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Thread: Audio for a church

  1. #1

    Default Audio for a church

    I have to come up with a wat to bring Audio from the sound board to the camera.. One option is to hard wire out lets the other is wireless.. what would be the best way and best quility.. to do so? All the sound mixing would be done on the board.. Would a wireless transmitter work? since its coming off the board and not from directly from a mic.. So basicly Mic > board > Transmitter > Camera mounted reciever..

    1) Is there a Wireless transmitter that has xlr inputs? If so what would you recomend?
    2) Is the quility going to be good?
    3) Price needs to be under $500 USD..
    4) Is there anything else needed besides the transmitter, reciever and the cable from the sound board to the transmitter?

    Thanks for any input

    Software Used:
    TGV Edius 6, TGV ProCoder 3, DVD Lab Pro. 2

  2. #2
    Join Date
    Mar 2005
    Blog Entries


    In my opinion... and it's just my opinion:

    I wouldn't go the wireless route, especially not a $500 wireless route. In your position I would either:

    (a) find some way to run a cable to the camcorder
    (b) buy a stand-alone recording device such as an Edirol R-09, a Zoom H2 or Marantz pmd660 (all under $500)
    (c) buy a cheap camcorder and have it next to the mixer, connected by cable.

    Wireless should be seen as the solution to a problem, which can't be solved with a cable. Nowadays there are so many transmitters around, ranging from bluetooth, to wlan to taxis, to... oh you get the idea, that the airwaves are crowded. Not all of these transmitters are the best quality and some spit out signals at all sorts of frequencies which can affect your wireless link. Cheaper wireless routes can also have weak links which can introduce clicks, hiss and unwanted sounds. Cable is stable, as I always say.

    If you've got a decent budget ( ie about $1k) then I would use the Sennheiser in-ear monitor system which has a rack-based transmitter and a receiver designed for the presenter to receive comms from the control room. Instead of plugging an earphone into the receiver, you plug it into the camcorder.

    Sennheiser | Evolution G2 Wireless 300 IEM | EW300IEMG2 - A

  3. #3


    Second that - avoid a wireless link if at all possible. Many transmitters will accept line level inputs to do what you want but non will be as good as a cable.
    Don't mess about with extra recorders - get a cable to the camera!

  4. #4


    there is an issue with taking a feed from the desk, and that is that the sound guy is mixing the sound to sound right in the sanctuary, not on the line feed!

    I do live sound for a church and I also make a recording on an Edirol solid state recorder every week for creating CDs, and it's taken me quite a while to get a satisfactory compromise (and short of a big digital desk with multiple layers) it is a compromise.

    The thing is that some things need more amplification than others. voices and instruments, for example, and getting a blend of a solo singer and a a piano to sound right 'live' will require quite some gain on the voice and almost none on the piano, to give a nice live balance, but if you iisten to a line out of the mix, the vocal will swamp the piano completely.

    I'm probably stating the obvious here, but it is one of those things that until you start to regularly mix live sound and try to record it, won't necessarily occur to you.

  5. #5


    Nothing obvious about it MOM. I work with experienced producers who don't have the first clue about recording live music for television.

    Even the simplest of performances can sound very unbalanced if not mixed for tv rather than just for front of house sound.

    The usual method is to take an active (isolated) split of all sources on the stage. Three or more feeds are derived from this - one for the front of house PA mix, another for the artists stage or IEM mix and yet another for the television mix. It is also usual for the tv sound super to have final say about how loud the PA system is - if it's too loud it will colour the tv mix so it gets turned down. Getting the artist to lower their monitor levels is a different story though!

    Of course all of this kit is time and money but explains why shows like the BBCs' 'Later With Jools' sound so good compared to you average home video of a performance.

    As a guide the last big tv music show I worked on had approx 12 sound engineers per episode!

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