX-P40 XLR plug-on transmitter has that functionality.
Good review Curtis. I use this system in my live ENG kit. It's especially good when transitioning from my shoulder mount ENG camera (with slot-in RX) to gimbal with the FX3 and MI shoe mounted dual RX. Reporters like the lav unit and the ability to go to a stick mic with minimal transition time.
I like the versatility of the Sony system too, the lav setup or the stick mic straight to camera recording. Lots of different things which can have an audio out via XLR and with that Sony stick transmitter you can get just about any audio source into the recorded audio track for the video, all without xlr cables to manage and running all over the set and having to be packed and unpacked. For single channel Sony option for lav via Mi shoe I like the $200 Sony ECM-W2B as an alternative that’s 1/5 the price and 1/10 the size/weight
Hello Curtis, I use the Sony UWP-D27 on my Sony FX6. It is simply excellent and the only choice when you are in the Sony eco system of cameras. I shoot interviews and narrative pieces for corporate clients and government departments in the UK and it is quick and simple to set-up and totally reliable. The Sony hotshoe interface is such an elegant solution. The two lavalieres that come with the kit are very good however, I do have a Sanken COS11 which I had re-wired and this works perfectly. The addition of the third mic input has proven to be very useful especially recently when I was unexpectedly confronted with a four person interview. I have two sets of the original Rode WirelessGo mics with me which I simply connected to the mic input splitter cable on the Sony UWP-D27 receiver and had four channels ready to go. The one drawback (Curtis, I don’t know if I have missed something in the settings maybe you can advise) the sound from the UWP-D27 transmitter on channel one was mixed with the sound from the Rode mic. Is there anyway of getting the mic input on the transmitter to go to channel three or four on the FX6? Anyway, it pulled me out of a hole and the client was happy! Brilliant channel Curtis and you have nailed your delivery which is always concise, informative entertaining! Thank you so much!
Thanks! Evidently there is a way to mix all 4 channels and assuming you're using the SPAD-5 in digital mode, there should be a way to split them out. You might need to check with Sony support to confirm. Happy recording!
@@curtisjudd Thanks Curtis. Yes I will check the SPAD-5 just in case and will contact Sony. I will report back. Again superb channel and keep up the great work!
Just jumping in here as you both seem to be in the know: how does one ensure each transmitter records to a unique channel on an FX3? Currently, both transmitters record simultaneously to channel 3 and 4.
Hi, I have Sony a7siii, I would like to know if you connect the receiver with multi interface shoe you can control manually the gain from the camera. I'm using right now the Sony ecm w2db system and when is connected to the camera with the hot shoe is only automatic gain, and is a completely mess during interview, the audio is going up and down randomly, a mess.
I've had this audio system for a few months now. I use them with my Sony FX6. They sound amazing! It's great that I can record wireless audio near the Fox News building in Midtown Manhattan and not worry about audio interference. I set my gain to "auto" and only need to make minor adjustments in post. Thanks for this video!
You finally reviewed the Sony UWP series. I always like them better than the Sennheisers and have been using them for many professional gigs for quite some time. The sound is great, and I have different lavs with microdot connectors for different mic flavors.
Sony is very reliable !! I have been used various wireless system. rode,deity,Ramsa,Sennheiser,shure. But the wireless system that based on 2.4Ggh are so unstable. especially the deity. I got the so many troubles by using deity systems at my fields. I admit deity is very versatile. but signal is so unstable. if you guys use deity at your venue. I can assure you that you will lose your client. And they don't support firmware update about the legacy product. That's why I use sony.
We have the Sennheizer G4, and we're switching over to the Sony. Why? Because when Sennheizer gets an RF hit or loses signal, you get a giganctic Pssshht!!! recorded on your audio track. By comparison IF the Sony loses signal, you get a silent dropout. In addition, Sony's range with the dual diversity antennas surpasses Sennheizer's. Lastly, the Sony transmitter can switch between mic and line level inputs, which is super helpful in the field.
Another terrific video. Thank you. I have the previous generation of this Sony product which worked great. Somewhere in the journey we started investing in more Lav mics and took the Sennheiser road which really meant that we stopped using the Sony system because of what you mentioned. Without the right cables they also don’t play nice with Blackmagic ATEM and the list kind of went on for us… but back when I bought them Sony was the only company offering a dual receiver which was nice. Thank you
This is definitely my favourite system so far. The rode/dji small ones have their place but im replacing all after renting the Sony for a month. With the introduction of the Deity Theos, all my ordering stopped and decided on preordering the Theos and if its no bueno then ill just return it and fall back to the reliable Sony. My biggest selling point on the Sony is the dual receiver, signal reliability and something I did not know was the ability to send 48v through the lav transmitter to use a shotgun, that is a solid feature. If the deity matches most of that with a decent latency and comparable audio quality i might just stick with Theos.
@@curtisjudd I don't know if you heard but they've delayed the Theos' release as they're making it true diversity - that makes it a real killer for me!
@@philpike6177 I just found their note on Twitter - thanks for mentioning that. Looks like they're adding antenna diversity (not true diversity). Odd that they didn't have that from the start.
Very thorough review Curtis, always looking forward to your content! This has been the most reliable wireless mic system I have ever used! And since I shoot Sony the MI Shoe has been very convenient. Highly recommended!
An excellent review. As always! Appreciate the very clear and non-technical explanation of Diversity and Hybrid DSP Analog. One very minor comment. You include a couple of short b-roll clips of the receiver being placed onto a camera with antennas left in the horizontal position which I know that you know isn't best practice when transmitter antennas polarity is vertical. Given your audience and your influence, it may be helpful to reiterate the importance of matching antenna polarity.
Great video and this is just a GREAT example of what I think about when the client goes "but it's just a quick 7 minute recording - how can you charge this much?". Background: I've been doing audio since 1993 and video since 2007 - during the Covid lockdown I had, literally, HUNDREDS of live stream sessions from, say, conferences. Even though I always get professional grade equipment that most people would find "overkill", there's hardly ever a project, that goes 100% smooth. You turn of a given device 50 times - then at job #51 something doesn't work. Or like this week: I set up for a livestream this week a day before the actual production - EVERYTHING worked. When I got there on the morning, EVERYTHING (still) worked and literally 10 minutes before going live, my audio interface died out of nowhere. As professionals, this seems quite odd because "everything working" would be what everyone expects - that's why the client hires us instead of doing it themselves. But - as a pro for 2 decades, I just KNOW that on more or less every production, something will bring headaches and I just expect it to happen (ie. I bring more equipment than I need - I mount two mics for interviews, I have backup streams ready to switch to, I have more lenses than I need because - knock on wood - at some point, I will drop one and break it). It's not a matter of IF but WHEN problems happen and it's cheaper to be prepared for that, compared to the money I will loose if the clients decides not wanting to pay because of a give problem.
Curtis, there is a hidden feature in the single channel receiver. If the TX is low in battery, the receiver show an alert, but that feature is not in the manual.
Yeah, the Sony Mi shoe/system rocks. So much awesome, either from using flashes or microphones. So many options to make a simple and robust audio system. Power from the camera is amazing and one less thing to worry about. The Sony audio system has so many accessories. Yeah, if you're a Sony user, the Mi systems rocks.
Thanks I just got this kit for my job with an fx6 camera I have always used sennheiser g3/g4’s and they have never let me down I hope this is the same I would have gone sennheiser if they did a dual system so Sony it is. I have had nothing but problems with rode go mics both versions 1 and 2 . Audio is a huge part of the job done cheap out guys / girls you get what you pay for
Thx for the review! Nobody ever mentions, that you can't control the levels within the camera if you use the system via the multi interface hotshoe on smaller cameras like the FX3. This is only possible if you have a FX6 or bigger camera. That does really suck, since the digital use without cable is a big selling point of this system.
Thanks a lot for this great review, Curtis. I guess you have used the 30mW RF power during your walk test? In my case you could cover a range close to 100m and nearly 200 with the antennas in line of sight. The second point is that the handheld has the ability to change the capsule/head. The mount is Shure compatible, means any Shure or Shure compatible capsule will work and there are adapters on the market for Sennheiser/Neumann capsules. I know this is not a very popular type of transmitter in the U.S. ENG word but I guess it is worth to mention. Last point is that all RX/TX from generation 3 and 4 are compatible to each other and you can switch the RX from gen4 to IR sync for syncing with gen3 transmitters.
Yes, we were at high power setting in the outdoor tests. I intentionally put the packs on the back belt as that’s the most common use case. And yes, if direct line-of-sight, the transmission distance is substantially farther
Great review Curtis! I remember asking your opinion back when I was purchasing my 2 UWP-D21 units. I feel I have more versatility with 2 independent receivers. So far I'm very happy going into my MixPre. I haven't got the digital hot shoe adapter yet.
@@curtisjudd I got my order and tested and shot one job with this system, . and WOW. super nice. Thanks again for the videos you do. Very helpful. Next is to update my Shotgun for indoor work.
Great review as always. Regarding the fixed antennas on the receiver, I have the earlier version of the UW-PD and have never had any issues with the non-swappable antennas. They are very robust and get some rough usage. I use the system as a camera hop, and it gets a kicking in the field from camera folks. Having +4 line in on the transmitters lets me use line out from my SD 633. The plug on transmitter also allows line in. I agree not having that hot line out on the receiver can be a pain.
LOL! Yes, and ridiculously close to me and I didn't rig it up with the matte box and diffusion filters so that's contributing to the crispy look. (in this case, a bit TOO crispy for my taste).
Battery life hack (I use this UWP set for a year now) just connect the receiver to the USB-C port of your camera and it works without batteries. If you have only one audio source and a MI hot-shoe compatible Sony camera, the camera powers the receiver. The transmitters run on USB-C too, but as Mr. Judd tested, the battery life of the transmitters is amazing 12 hours, using batteries for them is okay I find. One major downside on the UHF band solution from Sony, it's only legal to use on one continent, if you're a travelling filmmaker make sure to stay within legal limits! Or buy the new Deity Theos system, it uses the correct frequency based on your phone's GPS info.
The ONLY clear and concise review of this system on the internet, THANKS! Are the antennas removable to be able to pack these things more easily in a bag? For the XLR plug on transmitter, I believe it supplies 48v of phantom power, so with a small xlr cable, I could record from my Shure SM7DB right to camera? I'm not sure if I understood this IFB ability, but does that mean I can send the audio from the Audient Id4mkii interface to the camera? Trying to figure out what is the best/most affordable way of recording from my SM7DB right to camera using this system.
So it's possible to buy an additional 2 transmitters for the sony setup to have a total of 4 transmitters at once for live streams? Or is there potentially significantly worse performance when going to 4?
You can add another two transmitters but you’ll also need another dual channel receiver. Also, when setting up the frequencies, you’ll need to watch for intermodulation which you can easily do with an app called Freq Finder
Just wish I could plug in and use any XLR lav that I currently have. The proprietary bits are a shame, dont like that. Its also VERY pricey, this is where/how RØde will win. Also, Miler Tripod FTW, good going Curtis.
Thanks for the review. My experience is the Sony Multi Interface Shoe prevents manual gain control. Both the XLR transmitter and receiver can sway the automation a bit, but it's not full manual control like when using the 3.5 Aux cable with camera gain control, or pairing with the XLR-K3M adapter. As well, I sent my unit back because there seemed to be some type of automatic room noise cancellation in the silent ambient audio. It kicks on and off abruptly between speaking and silence. So I could hear background environmental noise when subject is speaking, and very little environmental noise when they are not speaking. Fine for ENG, but not good for my interviews inside loud metal fabrication shops, and the like. I literally sent the Sony's back in preference for my old Rode XLR New Shooter kit, which IMO sounds more true especially when coupled with the XLR-K3M. The Sony XLR transmitter couldn't handle SPL very well either. It would clip out even with my MKH8060's.
@@curtisjudd I appreciate the reply and suggestion. Unfortunately it's a mixed bag. On the transmitter, there is no auto gain setting to turn off. It doesn't have that function. On the receiver with the multi-interface-shoe, it's always auto gain and cannot be turned off. Manual gain requires using 3.5mm aux through camera or XLR-K3M.
Hey There! Thansk alot, really helped me out. A few question still remained open for me, maybe you can help me out. :) 1. On the reviever with the hot shoe adapter, there is a little dial i can switch between analog and digital, what does that do exactly and where should i leave it preferably? 2. So Regular Gain mode is cleaner than Auto, but what is a desired db level to hit? Is there like this magic db you set them to and its 99% of the time perfect. I dont really have time to meter my audio... 3. Type 1 is Alkaline, Type 2 Nickle medal hydride, Type 3 Lithium? Thanks in advance
Curtis - I love your videos. Very informative. You mentioned that it didn't have a "Line-Out" port. I'm thinking of plugging directly into a computer through a scarlet box? I'm recording with OBS.
Detailed review as usual.... I can anticipate a Rode Wireless Pro review coming soon... haha. Based on my paper, I'll prefer the Deity Theos over the Sony UWP-D27, considering the UWP-D27 is designed with the "Sony style".
I have recently switched to Sony FX cameras and thought perhaps the Sony wireless system would be a good fit. And maybe it will once better understand the gain stage method and monitoring, but out of the box the system does not translate well from my experiences with Sennheiser lavs. At the top of the list is the apparent inability to monitor anything related to the mic from the FX6 itself. No matter how pegged the signal is at the transmitter, the in-camera meter looks perfect. And that kinda messed up my first recording (salvageable but a little pegged in places). Then there’s the “attenuator” terminology which seems to dial down the input gain from the mic into the transmitter but that’s not a familiar term. Anyway, I don’t know if you still have the Sony system on hand, but if you do it would be interesting to see how you approach gain staging mics for filming direct into a Sony camera using the Mi shoe.
Will you measure the noise floor of the 32bit Tascam dr10LPro compared to noise floor of the 24bit dr10L? Also, measure the noise floor of the 32bit Rode Wireless Pro compared to the Rode Wireless GO 2?
Curtis, Great to see this comprehensive technical review. I own the ENG cameras such as PMW-350/500/F5 with DWR-P01 slot in receiver that for me works extremely well with exceptional low noise floor. I have also purchased the FX30 wit top XLR handle. In my tests the preamps are very noisy at around Number 5 dial setting, I'm struggling to get the receiver to output a higher level to reduce the dial gain to number 2-3, instead I have to attenuate the transmitter instead, I'm just a little concerned this may not be correct? using the digital MI setting cleans this up but there is no mic level control, my question is am I missing something or does the MI connection work like 32bit floating point and won't distort ? thanks in advance. David
I have 2 UWP-D21 units (just 2x transmitters and 2x receivers rather than one dual receiver) and it works great going into my MicPre 10T. They sound great and the body packs are pretty small.
Hi Curtis, how do you rate the 4th generation UWP-D in comparison to Sennheiser's EW-DP? I own 3rd and 4th gen versions, so would be interested in your take - I'm especially intrigued by the compander-free EW-DP and whether the theoretically better audio dynamic range translates into something you can meaningfully hear from the analogue output.
Hey Curtis, I noticed you've not yet reviewed the Godox SL60IId and SL60IIbi yet. I was looking for your reviews of those. Are you planning on covering those?
Thanks Curtis, another comprehensive review of what looks like a pretty solid choice on a Sony camera. I like being able to use digitally straight into camera. My one niggle with a Sony FX3 is I like having a top handle (better balance and handling) but this means one can't use the supplied XLR top handle (or pretty much any other top handle, without complex bracket rigging). A pity. What sort of quality loss might one expect if plugging 2 channels of audio into the 3.5mm jack for 3rd channel on Sony XLR top handle? In practice perhaps this also obviates need for capturing scratch audio direct from a cam mounted shotgun into channel 1 on XLR handle? Also, if bypassing a direct camera connection, how well would this record directly into a quality field recorder like a SD MixPre 6ii?
The quality of the audio itself doesn't change much, but in my tests, the noise floor was more prominent - a solid 6 to 8dB louder. Still usable, but not as nice as with the digital interface shoe.
Great video, thank you for such an indepth and informative review. I'm wondering - on a Sony camera such as the FX6 when recording two channels, can you independently change each channel level using the hardware rotational dials on the camera? (just as you would do with two channels coming from two conventional receivers)
Hello, I'd appreciate your input on any advantages or disadvantages between purchasing two Sony UWP-D 21's versus a single Sony UWP-D 27. Pricewise the former solution seems as a better option and from what I understand this way I could have True Diversity with both mics. A single D27 could be more convenient and used on one camera? Any interference issues of having two D21 receivers close to each other vs using the single D27 one? Thanks
Hey Curtis, if I'm in the Sony ecosystem, and I am a part of a solo/duo video team, is this the best lav mic system to buy for the price range? Would you recommend anything else around this ball park? Also, is this system (or one you recommend) + sanken cos11d a good investment for my audio as an upgrade from Rode Wireless Go II? Need you expertise, thanks in advance and always love your videos!
Curtis, excellent as always. One extremely important thing to note about the Theos: US buyers do not have the ability to record on the body pack. They are two different models, one of which has no recording ability. Users have to purchase an international model for these benefits when shooting outside of the US. (Edit: I'm a little confused about this, it appears vague on the Deity website) One question for this: if I were to toss a secondary recorder on my camera, like the new Tascam DR10-L, can I use the phone out to record to that when I’m not rolling? Sony looks great here!
Thanks @mayerad. 🙏 My understanding is that there are two versions of THEOS - a US version which can only transmit or record at any given time and an international version which can transmit and record at the same time: deitymic.com/products/#wireless
@@LearnLightAndSoundSessions and @ollenn9777 thanks for that info! Hurray to software patents I guess... seems to be the reasoning behind that limitation. And I'd assume that the US version can record when used in e.g. Europe then?
Great review. I have a couple of single channel lav units, the XLR plug and handheld mic. 4+ hours is just okay. Was the receiver taking both channels? Was the FX30 supplying power to the receiver during your test? I thought it could indefinitely supply power while receiving just one channel, so 4 for both seems meh.
It was both channels and no, was not powering via the SPAD interface. That would work nicely if the camera has an external battery rig, but I found that the FX30's battery drains VERY quickly without powering the receiver so I'd want some sort of external power source.
Curtis, firstly: thank you! I was recommended your channel by my video equipment provider after asking about latency (I had bought the DJI mic and the 15m/s delay rendered it unusable for professional/monitoring use) Apologies if I missed it in your review, but (when using this new Sony dual receiver system with just one transmitter) is there any way to have ch.2 recording a safety channel at a lower dB? Currently I use a Sony A74 with JuicedLink Riggy RM333 preamp, Sony UWP-D16 system and UWP-D11 system. I have the second system for the times I have a second speaker (or need to use the plug on transmitter with handheld mic). Generally I only use one transmitter though, and use the safety channel the Juiced Link allows in case ch1 clips for any reason. It works beautifully, but goodness it’s unwieldy. Something that would reduce the amount of things hanging off the camera would be ideal. Unfortunately the smaller prosumer units are no good for me, both due to the 2.4GHz fear of interference in the field, and latency: - DJI Mic with 15 m/s latency - Sony ECM-W3 is out (I couldn’t find any way to manually alter the volume / gain, but possibly that’s user error, + my existing Sony lavs didn’t work with it!, latency was comparable w/ Rode Pro I thought) - Rode Wireless Pro is out (6 m/s latency still too high for me to trust: is it the delay, or is it room echo / bad sound?) So this Sony system looks great. 1 m/s latency, one transmitter, two receivers… What do you think? Could I safely use this and ditch my preamp, halve my transmitters, split one signal into two channels, giving me the option of a lower level safety on that second channel? Or must I persist with my Frankenstein’s monster if I need these three features? THANK YOU!
Thanks Curtis. You said this system isn’t really ideal for using with a mixer or field recorder. Can you elaborate on that more and make a recommendation on another system in this range that would be?
It can work, but the target market appears to be for on camera use. The biggest clue to that is that the receiver outputs a mic level, not line level, signal.
@@skyace888 At this price, I would probably use this system as my first choice. One has to spend quite a lot more to get into the higher quality wireless systems.
As always, awesome review! I've been having a hard time searching for and finding wireless mics with excellent noise floor performance. Any recommendations?
What budget level are you considering? A big factor is the microphone itself, with the wireless system contributing a smaller impact on noise performance.
@@curtisjudd sub $500. The system wouldn’t be used regularly. It would be connected to an A7RIV/A7SIII. The Hollyland Lark M1 is currently on sale for $97, but it properly has a lot of self noise.
Great video Curtis! I'm excited for your "Rode Wireless Pro" review as well. As you mentioned at 20:05, can the new Rode record the 32-bit float internally at the same time it transmits wirelessly to the camera with the standard signal?
I had the same question re: the Rode. It seemed like it could from the other reviews I watched but Curtis' are the gold standard (imo) so I'm waiting to see his perspective, especially regarding timecode functionality limitations!
@@spaceghostcqc2137 I agree! I trust Curtis more than Rode since the company seems to be less than up front with their marketing lately. Always seem to be a bunch of "gotchas" with Rode.
Hey Curtis, I’m an AE and sometimes I have to make sure clips are up to spec, including the -23 LUFs threshold. Do you know how I can check if a clip is -23 LUFs and do you happen to have any videos that go into greater detail as to what -23 LUFs entails? I haven’t quite grasped it from what I’ve read online. Thanks for the great videos, I got the UWP-D27s recently for the holidays.
You might find this helpful: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-nOzZKEWJ5wk.html There are a whole bunch of apps or DAW plugins to help you with loudness readings for a clip. DaVinci Resolve (even the free version) allows you to right click on a clip and get its loudness in LUFS. I also use the free Youlean Loudness meter.
Hi! Thanks for your review and explanation of this mic set. I recently started using these for work and I was wondering if you have ever experienced a subtle "thumping" on rare occasion? I'm not sure how else to describe it, but when we film with talent there will be a slight low "thump". It sounds similar to hair hitting the mic but it's a slightly lower tone. Thanks again! And if you have any advice, Thank you in advance!
@@curtisjudd that’s what I’ve noticed as well. But in watching the footage back nothing touches the lav directly. We are theorizing that the wire itself may be damaged.
I have this set and I love it but the off button on the transmitters is easily pushed, for example when put on bra strap on talent, if they sit down it turns off, looking for somekind of sleeve to mitigate this.
Hi Curtis!! Love your videos! So interestingly enough, I have had horrible experiences with Sennheiser G4 systems. Always getting pops and interference from time to time. But when I tried the RODE it was absolutely flawless. Any reason why that would be?
Using frequencies that had other activity (in the range that the G4 can tune) most likely. The thing with the G4s and any UHF system is that there's some work to find a clear frequency for each location at which you record. And that can change from day to day or even minute to minute. So in that regard, UHF systems are much higher maintenance. On the flip side, the 2.4GHz systems like the RODE, they generally work well except when they don't (e.g., try using the RODE at a halftime in a stadium for a pro sports game). With the RODE system, you're out of luck if the 2.4GHz band is saturated. You have no options to tune to a different band.
@curtisjudd - do you have any recommendations for a lav mic for this system that has better sound quality? I have this exact system and I find the lav mic to be lacking and seems like the capsule is easily overwhelmed. Thanks!
Hello Curtis! I am trying to build a 3 person talk show studio set. If I were to want this system, would I have to buy this kit with the additional UWP-D21 single-person kit to get my third transmitter/receiver? Or can the UWP-D27 pick up an "former" UWP transmitter to connect to the D27 receiver? I enjoy your content a lot, thanks sir!!
This kit can work with older UWP transmitters, yes. But the receiver is only a 2 channel receiver. If you need three channels, you'll need a second kit and then a way to mix the output of both receivers.
Hi Curtis, is there a reason that no one ever does flat 20-20K sweeps from the analog input of a transmitter to the analog output of the receiver just to see how good the amplification stages of the TX and RX are? To a layman like me, it would seem like a valid test of how the system actually conveys the native sound of the mic.
I suspect that's mainly because many of us do not have the test equipment to do that. That'd be an interesting technical test. But for practical purposes, I try to supply as many minutes of sample spoken word audio as possible and with at least a couple of different voices. That gives people a feel for how the system sounds in practical use.
Hey Curtis, I am on the fence between getting the sony system and pairing with a Sanken Cos 11d, or getting the Rode Wireless Pro and pairing it with the sanken. I just really want to know how much better the sound quality would be with the sony, because if its not a substantial difference, I think the rode would be way more convenient for me. Would love to hear a shootout between the two, but if you dont plan on making a video about it, I'd love to know your thoughts. Thanks man!
Very little difference in sound quality. The RODE Is more convenient, but the Sony is more versatile and if I have to film outdoors or in places with LOTS of people and WiFi (like at a stadium), I would absolutely opt for the SONY which will fare much better.
Curtis, I own the Sony system in additional to lectro units. I feel like the Sony doesn't handle S's and other sibilant noises quite as well. It's like there's a bit of garble or overload from the sibilance. I noticed it more with the Sony mic's mounted higher towards the mouth, and less with COS-11d's mounted lower down like you have yours in this test. I'd be interested to hear if you have a similar issue by chance. Also, I used the Sony unit's on talent outdoors filming training videos for heavy machinery. I had 3 lectros (SMDWB) and 2 Sony's, and I don't know if the lectro's were stepping on the Sonys (the lectros were set at 100mw, sonys on high which is 30mw), I had them separated by at least 20mhz, but the Sony's were dropping out left and right from as little as 50ft. A bit disappointing to be honest.
We’re you accounting for intermodulation? That’ll definitely be a consideration. The difference in power can also make a difference. The sibilance saturation seems like more of an issue of the mic and position in my experience.
@@curtisjudd for the sibilance, I actually tested the units by sending out the the same music as a source for each. The lectrosonics definitely sounded significantly clearer in the highs than the Sonys. I'll have to record the difference between each and post a sample at some point somewhere. As for intermod, no I wasn't able to confirm because I was trying to quickly change to open frequencies on the Sony's and though the NFC/Scan ALL function is quick and simple, it's much trickier to dial things in manually like accounting for intermod. I'll have to do some more testing, but in the meantime I will probably avoid trying to have the Sony UWP's play with Lectro's nearby. One other thing of note, Curtis, is one other potential issue I've run into with the UWP. There's a chance that, when mounted on a camera like the Sony FX6, having the Wi-Fi access point mode enabled on the camera will contribute to significantly reduced range as well as increased flutter and hits. I still need to 100% confirm this, but I can tell you that while the URX-P41D is clean as a whistle to a fairly far range when used as a standalone unit, the moment you put it on the MI shoe on an FX6 with the Wi-Fi enabled, the range cuts dramatically.
Hey quick question here, is it as simple as attaching the transmitter to myself and hooking the reciver up to the camera and the camera picking audio up with the file being recorded. Or will i have to export the recordings and sync it to the video whilst editing? Thank you alot man
I've been considering this system for a while, but I'm curious to see how good the "God God" (Deity Theos, god in Latin + god in Greek) is in practice, before I buy anything. I'm not currently in a rush, though.
Great review. I used my Sony UWP-D27 set on an A7Sii recently with MI shoe and it sounded awful; noise flaw hiss sound. And the connection was really tempromtal. Any tips as to what I might have been doing wrong? Thanks
Hi, Thanks for the video. I am having hard time to find an answer to if you can monitor each channel separately in the camera. To clarify I wand to put the dual channel receiver with the Smad-d5 on my Sony FX6. I want to understand if I can control each channel separately from the hot shoe.
Hi, I would like to ask you if when you connect the receiver to Sony camera with multy interface shoe can I control the gain from the camera? I'm using the Sony ecm w2bt like this, but is not possible to adjust manually the gain from the camera, only automatically, and is incredibly annoying during interview, the audio is going up and down randomly, completely a mess.
I see everyone talking about the auto scan function and how great it is, but is there a way to tune specific (cleared) frequencies for use at larger events?
Incase anyone comes across this and needs a hand, on Sony's website (next to where the manual is) they have a separate PDF of the available frequencies listed with the band + bank number so a quick ctrl+f solved this issue.
Curtis, QQ: would the Deity W Lav Pro work out of box with this system, since it's a microdot to locking connector? I currently use them with my AVX set up, and am wondering if they would carry over to the UWP Sony Ecosystem?
Deity used to had a 3.5mm adapter to Sony. BUT, they seen to been discontinuing this line of adapters, at least the Sony one (DA35S, not to be confused with the DA35, with is the Sennheiser compatible one). They also have a bunch of negative reviews on reputable vendors sites. But you can still find then in some resellers on Asia. Never seen anyone tried the Deity Lavalier with a DPA microdot adapter to Sony, it could work, but the tolerances on the microdot plug are so low that any machining error either on the cable or the adapter could imply in a no functioning unity.
hhmmm its really really hard to really care about this system when Rode really did just kill it with the Wireless Pro and that 32bit float, and Diety's 32bit float lav system
Maybe in specs on paper, but definitely not in real-world performance. Outdoors with the transmitter pack on the back belt (not line of sight), the RØDE only transmitted about 15 meters.
Im still debating between the Tascam DR-10 L Pro, RODE Wireless PRO, Deity THEOS Digital. I pretty sure I get the theos later anyway. Edit: I realized that the price of the Tascam and Rode systems is about the same since you get two recorders with the rode. I like the Theos the most since I like to run a boom wireless aswell and they going to be the most flexible system. What system do you think is easiest to run 4 lavaliers? I mean in terms of keeping them in sync and monitor them in a app. If you run two RODE Wireless PRO systems with 4 lavs. Will they sync perfectly. I think I seen a video wich stated you cant sync them all together. But I hope im wrong.
Could you recommend me a alternative to the Oktava Mk-012, that can match it's quality for indoor voice recording, that is not made by a Russian military company?
@@philipp594 If you can budget for it, the Sennheiser MKH50 is an excellent choice and one that should last an entire career: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-CqasOA0kFno.html
