It may have been the combination of the writers’ strike (now SAG as well) and being onboarded for several smaller crew shoots, but I used the EW-DP system a lot. For past reviews, I made a point of taking a piece of kit on two or three shoots before I felt comfortable passing along my thoughts. For this review, the EW-DP stayed with me for two separate documentary shoots in Hawaii and commercial projects in Chicago, Santa Monica, San Diego, and Los Angles over the course of two months. I also recorded several lighting reviews using the EW-DP for CineD.com (See my Nanlux 900C, Aladdin Mosaic, and amaran 150C reviews). In short, I put some hours into this thing.

I will be the first to admit that I’m not an audio professional. I work primarily as a Director of Photography, Producer, and sometimes Director in the scripted, documentary, and commercial space. Before you click away from this page in a huff, I think I might be the perfect user for Sennheiser’s digital systems like the AVX and the new EW-DP. Several times in the past few months, I felt this kit was designed specifically for my workflow.

If you are an audio professional with thousands of dollars already invested in UHF wireless audio, this review may not be for you. But if you are a run-and-gun documentary filmmaker, online creator, journalist, or solo op, I encourage you to stick around for the next few hundred words. The EW-DP is meant for you.

First, let’s take a quick look at the advertised banner EW-DP specs:

• Number of RF Channel Frequences: 2240
• RF Frequency Band: 470 to 526 Mhz
• Advertised Max Operating Range: 328.1′
• Max Transmitters Per Band: 58
• Sample Rate/Resolution: 24-Bit
• Dynamic Range: 134db
• Latency: 1.9ms
• Bluetooth Control

For this review, I used the following two kits:

• Sennheiser EW-DP ME 2 SET Camera-Mount Digital Wireless Omni Lavalier Mic System (Q1-6: 470 to 526 MHz) – Cost: $699.00
• Sennheiser EW-DP 835 SET Camera-Mount Digital Wireless Handheld Microphone System (Q1-6: 470 to 526 MHz) – Cost: $699.00

Sennheiser AVX or EW-DP?

I’m a longtime user of Sennheiser’s AVX system. Most recently, I used that plug-and-play 1.9 GHz 1:1 system on a BBC Two documentary, and before that, while solo filming the Artemis 1 NASA Recovery for Smithsonian/Paramount+.

You can see the signature blue end piece of the AVX receiver in the image below hanging off the rear XLR port of the Canon C300MKIII.

During the Smithsonian project while aboard the USS Portland, located off the coast of Baja, there were definitely moments when I loved the AVX system. There were also moments when I needed the flexibility to find a better channel in a challenging wireless environment surrounded by NASA and Navy equipment and all manner of sensors.

When my AVX system hit too much interference, the audio transmission momentarily dropped out, and the fact that there was an issue was immediately apparent. This heads-up was helpful because I could have the contributor restate an answer or know that I should move closer to the subject. I also found that mounting the AVX Receiver directly at the top of the camera versus into the XLR port improved things by giving a better line of sight between transmitter and receiver. However, know that the drawback of this configuration is that it no longer provides the minimalist rigging of having the receiver in the XLR port.

I found that to achieve the advertised 98′ range of the AVX system conditions had to be perfect (i.e., the middle of a flat field away from an urban environment). That never bothered me because I’m often close to documentary subjects who are mic’d up. Here’s another area where dedicated audio mixers scanning for the best UHF frequencies can achieve a much better and more reliable range. As for me, I’m not always able to take an audio professional into the field with me. In the case of the Artemis 1 recovery, there literally wasn’t enough space onboard. Also, in the work I do, safety considerations often increase with the size of the crew.

Why go for the Sennheiser AVX over the EW-DP system? Depending on the situation, you may decide to use both, as I do. Indeed, Sennheiser doesn’t look at the EW-DP system as a replacement for the AVX. Each is still available, and the newer UHF-based EW-DP system actually comes in $100 cheaper when compared to the $799 1.9 GHz AVX-ME2 set (August 2023 pricing).

I asked Sennheiser about where they feel the EW-DP sits when compared to the AVX system, and Robb Blumenreder, Insights Manager on the Pro Audio team at Sennheiser, responded with the following:

“While there are quite a few technical differences between AVX (1.9 GHz DECT band) and EW-DP (Digital UHF), choosing the right system for you starts with how involved you want to be with your audio workflow. AVX is the wireless audio equivalent of shooting in “Auto Mode”. You’ll get great results with a system that has the plug & play convenience of 2.4 GHz wireless but with a much more reliable transmission scheme and feature set designed for professional applications. AVX will automatically configure everything from frequency to gain settings, and even power management, but the trade-off for that convenience is a lack of manual control, as well as some added latency (19 ms) as the system runs through all the automatic elements under the hood. AVX has found a home in many applications but works particularly well for video journalists, broadcasters, and users that don’t really want to dive into their audio signal path, but still need high-quality, professional results they can rely on.

That said, when it comes to wireless technology, UHF is the standard by which all other wireless systems are measured. It’s the choice of professionals for good reason – it gives you the most flexibility, reliability, and control. Plain and simple: if you’re getting paid for your work, your gear needs to be able to adapt and overcome any environmental challenges you may encounter. With EW-DP, we’re breaking new ground for users and giving them features that get the technology out of the way of their craft while providing complete control over their wireless system. EW-DP is the ideal choice if you’re working in harsh or congested RF environments, have a need for higher channel counts, and you’d benefit from having flexible transmitter options like the EW-D SKP Plug-on Transmitter. Between the two systems, EW-DP is more capable and configurable, which can ultimately provide you with higher-quality audio for your content. Regardless of your choice, both AVX and EW-DP can give you excellent results, so depending on your personal needs and desire to dive into your audio workflow, one or the other may be more appropriate for you.”

Okay, distilling down Robb’s comment here — yes, the “Auto Mode” of the AVX system still has its advantages. I’ve filmed documentary scenes with rough audio in situations where there is violence or physical confrontation, and I can promise you that in these moments, I’m more concerned about the safety of the crew than I am about checking to see if I’ve occasionally clipped my audio levels. In those moments, the AVX has my back (especially with proximity and a solid line of sight). For a highly controlled interview, I’m going to rely on an audio professional with their UHF kit, or I’m going to reach for the EW-DP system myself because I have the time to tune everything in the prep hours before the contributor or talent arrives on set. But, if the talent comes early, I can still rely on the auto-scanning and fast-pairing-sync capability of the EW-DP.

Robb also touches on the fact that the EW-DP system is already getting a greater number of new accessories compared to the AVX. For example, he specifically comments on the Sennheiser EW-DP SKP Digital Plug-On Wireless Transmitter/Recorder, which has enough features in its own right (see onboard microSD recording) to warrant its own article.

Accessories/Mounting the EW-DP

The EW-DP receiver is obviously several times larger than the AVX receiver, and with that size increase comes the need for unique mounting options. Thankfully, Sennheiser has taken a page from the camera accessory playbook and now has an included magnet mounting plate for the receiver, which offers a variety of mounting points. You can also use the single 1/4″-20 thread at the receiver’s base and forgo the magnetic plate option.

The plate affixes to the magnetic points at the base of the receiver. From there, you can mount the receiver anywhere or use the included cold shoe mount with a clever twisting locking mechanism, or come up with your own solution using the variety of available threads. This mounting plate, in general, works well. However, after a recent slide down a hill in the rainforest, I found the receiver popped off, and some mud got in the grooves around the four corner magnets. The result was that the plate failed to adhere securely to the receiver, and I had to carefully clean the grooves around the magnets before I could continue filming. Something to be aware of – or you could simply not be clumsy like me and avoid sliding down muddy hills!

Those same magnetic points also allow you to stack receiver units one on top of the other without additional tools. Though I think this is generally a good idea, if you stack receivers, you risk your camera height getting too high for comfort, potentially hitting door frames, or becoming less portable on a run-and-gun project. Obviously, this is dependent on the camera body you’re using. This vertical height issue may be more a function of the fact that my preferred doc camera is the Canon C300MKIII and its vertical design, and that’s less of an EW-DP design concern.

If you wish to forgo the cold shoe option, Sennheiser includes a belt clip that clips to the magnetic plate for use in a mixer bag of your choice.

The EW-DP kit also includes both a 3.5 mm locking cable and a 3.5 mm to XLR cable. For this review, I primarily worked with the Sennheiser ME 2 Omnidirectional Lavalier Mic, although I also tried the system out with a Sanken COS-11D lav. You can purchase the EW-DP kit with a Sennheiser ME 4 Cardioid Lavalier Microphone optimized for live event applications.

The app

You will want to download the “Smart Assist” app (available for iOS or Android users) to use in conjunction with your EW-DP kit right off the bat. Upon pairing my first transmitter and receiver, I was immediately hit with an update firmware notification – easily done directly over Bluetooth while taking care to keep the device in proximity to the TX/RX. Remember, you can only update one receiver or transmitter at a time – no bulk updating here.

The app has a “guide” setting that makes it abundantly clear what you should be doing at any given moment. Here I’m being given help with pairing, for example. Feel confident with the EW-DP kit and want to turn off the guide? Simply press the button on the upper right.

You can only have 16 total receivers on the dashboard in the app at a given time — which may or may not be a problem depending on the type of shoot you’re working on. You can receive real-time feedback on battery life. For example, I’m being told in the next image that the top unit is powered off of USB-C and the battery life per unit.

On my iOS device, I needed to “forget” a receiver at one point so I could concentrate on a single receiver in play — which meant jumping out of the app and heading to my Bluetooth settings to find the right device. Leaving the app was momentarily annoying, but this may be more of a function of how my iPhone works and less a reflection on the app itself.

I’ll be interested to see how often I use the app over time versus the receiver-side menu. I found the onboard menu to be very intuitive and easy to use, but having the option to use my phone is generally very nice, and being able to see the transmitter battery life without fiddling with the transmitter pack is a helpful touch. In short, sometimes I feel like I must have the app to get full functionality out of a given device, so the app integration in the EW-DP systems feels like a valuable tool on those occasions.

Powering

The power options with the EW-DP are flexible, and you can use either rechargeable lithium-ion or AA battery solutions for the hand mic, bodypack transmitter, and receiver. Either option works well in practice, though rechargeable would be the more environmentally friendly option in the long run.

Sennheiser made a great engineering decision with the EW-DP when they designed the same BA 70 rechargeable battery pack to work with the receiver and the transmitter. In the case of the other AVX system, the rechargeable batteries are each very different (likely a necessity of the receiver being so small), and thus you are forced to purchase a few of each type to get you through the day.

Over several seven-hour shoot days, the BA batteries performed as advertised. Still, I would suggest purchasing one backup BA 70 battery at minimum or having AAs on hand. You can charge a BA 70 battery by plugging the receiver directly into the wall through USB-C, but Sennheiser makes a dedicated dual charger (called the L 70) that feels like a must-buy accessory to me.

Final thoughts

This review is primarily dedicated to the EW-DP lav system and less so for the handheld mic system simply because I received the handheld system later in the review process and post Cinegear and NAB (two shows where CineD uses handheld mics almost exclusively to isolate the voice away from show floor noise). We’ll make sure to put the EW-DP handheld mic system through the paces on a show floor in the future, and I’ll update this post with those thoughts.

The wireless lav system with integrated windscreen isolates the talent voice very well, and a range improvement can be expected with a UHF system versus the AVX. For a producer/shooter, journalist, or DP in the jungle (like me), this is the audio kit to consider.

There are all sorts of quality-of-life design ideas here — everything from stackable magnetic mounts to locking connectors. The receiver even warns you when the transmitter is muted. It’s the little things that make set life easier.

Sennheiser has also done a solid job walking the line with the EW-DP by providing just the right amount of options and enough control to provide peace of mind in any interference-heavy environment.

We want to hear from you! Are you a previous Sennheiser AVX user? Have you had a chance to try out the EW-DP yet? Let us know in the comments below!

Hollyland is a Chinese company specializing in manufacturing wireless video transmissions solutions like the Cosmo, Syscom, and Mars families, Intercom systems (Solidcam, Mars, Syscom), cameras (Arocam/Live Streaming Camera), and Wireless Microphone Systems, where the new LARK MAX fits in perfectly.

The LARK MAX will be sold in two configurations – the “LARK MAX duo” consists of a receiver and dual mic/recorders (priced at $299), and the “LARK MAX solo”, which will come, as the name suggests, with a single mic/recorder next to the receiver and will be priced at $199. Looking at those prices, it seems as if they were designed to combat the popular DJI Mic, and at an even more affordable price.

All-In-One Wireless Lavalier Microphone System’s main selling points

In such a saturated market, you might well ask what the main selling points for any company with this kind of product might be. Well, at least for Hollyland, the answer is clear, and this is what they came up with in their latest device:

Audio quality: This is an essential point to start with. I’m happy to report that the sound coming out of the new LARX MAX when using the mic/recorder is very nice! It is rich, lifelike, and very pleasant to listen to.

External microphone input: The option to enhance recording quality by connecting external lavaliers of your choice is an essential feature. I would dare say that if this feature was not available, I’d skip the device altogether.

Internal Recording: I can’t stress enough how important this feature actually is. Once you’ve been exposed to it, there is no going back. This feature makes so much sense for a wide range of film projects, like weddings and documentaries just to name a few. With internal audio recording implemented in your device, you no longer need to worry about interruptions, audio cuts, or sudden camera recording stops. Even in such instances, the audio is securely stored within the device itself, so the audio is not lost.

Safety Track Recording: As long as companies do not implement a 32-bit float recording option in their devices (In this price range) this is one of the preferred ways to avoid “sound recording disasters” like audio clipping.

The true meaning of a “safety recording track” is a duplication of the recorded main track but at a lower level. With the LARK MAX, currently, it is not possible to simultaneously record two audio channels on the mic/recorder itself, (like main and sub with lower dB), so the way it is working now, it is the receiver that is sending two separate mono channels to the camera itself with one being -6dB lower.

I truly hope that Hollyland can look into this and enable Safety Track recording within the mic/recorder itself.

(Internal) Auto Record Start option: Personally, I’ve adopted to ALWAYS work with such a feature if the product allows it. For example, when working on an interview set-up or following an interviewee, there is always a certain element of stress, especially when working in a “one-man band” style. This means that filming, lighting, and audio recording are all being done by a single person, and if there is a feature that can help to reduce the risk of something going wrong, I’ll snag it. Auto Record Start is doing just that. It ensures that another audio file will always be recorded as soon as you take the mic out of the charging box.

environmental noise cancellation (ENC): Not to be confused with Active Noise Cancelation (ANC), this sound processing technique is used to reduce or eliminate unwanted sounds from the surrounding environment more naturally.

I have mixed emotions about this feature and let me cut right to my conclusion. This ENC thing will work well as long as you are trying to combat fan, hiss, or air-conditioning noise. If you were to place it in a more demanding and noisy environment, such as inside a train or near a working engine, you would seriously jeopardize the quality of your voice recordings.

Compact in size, long capacity storage and battery life, easy control, and file management: The last thing I want to do while filming and recording audio is to dive into the menu of my audio device and spend too much time “digging around”. I want it to be “straightforward, easy to use, and able to monitor changes in audio in “real-time”. I don’t want to constantly check the charge on the device and be concerned about the audio storage capacity.

In this regard, there are only two buttons to fiddle with. One is “touch” and the other is a physical push button. Taking a few minutes to understand how they operate will save you A LOT of time on location and it’s very straightforward.

If you are worried about “recording storage space”, or “battery life”, rest assured that with its 8GB of internal memory and a relatively high-capacity battery, the LARK MAX won’t “just stop recording”.

Unlike some devices on the market, there is no need for an additional App to explore the recorder and check for the audio files. After connecting it to the computer, it will be recognized as an “external device” so files can be retrieved easily and directly.

As you can see, I’m happy to report that the new Hollyland LARK MAX ticks all the selling points and, in many cases, exceeds expectations admirably. While there is always room for improvement, it is a great starting point and more for anyone considering such a device.

The competition

As mentioned earlier, the market for wireless Lavalier microphone audio systems has experienced significant growth in recent years and has become highly saturated. There are (so) many companies out there, but it is safe to say that at a certain price range, DJI Mic (our preferred device so far) and RØDE with their Wireless GO II are most probably the ones to take the lead. Speaking of which, I’m really wondering what RØDE’s next move will be to keep a lead with their GO devices. Will it be a 32-bit internal recording? (In the above image we added a Comica mic for size illustration).

Each of those systems has its uniqueness, but Hollyland and its LARK MAX system are doing a great job of combining many of the useful features found in both devices and delivering them in a single, cost-effective package.

Hollyland LARK MAX

Packaging:

More often than not, I am astonished by the remarkable efforts made by many Chinese companies in our industry when it comes to packaging their products. In today’s competitive market, it is almost a must (or should I say a “given”), but if you recall, not so long ago this was not the situation. In this regard, Hollyland is no different. Holding the box of this new All-In-One Wireless Lavalier Microphone system feels as if you just got yourself a new iPhone. When you open the (magnetic) box, you will find a robust case inside – one that will accommodate EVERYTHING you need to take with you on the go. Inside this case, you will find the charging case that houses a single receiver and two microphones/recorders, along with an assortment of cables (which we will discuss in more detail later) and two windshields. These fit perfectly well with each of the microphones/recorders thanks to a clever design. (Make sure the two rubber parts are placed in the mic dedicated space).

One remark on packaging: In my opinion, Hollyland is using too much plastic to protect the devices and their charging connectors. I hope that the company can explore more environmentally-friendly packaging options in the future, reducing the use of small plastic foils whenever possible.

Setup:

As a general guideline, when recording audio directly to the camera, it is advisable to set the camera input levels on the lower end. Some mirrorless cameras have better audio preamps than others, but to ensure better audio recording quality, this is a good tip! (In my test, I lowered the camera input on the FUJIFILM X-S20 to -22db)

Assuming that you have already charged the case, upon opening it, the single receiver (RX) and two mic/recorders will “smile at you” indicating they are ready to be used. The receiver will show all three components’ battery charging levels next to the charging level of the case itself.

Remove the receiver from the charging case and there will be an indication for:

• Audio recording mode (S for stereo, M for mono, and ST for safety track).

• Connection to the mic/recorders indication

• Microphone recording levels

On the mic/recorders, look for a solid blue light to indicate that they are paired with the receiver and are ready to be used (without Noise Reduction applied).

From that point onwards, it becomes a matter of mix-and-match settings, depending on your specific goals and what you want to achieve.

In the field

I recently shot a mini-documentary testing a new set of lenses (tune in for the announcement date on July 3rd). Next to the “straightforward” main interview, I was recording lots of live music. The energetic Brazilian band consisted of four talented people using instruments that sounded beautiful together, but very loud! When I first heard them singing and drumming, I had concerns about potential audio clipping or the system’s ability to level the audio effectively. I opted to select the two lead singers and attached the microphones/recorders to them, and then took extra care in controlling the receiver output to the camera, ensuring optimal audio quality. I also made sure that the mic levels were not too high to avoid clipping at the beginning of the recording chain. In the end, and to my relief, the new Hollyland All-In-One wireless Lavalier mic coped very well.

Note: the audio levels seen on the receiver AMOLED touchscreen represent the levels of the mic/recorders. When you get those right, you can proceed further down the chain and utilize the main rotating knob to control the signal output level to the camera. (Both mic/recorders can be controlled separately). Then, if the audio levels on your camera are too high, slowly decrease the camera mic volume until you get nice, clean audio.

Another small but important plus for the system is the strength of the supplied magnets. These are truly impressive and worth writing home about. In my mini-documentary, I dealt with enthusiastic Capoeira instructors, and they are really like small kids constantly on the move (in a positive way of course). Bottom line, I ended the two days of filming without losing either of the two magnets and I know from experience that this is not always the case…

Things to like

• Audio quality. Very convincing sound quality for the price! We all know how bad the letter “S” can sound on some systems. On this one, it is surprisingly good!

• Quick setting lock/unlock is possible with a short button press.

• Very strong magnets made for attaching the mics inside a shirt for a smaller “mic footprint”.

• Noise reduction quality: Strangely enough (or not), my remark here is on the positive side, but it belongs below in the “what can be enhanced” paragraph, too. Please allow me to explain:

As mentioned earlier in this review, when dealing with “constant” noise, the noise reduction functionality performs very well. However, I’ve yet to see a noise reduction solution that works flawlessly in all situations. It seems that all those NR chips have a specific “sound stamp” built into them to reduce specific noise without the ability to “learn the noise” and isolate it properly.

• The assortment of cables included in the package provides everything you need to get started. These include a 3.5mm to 3.5mm cable (for connecting the receiver to the camera), USB-C to USB-A cable, USB-C to USB-C cable, and USB-C to Lightning cable. It’s worth noting that this audio system can be connected to your phone and even controlled through the Hollyland App. However, at the time of writing this review, the App did not support the new LARK MAX, and therefore, it was not tested.

• Transmission strength is solid as long as you keep your eyesight with the camera (receiver). I was about 100 meters away from the camera and as long as I saw it, the recording quality was fine.

What can be enhanced?

• When filming outdoors in bright sunlight, the small blue/green indicator and the separate red indicator on the mic/recorder are useless. It is simply very difficult to see if those are activated or not. Almost the same can be said about the receiver itself although not to the same degree. The AMOLED touch screen remains visible, but efforts should be made to improve the readability of the information displayed on it.

• Either when pressing the REC button or when starting to record automatically, I would have appreciated a “physical sign” that recording had actually begun. With DJI Mic you have that short vibration as an indication. It is not available on this device.

• Like with DJI Mic, to my taste, the internal audio recording levels of the mic/recorder itself are too low. I wish there was a way to record internally a bit on higher levels.

• Back to noise cancellation, this can be applied to both mic/recorders only. There is no way to choose only one device and leave the other without this setting.

Conclusion

The new LARK MAX confidently goes head-to-head with the DJI Mic, without any sense of inferiority, matching it eye to eye in terms of performance and capabilities. Its overall sound quality is very nice and “rounded”. Between DJI Mic, RØDE Wireless GO II, and LARK MAX, the Hollyland is my winner. The kit seems to be complete with two mic/recorders and a variety of useful features. Operating the mics, in general, is straightforward. On the downside, it would be preferable if both the main and safety tracks could be recorded as separate channels within the mic/recorder itself, rather than the current setup where the safety track is recorded in the mic/recorder while the main track is outputted to an external camera for recording.

Do you have experience working with Hollyland audio devices? Does this new LARK MAX sound like a good option for your productions? Please share your thoughts with us in the comment section below.

We’ve covered trade shows for way over a decade – actually, we started around 2008. Shooting interviews about new products on the show floor always proved difficult on various levels: Hoards of people walking through your image on crowded show floors, mixed lighting conditions, and a lot of light pollution from other booths that are often demo-ing lighting equipment.

Trade shows = audio recording problems

On the audio side, we often had even worse problems in the past: lots of surrounding noise from people talking next to you, the occasional music in the background, and often wireless connectivity issues because of Wifi and general airwave congestion – which, by the way, is the worst, because you will literally be stuck with no usable audio unless you brought another wireless solution that works on other frequency bands, or simply a wired microphone solution. 

The main choice for show floor videos: hand mics

We generally use hand mics for gear interviews on the show floor. They are easy and flexible when we are moving from booth to booth shooting videos about new gear. Generally, they pick up less surrounding noise than lavalier mics.

Sony UWP-D22 microphone provided much better audio quality

So, after our long odyssey with wireless handheld microphone solutions from different manufacturers over the years, which “kind of” worked but with mediocre audio quality, background noise, and interference, we recently tested Sony’s UWP-D22 wireless handheld microphone. We were stunned by the exceptional audio quality it delivered, so we contacted Sony to loan us two sets for our NAB 2023 coverage. It proved to be the best decision. 

It almost didn’t matter where we were standing doing interviews, the audio always sounded great. I’m not a sound or audio expert, but as a DP I have to say that it sounded quite dry, almost studio-like, and clearly optimized for voice recordings while shutting out surrounding noise that was not in the vicinity of the hand mic. It’s not a close mic, so you don’t have to hold it super close to your mouth or nearly press it against your lips, which is also very unhygienic when interviewing various people throughout the day. When we held it at a standard distance, the Sony UWP-D22 worked flawlessly, making it absolutely ideal for our specific use case.

Wireless connection with Sony cameras, one receiver for two senders with the UWP-D27

We also had the set with two wireless lavalier mics and transmitters (Sony UWP-D27), which we only used once or twice for sit-down interviews. It’s super convenient that there is only one receiver for two lavs, which of course makes it easy to work with mirrorless cameras, mounting the receiver on top and connecting it straight to the camera with a mini jack cable. 

At this year’s NAB, we were working with FUJIFILM cameras because we used their camera-to-cloud workflow (watch our behind-the-scenes documentary about that here in case you haven’t seen it yet). But if you are using a Sony Alpha or FX-series camera, the smart hotshoe connection eliminates the need for a cable. Simply plug the Sony UWP-D22 receiver into the camera’s top, and you’ll have a seamless audio connection between the receiver and the camera.

Almost no interference

We never had any interference issues the Sony UWP-D22 microphones on the show floor, which is a rarity. With so many devices transmitting on various wavelengths across the entire Las Vegas Convention Center during NAB, it means there are a few dropouts every now and then. We didn’t experience it in any of the halls where all the booths and most of the people were. We ran into an issue only once, inside the press room. We realized that one of our two UWP-D22 sets caused interference with the other set when the second one was turned on while the first one was already in operation. Shutting one of them off solved the problem immediately, but it’s something to be aware of. I’m sure it is possible to avoid the situation by manually choosing the frequency instead, but we didn’t dive into that. 

Battery hungry solution

If there is one small downside to the Sony UWP-D22 microphone system, it’s that they are relatively power-hungry. Be aware that you should take enough replacement AA batteries with you on a shoot when using this system. However, rechargeable AA batteries work really well with it, if you want to be more environmentally-conscious. In general, I am also quite happy they don’t use a proprietary battery solution for the UWP-D22 system. It means that it’s super flexible and is immediately ready to operate continuously anywhere in the world, independent of any AC power connections. 

Audio problem for future trade shows solved

In conclusion, the Sony UWP-D22 will remain our reliable go-to solution for any future trade shows. We like the quality of the sound in comparison to all other solutions we tested – it’s clear, voices sound exceptionally full, surrounding noise is cancelled out well, and the wireless connection is robust and relatively interference-free. 

What is the wireless audio solution of your choice that you trust? And why? Let us know in the comments below. 

Comica was kind enough to send us their new wireless microphone system, the Vimo C, and in all honesty, the first thing that I did, was to check if it has an external microphone input, which it doesn’t.

Yet, as a professional content creator, I had the urge to break my own working routine and see if there is any justification for working with a product that comes “as is” and is very simple to use. 

The Vimo C – Introduction

The Vimo C is a 2.4G hertz dual-channel mini wireless microphone system, designed to work with a variety of hosting products, be it mirrorless cameras, mobile phones, or computers.

It comes in THREE flavors, a SINGLE mic and receiver, TWO mics and a receiver, or TWO mics, a receiver, and a battery charging case, and the latter is the one I am reviewing here today.

What’s in the box?

When you open the supplied pouch almost all the connecting cables that you could possibly need to immediately start working with this device are there. What’s missing is an iPhone Lighting to 3.5mm cable that needs to be purchased separately. On top, Comica added a multi-functional cable for monitoring the sound from the Vimo C itself (USB-C to USB-C, or, 3.5mm cable). Also to be found is a windshield accessory for battling the wind when recording outdoors. 

It is one of the simplest audio devices to operate, as well as the most lightweight and small in size I ever worked with. It’s very straightforward when it comes to using it.

When you take it out of the charging box, both the microphone and receiver will power on automatically, and basically, all you have to do is to look for the solid blue light on the mic itself. This will indicate that both the mic and receiver are now wirelessly connected. 

Vimo C – Simple operation

Next is connecting the Vimo C receiver to your hosting device, which in my case was a mirrorless camera.

On the mic itself:

There are 2 buttons: the orange one is for on/off or mute the mic, and the other is for turning the noise reduction option “ON” or “OFF”. Mind you that the receiver will remember your last setup so when turning it on again, make sure the BLUE light is there and NOT the GREEN one (meaning, noise reduction is set to “OFF”).

On the receiver you will find the following buttons: 

An orange “on/off” button will also serve as a button to change the output recording signal, from “mono” to “stereo” or “safety” (my preferred option as the same track will be outputted in 2 different recording levels to the camera in order to protect the audio from clipping). 

Next is the output socket for connecting to the hosting device, and a USB-C Socket for direct charging or headphone monitoring.

There are also 2 additional buttons, “A” and “B”. Each will control the gain recording levels from the receiver to the camera. There are 4 volume control options, and I truly like that the recording levels of each microphone can be controlled separately. By the way, a long press on any of the 2 buttons will flip the viewing mode on the display (very useful when mounting the receiver on the camera hot-shoe). 

In the above review, I obviously recorded myself with the Comica Vimo C and I did not process the sound any further. What you hear was recorded directly to the FUJIFILM X-H2 camera. 

In my opinion, the sound quality is good. Actually, much better than I expected from a modestly priced wireless system that can not take an external mic. 

Noise Reduction Function – Is it any good?

One of the biggest selling points of this product is the ability to use the built-in noise reduction recording option.

Unfortunately, I was disappointed by the audio quality when engaging in this option. Logically, it’s not realistic for a single noise reduction “stamp” to fit very many situations. Even my Sony noise-canceling headphone will do a “noise evaluating and adjusting” for the best performance. So in theory, if Comica could have analyzed the noise first and then deployed the noise reduction feature, that would have been great, but it seems this is not the case.

Conclusion

Let me end my review by saying that for the price ($134/€179) this is a good option for having a basic reliable sound as long as you don’t activate the noise reduction option and don’t lose eye site with your camera (otherwise, you risk having a broken sound). 

Because it is lightweight and can work for hours when fully charged, it is a good companion for traveling. For me, I’ll be happy to continue using the Comica in situations when talking to the camera but I’ll surely continue to explore its limitations and capabilities as I do see it having potential (perhaps a product firmware update can help with improving the noise reduction option).

Hopefully, for their next generation of mini wireless systems, Comica will consider adding an external microphone input connection option and an onboard audio recording possibility for a hard copy duplication.

Because, honestly, when it comes to audio, I’d rather be safe than sorry. 

What do you guys use for your run-and-gun audio setup? Do you have any experience working with Comica audio devices? Please share your thoughts with us in the comment section below.  

First, can we all agree that, in general, the Smart Slate or the Slate was due for an update?

The slate, timecode and why we still need it

You may recall that a slate is a device designed for syncing audio and video on a film, television, or commercial production. A “dummy” slate, sometimes called a “clapper,” displays valuable information for post-production like the scene heading, take number, production title, name of director and cinematographer, and so on. A “smart” slate takes things a step further with the introduction of timecode synchronization through a small external timecode box mounted to the slate, the camera, and the audio mixing device.

From there, the timecode synchronizes wirelessly or by physically connected cables. Sync’d timecode allows the post team to automatically (or, depending on your software, with the pressing of a few buttons) match video files with audio files. The benefit is that on larger productions, dozens of cameras and multiple teams may be capturing audio at the same time. On multi-camera projects especially, timecode is 100% necessary at every step of the production to avoid potentially expensive cost overruns in the editing bay.

As an aside, sometimes a dummy slate might be “owned” by the camera department, and the audio department might be the keeper of the smart slate, but not always.

Ok, refresher over! Now on to the Deity TC-SL1 Smart Slate.

Film slates – the competition

While there might be many brands in the general audio space, the smart slate market shrinks when we consider only those products which can compete with the new TL-SL1. Those would be smart slate devices by Ambient Recording and Denecke, which retail between $1600 and $2000. Did I miss any other competitors? Let us know in the comments below!

The drawback with those devices is that they rely on disposable and expensive AA batteries or on the need to attach a separate external timecode device — making things bulkier and less streamlined. If you need to attach a separate device, then the smart slate is acting as more of a display (stretching the definition of “smart”).

The Deity TC-SL1 is designed to work alongside (in a 2.4 GHz radio ecosystem) the competitively priced $199 TC-1 Timecode generators, and you can read more about those HERE. However, you can use the 1/4″ TRS and 5-pin LEMO timecode ports to hardline into other common LTC-compatible timecode devices. Therefore, you aren’t entirely locked into the Deity ecosystem if you’ve already invested elsewhere with other systems.

Oddly, there seems to be a lack of Bluetooth adoption amongst the competition, while the TC-SL1 allows for ease of control up to 250′ through the Sidus Audio app. More on that in a moment.

First impressions

The $999 list price felt like a steal when I first removed the stylish milled aluminum Deity Microphones TC-SL1 slate from its semi-rigid gray case that also includes a dry erase marker (thanks!), two NP-F550 batteries, USB C Cable, 1/4″ TRS to 5-pin LEMO cable, all covered by a limited 2-year warranty. There’s a net in the case that could hold additional batteries and cables, or you could even fit a few TC-1 timecode generators in there.

The slate is built out of a single piece of aluminum and feels great to the touch, with just enough traction to make it less likely to be dropped.

A little ridge at the back provides a comfortable place for a 2nd AC to hold the slate and the power button on the side has a sliding protective plate, preventing accidental powering on or off. Turning the slate, you’ll see locking doors for the NP-550 batteries that take two hours to charge and then last for a whopping 120 hours. Indicator lights on either side of the battery doors display green if both batteries are providing power to the slate.

Another standout design feature is the tiny display at the device’s rear that shows the current settings (frame rate, battery life, Bluetooth indicator, and more). A small toggle allows you to manually set everything if you prefer not to use the Sidus Audio Bluetooth app. Having manual control should alleviate concern over the possibility of a dead phone battery in the middle of a busy shooting day.

If you’re shooting exteriors at noon, know that the timecode display on the front is extremely bright. To avoid flaring the camera lens in a studio environment, you can turn down the display’s brightness. My favorite feature might be the ability to write short custom messages on the slate itself, thus providing an opportunity to impress the whole team by adding a client company name or production title. Creating that custom message takes just seconds in the app.

A series of small red LED dot lights in the upper left or bottom right of the timecode display blinks to let you know when the slate is on. Another handy feature is a “flip” button on the side that flips the timecode numbers without having to turn the slate over. There isn’t, however, a protective sliding door over the flip buttons, and I wish Deity had matched the design of the sliding door over the power buttons on the flip buttons too, but that’s a small quibble.

Another possible design feature might be to have a Velcro spot or small strap for mounting a 3rd party timecode generator to the back of the TC-SL1 slate. I also understand why Deity would have wanted to keep the clean look of the design intact.

Sidus Audio app

Back in the day, the launch of the Sidus Link app for Aputure’s lighting products wasn’t without its share of bugs, and that’s to be expected, considering it was a new software product for a company not necessarily known for software design. I’m happy to report that things went much more smoothly with the Sidus Audio app on launch day – granted, from a design perspective, less complexity may now be required.

A quick manual Bluetooth reset on the Deity TC-SL1 meant the app was able to see the slate immediately, along with three other TC1 timecode generators on my Apple iPhone 14.

Having all my TC-1 boxes in the same group worked fine for my purposes. For larger projects requiring multiple camera teams playing in different areas, you might want to configure your devices differently. Most of my time in-app was spent in the “devices” menu, although you could select the “workstation” menu for a larger scrollable display of your devices in a given group.

Clicking “sync” in the app brings all your Deity devices together with identical timecodes in just a few seconds. Obviously, this app won’t work quite this seamlessly if you use a competing product to jam your slate. In that case, a quick visual check will show you’re sync’d.

Final thoughts on the Deity TC-SL1 slate

So far, the TC-SL1 Smart Slate is one of those rare product home runs. It’s that good, and it invigorates an audio product category that hadn’t seen much iteration in years.

The TC-SL1 also does good things for Deity as its brand appeal broadens from solely content creators to including larger productions. Nothing against content creators (as I write this content!), but a wider appeal for Deity can only serve the audio space as a whole.

What do you think? Will you be adding the new Deity Microphones slate to your kit? Let us know in the comments below!

Time for a disclosure right off the bat – I’m not an audio mixer or editor by trade, and handling timecode is usually the province of the audio team in conjunction with the AC team on my sets. Yet that doesn’t mean I don’t appreciate reliable timecode syncing, and I’m always looking for ways to optimize the post workflow on my projects. I also think that, given the cost, the audience for the TC-1 isn’t the traditional folks responsible for on-set timecode, and that this might be a great first timecode experience for many. Let’s dive in.

Deity Microphones, a partner brand of lighting manufacturer Aputure, announced the TC-1 Timecode Generator box alongside a $999 smart slate, which unfortunately has been delayed by supply issues and wasn’t available for this review. So, for our purposes, we’ll stick with the TC-1 Timecode box for this review.

A few banner features of the TC-1 to start:

• OLED Display
• 2.4 GHz Wireless and Bluetooth Control
• Locking 3.5mm Timecode Port
• 28-Hour Battery Life (USB-C Charging)
• Pairs with the new Sidus Audio Mobile App
• Onboard Microphone
• Generates all SMPTE Timecode Formats
• Promised drift rate of one frame within 72-hours

First Impressions

The set of three TC-1 devices ships in a stylish yellow and black box and includes the following:

• Cold Shoe Mount x3
• Locking 3.5mm TRS to TRS Coiled Cable ($20 Value)
• Locking 3.5mm TRS to BNC Cable ($20 Value)
• Locking 3.5mm TRS to Right-Angle 5-Pin LEMO Cable ($45 Value) – For ARRI Alexa Mini
• USB Type-A to Triple USB Type-C Charging Cable

For this review, I primarily used a Sony FS7 MK II with an extension unit, a Canon C300 MK III, a Canon C500MK II and the Canon C70 for various projects over several weeks of testing. All of these cameras have a BNC / SDI port for timecode and thus, I quickly had to acquire two additional 3.5mm TRS to BNC cables because the kit only included one.

This highlighted a gap in the 3-unit kit for me right out of the gate – I would have assumed that a kit like this should ship with three of each of these different types of cables. The individual $169.99 TC-1 kit only ships with the locking 3.5mm coiled cable. My guess here is that Deity wanted to leave this decision a la carte for the owner, given that timecode cables vary from brand to brand (RED Cinema, for example, is notorious for switching cable platforms from camera body to camera body).

My impressions of the TC-1 out of the box are shaped by my time spent with the $229.00 per unit Tentacle Sync E system (really the main competitor for Deity here in terms of price point and Bluetooth control). It is worth noting that the Tentacle Sync E only ships with a 3.5mm to 3.5mm cable. The biggest difference between the Tentacle Sync E and TC-1 is that the Tentacle lacks an OLED display and is 100% reliant on the app to get it working – more on the differences in a second.

A Power, Sync and Pair LED indicator all line the top of the device and the 3.5mm port on the side rounds out the exterior along with a simple power button and a bright, easily readable OLED display – it’s all very minimalist in an approachable sort of way. This seems like a timecode system that wouldn’t be too hard to get up and running right out of the box.

Deity also includes a triple charging cable with the trio that makes charging all three devices that much simpler. Lots to like here – time to power on all three units.

Operation

Here is a video showing the setup that is created by Deity Microphones:

There’s an element to the operation of the TC-1 that really is perfect for a timecode novice like myself, and the Sidus Audio app is starting from a more polished place than even the Sidus Link lighting app was back at version one.

The OLED Display on the TC-1 unit tells you a few bits of useful information at a quick glance:

• Timecode Data
• A letter designation (I changed this to correspond to the camera metadata of the camera the given TC-1 was mounted on)
• A “BT” indicating the unit is being controlled by Bluetooth
• Frames Per Second (23.98F, 24.00F, 25.00F, 29.97F, 29.97DF, 30.00F etc)
• Battery Life (displayed as hours and with a small bar)
• A lock and unlocked screen indicator in the bottom left. This keeps you from bumping a key setting accidentally.

Want to try out the new Sidus Audio app? You can find it available for download HERE.

For starters, unless you want time of day timecode, you don’t even need to open the Sidus Audio app to get all three TC-1’s paired and sync your cameras. I personally don’t love having to hope I have enough battery life on my mobile device at the end of a 12-hour shoot day away from power to make changes in a given app, and the fact that you have a ton of control through the OLED display itself is a big plus for me.

I used the TC-1 primarily to sync multiple cameras and didn’t personally use a mixer on any of my shoots, but you could absolutely set a mixer paired with a TC-1 as your “main node” sending timecode to various camera packages. If your camera package doesn’t have a dedicated BNC timecode port, you could also send audio timecode using the included 3.5mm cable (it takes up one of your audio channels with timecode audio that sounds a bit like you are entering the Matrix).

Once the TC-1 Box is powered on and paired, it quickly enters a screen sleep mode where the bright display shuts off to avoid getting caught in a shot in a pesky reflection.

The Sidus Audio app shows all of the TC-1 Boxes in play, and I assume it will one day show the Sidus Smart Slate as well when those begin to ship.

You can also create different device groups for larger shows, where perhaps different clusters of TC-1 boxes are divided into different camera groups.

Deity Microphones claims a minimal one frame drift after 72 hours and I personally didn’t encounter any drift during any of my shoots with the Sony FS7 MK II, C500 MK II, C300 MK III or the Canon C70 – although we never left multiple cameras running for three days. The fact that I didn’t experience any drift is a big deal and the primary selling point of these devices.

Conclusion

For years, I’ve considered timecode handling and operation to be purely an audio team job and the fact that I can sync timecode on a variety of cameras in a matter of seconds using my iPhone can’t be dismissed. The TC-1 just works – it isn’t rain-proof or bullet-proof, but neither is your favorite camera or mixing device.

I have used Deity Microphones in the past and there is much to like there, but it might be time for the company to change their name to Deity Timecode, because the TC-1 ecosystem and Sidus Audio App are fantastic and exist at a price point that makes sense. I will be interested to see how the upcoming, pricier Smart Slate changes the dynamic, but this is a promising device in a market segment that really needed some healthy competition, after years and years of the same devices being used on set with limited innovation.

What do you think? Will you be adding a few TC-1 boxes to your kit? Do you need timecode in your workflow? Let us know in the comments below!

As we shoot a lot of S35 multicam productions with at least eight team members (mostly 15+), we have been looking for an affordable and reliable wireless intercom solution for quite some time. Here in Europe, we have major brands like Riedel and Green-Go (comparable to Clear-Com and Altair).

These are phenomenal systems, but crazy expensive and not exactly straightforward to use. We’ve spent thousands of euros to rent them, and most of the time you need an extra technician to set them up.

As a reference, this year we paid around 3,500€ (excl. VAT) for a complete package with 20 beltpacks plus technician. Beyond that, if you want to invest in a system from one of the established manufacturers with a comparable feature set to the Hollyland Solidcom M1, you will have to spend at least five times as much. For example, a single Riedel Bolero Beltpack costs around 2,200€.

Hollyland Solidcom M1

We came across the Solidcom M1 in mid-2021 and were lucky enough to get our hands on a demo unit. We quickly realized that it was super simple and quite reliable. So we immediately ordered a complete set of eight beltpacks (M1-8B). Together with the demo unit with 4 beltpacks (M1-4B), we were able to cover most of our upcoming productions with it. In the meantime, we have ordered another M1-8B. So to preface my conclusion a bit: Yes, the Hollyland Solidcom M1 system is really quite good, especially since it is a comparatively inexpensive Intercom system.

The quality and robustness of the wireless connection is simply incredible. Even more so when you consider the price. Even though we had events with more than 1500 guests and distances of at least 200m with a huge stage in between, there was literally no degradation of audibility or loss of connection. Not even concrete bunkers like the Wiener Stadthalle could affect the system.

A plus point is that you can daisy chain the base units with CAT cables to extend the range more or less indefinitely. The beltpacks are smart enough to automatically register with the next available base unit. If you are in a no-fuss venue with a straight line of sight, you can remove the omnidirectional antennas and even increase the range with the internal antenna.

What’s great about the Hollyland Solidcom M1 system

Here’s a list of things we’ve discovered while using the Solidcom M1 system on real jobs. It really is a reliable system, and since it’s truly easy to use, it quickly fades into the background a bit on the job, which is of course a good thing. An intercom system should just work and not be an annoyance. However, we did find a few problems and odd details. I guess that’s just the way it is, right?

• Included is almost everything you will ever need. The kits come in a hard case with foam inserts. A charging station for eight beltpacks and an additional eight batteries (which are also included; four spare batteries in the 4B kit and eight in the 8B kit). Omnidirectional antennas, lanyards, single-ear headsets including storage pouches and all required cables.
• The setup is absolutely foolproof. Once you turn on the base unit and the beltpacks, they will connect automatically. If needed, assign different beltpacks to one (or more) of the three groups directly from the base unit or the app and you’re ready to go.

• The base unit has a built-in 2-wire to 4-wire converter. So you can integrate it into existing systems.
• The build quality is absolutely fine. The beltpacks are very light and small. They have a high-quality Lemo connector, an additional standard 3.5mm stereo jack plug and replaceable antennas.
• 5-6 hours runtime with one beltpack battery. So far, we have never run out of battery.
• The base unit can be powered by Sony NP-F batteries or even via PoE (Power over Ethernet).
• The included headsets are quite comfortable.

• As already mentioned, exceptional range and quality of the connection.
• The price is for a complete package, no hidden additional costs.

Real-Life observations

• The horizontal orientation of the beltpacks is unusual (at least for us). You can remount the belt clips for a vertical orientation, but it quickly becomes clear that this is not really intended by the manufacturer.
• The Lemo connector is definitely a high-quality connector, but it’s also much harder to maintain and replace when it breaks (compared to a 4-pin XLR connector used in most other commonly used systems).
• The beltpacks have (flexible) antennas, which makes them pretty small and you can replace them easily. But you will also constantly snag them with your shirt or the cable. Smaller stub antennas (like those of the predecessor model Hollyland Mars T1000) might have been more practical.

• With Riedel or Green-Go beltpacks you have the option to switch between push-to-talk and “always on”. The Solidcom beltpacks only have an on-off button. But you get used to it.
• Hollyland also offers two-ear headsets (sold separately for about €180).
• The headsets have a built-in switch that disables the microphone when you flip it up (probably the first thing to break).

What we didn’t like

Please note: At the time of writing this article, Hollyland has sent us a new firmware that addresses most of our feedback/criticism, but we haven’t had time to review it yet. Please refer to this Google Doc directly from Hollyland that goes over the new features.

• No replaceable ear cups. That is really a bummer, because you simply have to (or want to) replace them from time to time.
• You cannot assign “listen-only” to dedicated groups. For example, we have the use case where the steadycam operator and his focus puller have their own group to communicate with each other all the time without the other groups hearing them. So far, so good. But if they need to hear the director’s instructions as well, they need to be added to that group, and now everyone in the director’s group also hears the steadycam operator’s group. Previously there was no way to accomplish this. With the new FW (V1.1.2.7) this should be possible by assigning one of eight working modes to different beltpacks via IP accessibility.

• The headsets have thresholds that disable the microphone below a certain noise level. A great thing if you’re in a noisy environment and don’t want everyone to hear a heavy wind noise or people yelling all the time. BUT, on jobs where you need to be reasonably quiet, like talk shows, conferences, comedy/cabaret shows, etc, the director has to more or less whisper, which is then cut off by the gates. Pretty inconvenient when the intercom automatically mutes the director and there’s nothing you can do about it.

Thanks again to Hollyland! They have also added different mic gain modes that can be set individually for each beltpack. If you want to learn more, Nino’s review of the predecessor model Hollyland Mars T1000 can be found here.

Considering the price, the scope of delivery, the quality of workmanship and the customer support (especially when implementing feedback), we can recommend it without hesitation.

Thanx to the finest colleagues from cinelive.at, bobo.at and ppe.live!

Link: Hollyland

What do you think? Do you have any experience working with an intercom system of some sorts? Share your experiences in the comments below!

Tentacle Sync is known for it’s affordable timecode-solutions. These allow users to sync multiple recording devices using the same timecode. Multi-cam shoots are simpler to manage, but even simple dual system audio benefits from synced timecode.

What is the Tentacle TRACK E Audio Recorder?

Tentacle Sync’s new TRACK E is a small audio recorder that fits right in their ecosystem. It’s smaller than an average wireless audio belt pack. That’s practical, because the recorder is meant to be attached on the person being recorded.

The device records onto an internal micro-SD card. This eliminates the need for an analog or digital radio signal being transmitted with all its drawbacks.

The Track E can be timecode synced with Tentacle Sync’s own SYNC E devices. This combination is a nifty solution to elegantly handle dual system audio in a small crew. Or as a one-man-band for that matter.

A couple of companion apps for Android, iOS, macOS and Windows help you get the most out of the TRACK E. However you could even use the device only with a smartphone!

In case you missed it back then, you can also watch our video interview with the Tentacle Sync founder Uli Esser from IBC 2019 (remember when there were still trade shows?) where they first presented the TRACK E audio recorder:

32-Bit float — What Does That Mean?

Conventionally audio devices record 16- or 24-bit fixed point audio, the Tentacle TRACK E Audio Recorder can be set to record 32-bit float. In a 32-bit float file bits are used differently than in “normal” fixed point recordings. This results in a vastly increased dynamic range. (If you want to know more, please check out this article from Sound Devices.)

In the video review I did a little non-scientific test how well 32-bit works and how it can be used.

The Specs

Now let’s have a quick look at the numbers:

• Dimensions: 47mm x 68mm x 19mm (1.85 x 2.67 x 0.74 inches) weighting just under 60 grams.
• Power: Built-in 900mAh rechargeable battery that lasts up to 10 hours and charges in less than two.
• Recording Media: MicroSDHC Card up to 32GB (Recommended Class 10). The included 16GB card is good for recording 30hrs (24-bit) and 23hrs (32-bit).
• Connectors: 3,5mm lockable Microphone Jack, USB-C (USB 2.0 speed) for charging and data transfer. The TRACK E can supply 5V plug-in power to the attached microphone.

The included microphone is a black omnidirectional electret-condenser mic with a frequency response of 50 Hz ~ 20.000 Hz, 150cm of cable.

Conclusion of TRACK E Review

While on its own the TRACK E is a capable and useful device, it really shines when combined with a SYNC E timecode device. Audio quality is great, even with the included Lav microphone, but can be improved by adding a better quality microphone. Before you ask: my favorite lavalier is the Voice Technologies VT500.

Please let us know your thoughts, or experience with the TRACK E in general and with 32-bit float recording in particular — you guessed it: in the comments below!

Intercom Systems on Set – a Nuisance or an Asset?

On many larger film sets, especially commercial productions, intercom systems are standard operating procedure – the AD and producers will communicate with their PAs on a channel, and the gaffer will talk to their electricians on another channel. Nevertheless, even on the most modern sets, we often see old systems use that suffer from acoustic noise, or bad sound quality in general. It’s not the priority of many production companies, but it can create quite some annoyance among the crew if it doesn’t work properly, so many resort to using their mobile phones instead. That’s not how it has to be if better, noise-free (digital) systems would be used.

On the other hand, on smaller sets, there usually are no intercom systems in use. Either because the production company thinks it doesn’t fit the kind of production (e.g. a small documentary crew of 5 people, which I find myself working in quite often) because of either cost or the practicality of using such a system (many require AC power). Mobile phone calls are considered “good enough” even though something else would be much more practical in many cases.

So when I heard of the Hollyland Mars T1000 Intercom System, I was intrigued: A digital system that seems small and affordable enough to be used even on smaller sets, with a promised “Carrier-Grade Voice Quality”, that sounded actually very interesting.

What’s in the Box of the Mars T1000? Contents and Built Quality

When I opened the box, I was surprised how much was included with the Hollyland Mars T1000 Intercom System: The base station plus 4 belt packs, and 5 headsets. Two antennas for the base station plus a spare antenna, plus spare headphone shells for all 5 headsets, and satchels for all of them too. A 4-pin XLR power adapter for the base station, and NPF-style (Sony) battery mount on top of the base station. Really a very comprehensive setup, and nothing that was missing, with spare parts I didn’t actually expect. And on top of all, all that from a company (Hollyland) that so far is best known for wireless video systems, an unexpected new product!

Belt packs – Rugged with built-in battery

In terms of built quality, even more surprising: The belt packs are made of solid aluminum, with built-in antennas. For me, the belt packs are the most crucial part of intercom systems because they really need to be able to take a beating – they get tossed around, fall to the ground, and so on – and the Mars T1000 belt packs even come with built-in antennas, which look like they can’t easily break off (always a concern on devices where the antennas are sticking out!).

The battery is built in … now this is good and bad of course, for one it’s good for ruggedness as it can’t simply fall off (yes, we all know the intercom systems where that happens frequently!!), yet it means that you can’t simply swap to a full battery when the built-in one is drained. However, it lasts around 8 hours when fully charged (that is, 8 hours of continuous use without switching it off in between!), and taking normal usage into account, that means that you should be able to last through a full shooting day. Still not ideal, but for this type of system – let’s call it a “prosumer intercom system” – I think it’s the right move the build the battery into the belt packs.

Base Station – Solidly built, 4 USBs for charging

The base station, likewise, is made of solid aluminum. It also looks like it’s very durable, but it will usually live in the video village or wherever the director or AD sit. The base station itself has a headphone jack as well for one of the headsets. Both the base station and the belt packs have OLED screens for settings, and on the base station there are some very basic settings that you can change, for example adjust for a loud or more quiet surrounding.

The base station has 4 USB-type-A ports on one side which are intended to be used to charge the four belt packs with the included 4 USB-A-to-USB-C cables. Very nice idea indeed, no need for an additional USB charger with this system. There’s also an additional USB-C port for firmware updates next to those 4 ports.

You can even daisy-chain a second basestation via Ethernet in order to have up to 10 people connected with two Mars T1000 Intercom Systems. Smart move that makes your small system somewhat scalable (though 10 people is the maximum, you can’t add a third system to a network).

Powering the Mars T1000 Base Station – AC or batteries

The Mars T1000 base station can either be powered with a 4-pin XLR cable (included) or through NPF-style batteries, which, as already mentioned, is a great idea that makes you very independent with it. You can literally take this system to the top of a mountain and you’ll still be able to communicate with your crew without the need for AC power or some other funky battery improvisation. We tested this and it works like a treat – I applaud Hollyland also for using the NPF standard which guarantees that those batteries are cheap to buy and also easy to get from anywhere, as it’s such a widespread standard.

Headsets

One thing that constantly annoys me about many other intercom systems is the fact that the headsets often hurt or don’t sit on my head perfectly. Nothing is more distracting than a headset that you have to wear all day long (e.g. on a multicam production, connected to the director), which gives you a headache because it’s pressing against your head, and there is nothing you can do against it.

Luckily, I find the headsets that Hollyland is shipping with the Mars T1000 to be extremely comfortable. I have a relatively large head and it fits me very well, though of course it can be adjusted to different head sizes. The headphone shell surrounds your right ear entirely, which is great – there is no pressure on your ear whatsoever, which makes wearing the headset for an extended period of time a non-issue. Also, the headset in general is very lightweight, it doesn’t feel like a full headset when you are wearing it. The microphone in front of your mouth can be adjusted easily to any needed position. I can only recommend to wear it as close to your mouth as possible though, in order to guarantee good audio quality.

Frequency band

In terms of frequencies, there is nothing you can really change (that I found) – the Hollyland Mars T1000 system is operating in the 1.9GHz band, which is the upper limit of the frequency band used by GSM systems. This means it’s operating on the same wave lengths as mobile phones, which can create interference in busy areas (say, if you are operating the system at an event with many people around – okay, let’s assume that these types of events will start to happen again after 2020 is over ….). It’s something you need to be aware of and you should plan accordingly before you end up on set and you can’t use it because of interference.

Sound quality

In terms of audio quality, communicating using the Mars T1000 sounds pretty much like having a mobile phone call over a normal cellular connection. The audio quality isn’t as clear as a VOIP call (like, let’s say, Facetime Audio or a WhatsApp call), but like a normal GSM call.

There seems to be a little more acoustic noise than during normal mobile phone communications, but it’s negligible. When the connection is there, the quality is quite decent.

What I did find in louder environments, sometimes it seems like I had the volume turned up all the way in order to understand my counterpart. This might have to do also with how close the microphone of the other person is to their mouth – these are close mic headsets, so people should be advised to have the microphone almost touch their lips when talking. Just be aware to change the foamy and disinfect the headset before it changes persons.

When the connection does break up, the audio is really unusable – typical behaviour for a digital system. This is pretty much like being in an area with weak phone coverage, it will sound just like that: at first, you will hear only snippets of what your counterpart is saying, and then the connection is completely gone. Sometimes there is a hiss noise before the display says “LOST”. And that actually brings us to the next point: Reach.

Reach and connection

Hollyland claims 1000 feet (approx 300 meter) range of the Mars T1000 system. Of course that is only true for line-of-sight connections. In order to test this – you can see it in the video above – I left the studio and walked down the street, at first with the basestation still in the studio. It kept the connection all the way down the stairs and then until I was around 50 meters away from the office, then it broke up. Not a great range but “good enough” for such a system, considering there were very thick and old walls between me with my belt pack and the basestation.

The next test was a line-of-sight test, and our “gear wizard” Florian stayed by the open window with the basestation and I walked down the street. What’s noteworthy is that it’s clear that even a car or an electric scooter can cause some interference when passing by. Nevertheless, I was able to get quite close to the claimed 300 meters of distance, maybe it was around 250 meters, before the connection was interrupted. What’s strange is that when getting closer to the basestation again, it doesn’t necessarily automatically seem to reconnect to it. It helps to turn the belt pack off and on again, because it seems like it’s trying “harder” to reconnect then. Sometimes the connection jumped from no connection to a connection with 3 bars just by doing that, when walking back only a few meters. But we all know how “funky” mobile phone reception can be, it’s clear that this is the same kind of behaviour.

Conclusion – Mars T1000 Intercom

I can recommend the Hollyland Mars T1000 Intercom System to people who are after an affordable and durable communication solution for small sets and small teams. Range is an issue, so just be aware that it’s not going to work in a radius of a kilometer or so, but it doesn’t have to work that far – even inside buildings, as long as people are not too far apart, it should do its job just fine. Durability is great and I can see that thing take a beating, I even think it’s suitable for rental, should you decide to rent it to other people. The price might seem not that low when you see it the first time, but it’s actually quite affordable compared to similar solutions in the market. I definitely plan on using it on many of my upcoming shoots when communicating in a small crew. Thumbs up!

Hollyland is actually running a promotion on the system until the end of September – normal price is $1,800, now it’s just over $1,500. Please support us in making more reviews by using our links below! Thank you.

Are you using intercom systems like the Mars T1000 on your productions? Which ones? Do you like using them or are you considering to buy one? Let us know in the comments below!

Smaller, lighter, better? RØDE NTG5

The RØDE NTG5 is a short shotgun microphone from the Australian microphone Manufacture RØDE. In comparison to the NTG3, the new NTG5 is about 50mm shorter than the NTG3, in total it’s 203mm long. It weighs only 76g, that’s almost half the weight of NTG3. But surprisingly, it costs 20% less with a whole accessory kit included. These factors make the NTG5 seem too good to be true, so we took a closer look.

The new NTG5 in its black coating looks very robust, it feels very good in the hand and well built. The Aluminum body helps to reduce weight. The new design of the acoustic tube looks advanced and should provide better frequency response to the microphone. Besides that, the black design matches with the RØDE VideoMic NTG, the NT-SF1 Ambisonic and the RØDE TF-5 Pencil Microphone perfectly. I guess this is a new image that Rode wants to show to the customers: black, cool, simple, and robust.

In the Box is also a pistol grip shock mount and an XLR cable with “connbox” design, a simple microphone clip mount, a foam windshield, a WS10 “softie” style windshield, and a small pouch bag to protect the mic from transport. All these accessories are well built, feel very robust in the hand, and I found that they can even handle some extreme situations.

• What is RF technology?
  RF stands for radio frequency; this kind of technology is also called HF-High frequency technology.  In contrivers to the AF – audio frequency or LF – low-frequency technology, the capacitance variations of the condenser capsule are not converted directly into audio signals but modulated by an oscillator generated high-frequency (radio frequency) signal with FM or AM modulation. This signal is then immediately demodulated and recreating the audio signal in very low impedance. We can simply understand this process as there’s an ultra-small wireless transmitter and receiver inside the microphone.
  Because of the very low impedance, and low RF Voltage, RF condenser microphone can be used in damp weather conditions which could create problems in DC-Biased microphones. It also has much less interference to radio signal and is much more stable under extreme temperatures.

Spec Comparison to Sennheiser MKH-8060

The RØDE NTG5 has some very impressive specifications, which put it into the top range of microphones:

Just to give you an impression, we take the Sennheiser MKH-8060 as a comparison, which costs more than twice the price.

From paper, the RØDE NTG5 and Sennheiser MKH-8060 have both 25Ohm output impedance as they both are RF Condenser Microphones. The Maximum Sound Pressure Level of the RØDE NTG5 is 130dB SPL, which is 1 dB more than the Sennheiser MKH-8060, and the Noise Floor of the RØDE NTG5 is 10dB SPL (A-Weighted), which is 1 dB less than the Sennheiser MKH-8060. This means, the RØDE NTG5 can handle 1 dB louder, and has 1dB less noise. Even from psychoacoustic, the human ear can not hear the 1dB difference, but this tiny difference may make the RØDE NTG5 even work better in some extreme situations.

Furthermore, the current consumption of RØDE NTG5 is 2mA at 48V Phantom Power, which is 1.3mA less than the Sennheiser MKH8060. Compared to the current consumption of a camera sensor and other parts, this is a very tiny amount, but if you are running this microphone with a mobile recorder such as Zoom H5, this may give you some extra minutes running time before its battery drains (mind you that this is a passive microphone, therefore the need for phantom power).

Here is the Polar Pattern and the Frequency Response of the RØDE NTG5

How is the Sound?

Specifications do not mean everything. Now, coming to the most important part: sound!

Sound is a very subjective judgment, and everyone has their definition of “natural-sounding” or “warm sounding” microphone. But there’s also a kind of “industry standard” for sound, which is what you hear every day from TV and in the cinema. Therefore, you will mostly see Sennheiser, Schoeps, DPA or RØDE microphones chosen by audio professionals and filmmakers, for two reasons: first, people in audio postproduction are much more familiar with the sound of these microphones and know much better how to deal with them. Second, the ear of the audience is much more trained for the sound from these microphones.

Back to our RØDE NTG5 review: through the years, RØDE has established their microphones in the entry- and mid-level market. Almost every filmmaker and audio professionals has heard of or even used their microphones. The RØDE NTG3 was one of the most popular shotgun microphones in its price range. With the experience they have, and the industry-proven sound quality, I doubt that for the price, there will be a better choice as the RØDE NTG5.

How does the RØDE NTG5 sound compared to the Sennheiser MKH-8060?

The Sennheiser MKH-8060 is the latest member of the legendary MKH family. The MKH-416 shotgun microphone has been THE industry standard for many decades. As I was considering using the Rode NTG5 as a backup and on-camera microphone for my Sennheiser MKH-8060, I tested the RØDE NTG5 side by side with my Sennheiser MKH-8060, both in the studio and in the field.

Off-axis Sound

The focus of my test was the off-axis coloration of sound, and how the microphone works on a real film set. Sounding good in perfect angle and distance is not enough for a good all-around short shotgun microphone. Much more critical is the sound coming from off-axis. When the microphone is mounted on-camera, the sound source comes often from off-axis. A good all-around shotgun microphone sounds only a little “faraway” and “quieter”, without color the sound and losing many details.

Audio Comparison Clips

You can hear the comparison audio clips here:

1. Sound comparison
   This is a pure sound comparison between the Sennheiser MKH-8060 and RØDE NTG5. They both directly connected to a Zoom H-5 handheld recorder and set at the same distance to the sound source. The sound source started in front of the microphone and moved in circles around the microphone.
   Here are the audio clips, you can hear the difference and judge which is better for your ear. For me, the MKH-8060 has a little less coloration off-axis, but the NTG5 seems to have a little better rear sound rejection. They both sound very good, and very similar when the sound source is in front.
2. In the field – real-life test
   I used the microphone as my main shotgun microphone for some documentary shootings. With situations like rainy weather and dust, just as expected, the NTG5 worked perfectly in a rainy, humid, and dusty environment.
   In one scene, the microphone was very close to an induction cooking plate. As the induction plate started with full power, some interference happened with the microphone.
   But except this small noise interference, the NTG5 worked perfectly under different weather situations during my real-world test. It sounds very close to the Sennheiser MKH-8060, which made it very easy for me to judge if my boom was pointing at the talent 100%. The small size and light weight made it easier to hold during longer interviews on a boom pole. I can be relaxed during rainy days on outdoor locations as the microphone is rain and dust resistant.

Some Downsides of the RØDE NTG5

Lots of good things about the RØDE NTG5, there is also something you need to know before making your final decision.

Aluminium built, sensitivity to handling noise

The microphone is made from aluminium, which means it can still have some RF interferences in extreme situations. Because of the very light-weight short body design, the microphone is more sensitive to handling noise, which could be a problem in some situations.

Plastic pistol grip

The pistol grip is made from plastic, which can only provide some isolation of handling noise, in my test with a professional boom pole, it catches more handling noises in higher frequency range compared to the Cinela Pianissimo Suspension system (but the Cinela Pianissimo Suspension system costs almost $1000 alone without a microphone).

Wind sensitivity

And because of the high sensitivity and short body design, the microphone is very wind sensitive. If you are shooting outdoors, you need to have some good wind protection (the foam windscreen is only enough for indoor situations, but as there’s a RØDE WS10 Furry Windshield included in the package, no need to worry in this point).

Conclusion – NTG5 Review

After many tests and the comparison to Sennheiser MKH-8060, both looking at the build quality and the sound quality, the RØDE NTG5 Microphone a real no-brainer in its price range. RØDE has made another product that could become an industry-standard with an unbelievable price for the market. This microphone is, for now, THE BEST all-around short shotgun microphone in its price range we know of. With the NTG5, RØDE has shown us that it is possible to make a very very good shotgun microphone at a really affordable price.

Tell us what’s your experience with the RØDE NTG5 and other RØDE microphones. And if you are considering purchase one, what else would you like to know about the NTG5? What do you think about our NTG5 review?