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Author Topic: Setting levels on wireless receivers  (Read 1054 times)

Mac Kerr

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Re: Setting levels on wireless receivers
« Reply #10 on: February 23, 2018, 04:23:14 pm »

there's no such thing as "line" or "mic" (switch) on the G3 sennheiser receivers, you can set the output level per 3dB. i don't see the point of +18dB boost on the receiver & then padding -18 dB on the mixing desk....

+18dB relative to what? dB is an expression of a ratio between 2 levels. If it says +18dBV it is relative to 1 volt, dBu is relative to .775 volts. Without a suffix it needs to have an explanation of what it is relative to in order to have any meaning.

I would be useful to know what is inside the G3 receiver. Is it an amplifier, or is it padding the signal to get it down to the lower level? In the world of digital signal transport where the mic pre is at the stage it may be less important to run higher levels between the receiver and the mic pre, but with long analog snakes between the receiver and mic pre you probably want to run as high a level as possible to avoid additional induced noise in the signal.

If running the receiver at +18whatever causes you to need to pad your console input 18dB then don't do that, but if running it at the lowest level means you need 35dB of gain to get good level, then you need to run a higher level.

Mac
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Keith Broughton

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Re: Setting levels on wireless receivers
« Reply #11 on: February 23, 2018, 05:21:35 pm »

but if running it at the lowest level means you need 35dB of gain to get good level, then you need to run a higher level.

Mac
If the output is a bit noisy, this is helpful.
However, I often use around 35db of input gain on a wired dialogue (eg:lectern)mic with no ill effects.
There are cases to be made for either setting.
As someone here often points out..."it depends" ;)
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Mac Kerr

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Re: Setting levels on wireless receivers
« Reply #12 on: February 23, 2018, 06:10:50 pm »

If the output is a bit noisy, this is helpful.
However, I often use around 35db of input gain on a wired dialogue (eg:lectern)mic with no ill effects.
There are cases to be made for either setting.
As someone here often points out..."it depends" ;)

I still believe best practices call for planning for worst case. Almost all the inputs I deal with are line level. All RF mics and all playback. Shure ULX-D receivers are usually at about 5-10dB of gain at the console. Playback is often at -6dB on a CL5. These days a wired lectern mic is most likely a BU, and most likely the noisiest channel in the console. When I relied on the lectern mic all the time I carried 2 Symetrix 2ch mic pres that got mounted inside the lectern to add 20dB of gain and phantom power before the mic got plugged into the 100' subsnake that went to the 350' main snake. Now the mic pres are backstage and there is a lot less cable involved, plus the lectern mic rarely gets used. Audience reaction mics are also at mic level, but are at fairly low levels unless there is a lot of applause.

Mac
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brian maddox

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Re: Setting levels on wireless receivers
« Reply #13 on: February 23, 2018, 07:03:06 pm »

I guess you like the sound of 2 preamps back to back. The signal is already at line level inside the receiver. When you switch it to mic you are padding it down to mic level so you can ship it at mic level to the console so you can amplify it back up to where it was.

I set the receiver output at line.

Mac

^^this

Only exception is if you are feeding some weird ancient mixer that only takes mic level signals as inputs.  But then you've got bigger issues...
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Keith Broughton

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Re: Setting levels on wireless receivers
« Reply #14 on: February 24, 2018, 08:48:34 am »

I still believe best practices call for planning for worst case. I carried 2 Symetrix 2ch mic pres that got mounted inside the lectern to add 20dB of gain and phantom power before the mic got plugged into the 100' subsnake that went to the 350' main snake. Now the mic pres are backstage and there is a lot less cable involved, plus the lectern mic rarely gets used.

Mac
You make a good point and I have used a similar setup for looooong cable runs.
In your application, it sounds like line  is the most common source level and I would probably do what you are doing.
That may not be the case in something like a live orchestra or band application.
I think the OP was looking for a "what is better" and really, it depends on the application.
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