I concur 100%. I’ve been using the Sony UWP-D system for years and they have never let me down. I recently got the dual channel receiver and I love it. This is the main reason why I won’t leave Sony, it’s the ecosystem. Everything just works. No other brand has such a complete system. The only thing is that I wish Sony made Bluetooth headphones, or maybe Wi-Fi headphones that work with the cameras, so I can be free to walk around without incorporating a secondary in ear monitoring wireless solution.. Also, if they incorporated a wireless Video transmission system to make it even more complete. Sony has the technology to do all this. If they wanted to. Cheers
What's the benefit of 32 bit float over 24 bit, why so much fuss???? 32 bit float has a 23 bit mantissa so there is no additional precision over 24 bit. There is no microphone that can get close to dynamic range of 24 bit, let alone 32 bit. 24 bit has never been a bottle neck. While there isn't really a downside to 32 bit float there seems to be an obsession with something that doesn't actually bring any benefit over 24 bit. I guess it's the manufacturers marketting teams doing a good job of selling based on the bigger must be better because the end users don't really understand the true nature of the beast.
@@alisterchapman As i understand 32 bit float allow to prevent clipping when something gets unexpectedly loud. In 24 bits we would need an extra safety track with lower gain to prevent that. But regardless my point remains true. You don't have built in recordings on the sony ( that can be a life saver if you get any type of drop-outs in sound). and you don't have the ability to use TC. So it just feel too expensive compared to other brands that offer those features =( I would gladly pay the premium if they added those features
Thank you Alister for pointing out the benefits. But….As others said: add 32 bit float, sd card recording in transmitter, and even….small on body recording. So everything companies as Rode does, but than really good working. I know it’s all not really necessary but I like the convenience.
Thanks Alister - great info as ever. In the olden days you needed licences for broadcast radio mics - is this still the case? Would there be any problem using these overseas? I know different frequencies get used for different things around the world. I have used Rode for years (partly because of the lack of any problems travelling) and had very few issues but I only use them for close interviews, mainly outside.
welcome back Alister. Have not had an alert from you for a while. Does Sony have a transmitter that records, compatible with the UWP-D? That feature on the ‘domestic’ devices has saved me a couple of times., especially with 32bit float recording.
The UWP-D transmitters do not record, while I do see the potential benefits of external recording it isn't something I have ever needed to use myself for any one man band type project. I want my sound and vision together, not separate and my clients wouldn't want to have to sync separate sources. There is so much emphasis on 32 bit float yet the reality is that your audience will never be able to tell the difference, it's another case of the manufacturers spouting bigger numbers because bigger numbers are a cheap marketting tool. 24 bit has more than enough dynamic range, there is no practical microphone that can exceed the dynamic range of 24 bit and an old school analog system doesn't suffer from a hard upper limit in the same way as a digital system does.
@@alisterchapman Agreed.I want my sound on the camera too. But, I did have a lost transmission situation, and could use the transmitter recording to save the day.
You mention 30m range, which is not far at a conference. The Sony site does not say anything about range. How far have you tested them? That is one thing that is disappointing about my Sennheisers.
I've gone much further than 30m, probably close to half a mile with a clear line of sight. But these are low power radio devices and like all radio devices the further you try to go the more likely issues will be. At 30m I know they will work, regardless of the environment, even when the presenter has the transmitter on their back. I've seen 2.4Ghz systems fall over at just 10m and don't trust most of them beyond 5 or 6m.
I concur 100%. I’ve been using the Sony UWP-D system for years and they have never let me down. I recently got the dual channel receiver and I love it. This is the main reason why I won’t leave Sony, it’s the ecosystem. Everything just works. No other brand has such a complete system. The only thing is that I wish Sony made Bluetooth headphones, or maybe Wi-Fi headphones that work with the cameras, so I can be free to walk around without incorporating a secondary in ear monitoring wireless solution.. Also, if they incorporated a wireless Video transmission system to make it even more complete. Sony has the technology to do all this. If they wanted to. Cheers
add 32bit float, sd recording and timecode and ill buy it. Until then, its hard to compete with other brands for that price tag
Talking about the Deity Theos system? ;-)
What's the benefit of 32 bit float over 24 bit, why so much fuss???? 32 bit float has a 23 bit mantissa so there is no additional precision over 24 bit. There is no microphone that can get close to dynamic range of 24 bit, let alone 32 bit. 24 bit has never been a bottle neck. While there isn't really a downside to 32 bit float there seems to be an obsession with something that doesn't actually bring any benefit over 24 bit. I guess it's the manufacturers marketting teams doing a good job of selling based on the bigger must be better because the end users don't really understand the true nature of the beast.
@@alisterchapman As i understand 32 bit float allow to prevent clipping when something gets unexpectedly loud. In 24 bits we would need an extra safety track with lower gain to prevent that.
But regardless my point remains true. You don't have built in recordings on the sony ( that can be a life saver if you get any type of drop-outs in sound). and you don't have the ability to use TC.
So it just feel too expensive compared to other brands that offer those features =( I would gladly pay the premium if they added those features
So true. I would buy it right away.
Can I connect the system or UTX-40 to line level (usually we get the audio feed from DJ’s mixer board)
Will you be doing a film about the rest of the kit? Like the hand mic …..?
Thank you Alister for pointing out the benefits. But….As others said: add 32 bit float, sd card recording in transmitter, and even….small on body recording. So everything companies as Rode does, but than really good working. I know it’s all not really necessary but I like the convenience.
Thanks Alister - great info as ever. In the olden days you needed licences for broadcast radio mics - is this still the case? Would there be any problem using these overseas? I know different frequencies get used for different things around the world. I have used Rode for years (partly because of the lack of any problems travelling) and had very few issues but I only use them for close interviews, mainly outside.
Thanks Alistair. What attenuation do you most commonly use on the transmitter?
Can I use this with other cameras that aren't Sony? Like my Ursa mini? Every video been showing this with Sony cameras.
I have the older model and I have had zero issues with them. I confidently rely on it.
Is there a difference in the URX-41D and the URXP40 besides the 41D having an additional channel?
No difference other than the additional channel and separate switches for each channel.
@alisterchapman and do you think it's the best wireless lav mic on the market to get?
Thank You. 😀
welcome back Alister. Have not had an alert from you for a while. Does Sony have a transmitter that records, compatible with the UWP-D? That feature on the ‘domestic’ devices has saved me a couple of times., especially with 32bit float recording.
The UWP-D transmitters do not record, while I do see the potential benefits of external recording it isn't something I have ever needed to use myself for any one man band type project. I want my sound and vision together, not separate and my clients wouldn't want to have to sync separate sources. There is so much emphasis on 32 bit float yet the reality is that your audience will never be able to tell the difference, it's another case of the manufacturers spouting bigger numbers because bigger numbers are a cheap marketting tool. 24 bit has more than enough dynamic range, there is no practical microphone that can exceed the dynamic range of 24 bit and an old school analog system doesn't suffer from a hard upper limit in the same way as a digital system does.
@@alisterchapman Agreed.I want my sound on the camera too. But, I did have a lost transmission situation, and could use the transmitter recording to save the day.
Good info, thanks Alister. I use the previous model. Is it worth buying this new generation?
Do I get the Sanken Cos11 Lavs working?
Yes, I’ve got the, for my Sony mics. You need to get them with the right adapter though.
You mention 30m range, which is not far at a conference. The Sony site does not say anything about range. How far have you tested them? That is one thing that is disappointing about my Sennheisers.
I've gone much further than 30m, probably close to half a mile with a clear line of sight. But these are low power radio devices and like all radio devices the further you try to go the more likely issues will be. At 30m I know they will work, regardless of the environment, even when the presenter has the transmitter on their back. I've seen 2.4Ghz systems fall over at just 10m and don't trust most of them beyond 5 or 6m.