[mcp6453[_2_]]

A couple of years ago, when I set up to record a speaker with a wireless lav, I
clobbered the local wireless setup of the venue. (My speaker was being picked up
by the house system.) While I realize that it is very unprofessional and
unacceptable to do that, it was unintentional. How do you guys to frequency
coordination for single, remote events? My wireless is the Sennheiser EW122. Is
there any value in monitoring the receiver before activating the mic, since it
is possible that another system may be set up for that frequency but not yet
broadcasting?

[Don Pearce[_3_]]

On Mon, 20 Sep 2010 09:59:54 -0400, mcp6453 wrote:

A couple of years ago, when I set up to record a speaker with a wireless lav, I
clobbered the local wireless setup of the venue. (My speaker was being picked up
by the house system.) While I realize that it is very unprofessional and
unacceptable to do that, it was unintentional. How do you guys to frequency
coordination for single, remote events? My wireless is the Sennheiser EW122. Is
there any value in monitoring the receiver before activating the mic, since it
is possible that another system may be set up for that frequency but not yet
broadcasting?

Here in the UK there is a body appointed by Ofcom (PMSE, Programme
Making and Special Events) specifically for this job. You give them
location and times, and they will assign you channels. There is no
regulatory force behind the assignments, just a gentleman's agreement.

Otherwise, I guess you take a tour of nearby venues and find out from
their sound engineers what channels are in use. The theatre manager
should be able to organize that.

d

[Scott Dorsey]

mcp6453 wrote:
A couple of years ago, when I set up to record a speaker with a wireless lav, I
clobbered the local wireless setup of the venue. (My speaker was being picked up
by the house system.) While I realize that it is very unprofessional and
unacceptable to do that, it was unintentional. How do you guys to frequency
coordination for single, remote events? My wireless is the Sennheiser EW122. Is
there any value in monitoring the receiver before activating the mic, since it
is possible that another system may be set up for that frequency but not yet
broadcasting?

You talk to everybody involved and you find out what frequencies they are
using, then you plug them into the tool on the Sennheiser website that
looks for second and third intercept interference possibilities.

ALWAYS turn on the receiver and leave it for a while without a transmitter
to see if there is interference on that frequency first. It doesn't really
assure you of very much because there may be an interference source that
won't be turned on until your second set, but it's a start. Don't worry
about the audio so much as the S-meter... if it's seeing any signal strength,
that's probably not a channel you want to be using.

If you have more than two organizations using wireless in the same place,
it can be worthwhile to get a scanner (or even better a real spectrum
analyzer) and check things out in advance.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[alex]

Il 20/09/2010 16.10, Don Pearce ha scritto:
Otherwise, I guess you take a tour of nearby venues and find out from
their sound engineers what channels are in use. The theatre manager
should be able to organize that.
once i was working in a club with wireless microphones and the nearby
church, as they discovered later, had wireless too.
the church was open during the day and the club at night. Just fine for
a couple of weeks.
Obviously the day they had a soundcheck in the afternoon, the singer
voice was well hearded in the church right in the middle of the
liturgy... Those churches had a fixed audio installation they never
touch. they just turn on and off the transmitter when needed, but the
receiver is always on and connected with the pa.
bad