wireless microphone systems, audio wireless system
MSRP:$1,199.99
General Description
This ENG set offers a great amount of flexibility for portable recording indoors or outdoors. Its SKP 100 G3 plug-on transmitter transforms XLR equipped devices (such as microphones and mixing consoles) into wireless devices by simply plugging the unit in. The bodypack transmitter, as well as the plug on, can by synced up to the receiver with the simple push of a button. A very small high-quality omni-directional clip-on microphone completes this set.
Features
- Sturdy metal housing (transmitter and receiver)
- 42 MHz bandwidth: 1680 tunable UHF frequencies for interference-free reception
- Enhanced frequency bank system with up to 12 compatible frequencies
- Adaptive-diversity reception for high reception quality
- Pilot tone squelch for eliminating RF interference when transmitter is turned off
- Automatic frequency scan feature searches for available frequencies
- Enhanced AF frequency range
- Increased range for audio sensitivity
- Wireless synchronization of transmitters via infrared interface
- User-friendly menu operation with more control options
- Illuminated graphic display (transmitter and receiver)
- Auto-Lock function avoids accidental changing of settings
- HDX compander for crystal-clear sound
- Transmitter and receiver feature battery indicatation in 4 steps
- Programmable Mute function
- Contacts for recharging BA 2015 accupack directly in SK 100 G3 or EK 100 G3
- Wide range of accessories adapts the system to any requirement
Delivery Includes
- EK 100 G3 diversity receiver
- SK 100 G3 bodypack transmitter
- ME 2 clip-on microphone (omnidirectional pick-up pattern)
- SKP 100 G3 plug-on transmitter
- CL 1 jack cable
- CL 100 XLR cable
- CA 2 camera adapter
- 6 AA batteries
- Operating instructions
CONSUMER ALERT
Most users do not need a license to operate this wireless microphone system. Nevertheless, operating this microphone system without a license is subject to certain restrictions: the system may not cause harmful interference; it must operate at a low power level (not in excess of 50 milliwatts); and it has no protection from interference received from any other device. Purchasers should also be aware that the FCC is currently evaluating use of wireless microphone systems, and these rules are subject to change. For more information, call the FCC at 1-888-CALL-FCC (TTY: 1-888-TELL-FCC) or visit the FCC’s wireless microphone website at
www.fcc.gov/cgb/wirelessmicrophones.
wireless microphone systems, audio wireless system
MSRP:$1,199.99
Technical Data
| Transmission/receiving frequencies |
1,680 |
| Presets |
12 |
| Switching bandwidth |
42 MHz |
| Peak deviation |
± 48 kHz |
| Compander |
HDX |
| Frequency response (microphone) |
80 - 18,000 Hz |
| Signal-to-noise-ratio |
> 110 dB(A) |
| Total harmonic distortion (THD) |
< 0.9% |
| In compliance with |
ETS 300422 , ETS 300445 , CE , FCC |
| XLR connector |
3.5 mm jack |
| Audio output level (unbalanced) |
+10 dBu max. |
| Dimensions (receiver) |
3.2 x 2.5 x 0.9 in. (82 x 64 x 24 mm) |
| Weight (receiver) |
Approx. 5.6 oz. (160 g) |
| RF output power |
30 mW |
| Operating time (transmitter) |
> 8 h |
| Input voltage range |
Mic/Line: 1.8V/3V (SK 100 G2), Mic: 1.2V (SKP 100 G2) |
| Dimensions (transmitter) |
3.2 x 2.5 x 0.9 in. / 82 x 64 x 24 mm (SK 100 G2), 4.1 x 1.7 x 1.7 in. / 105 x 43 x 43 mm (SKP 100 G2) |
| Weight (transmitter) |
Approx. 5.6 oz. / 160 g (SK 100 G2), 6.9 oz. / 195 g (SKP 100 G2) |
| Transducer / microphone type |
elektret |
| AF sensitivity |
20 mV/Pa |
| Sound pressure level (SPL) |
130 dB(SPL) max. |
| Pick-up pattern |
omni-directional |
wireless microphone systems, audio wireless system
MSRP:$1,199.99
Recommended Accessories
| Part/Accessory |
Article No. |
| AC 3 / NT |
USAC3/NT |
Active antenna combiner with DC power distribution for IEM transmitters, includes required NT3-1-US power supply and four 20" BNC cables
|
| ASA 1 / NT |
USASA1/NT |
Active antenna splitter with DC power distribution for G3 receivers, includes required NT1-1 US power supply and eight 20" BNC cables
|
| CC 3 |
503168 |
Carrying case for evolution wireless G3 1/3/500 Series
|
| GA 3 |
503167 |
Rackmount kit for G3 100/300/500 Series
|
| NTEW-120 |
087246 |
120V power supply for the evolution wireless series
|
| RX BOX |
USRXBOX |
Camera-mount receiver box
|
wireless microphone systems, audio wireless system
MSRP:$1,199.99
Variants
| ew 100 ENG G3-B |
|
Model #503308 |
MSRP: $1,199.99 |
| ew 100 ENG G3 - Frequency range 626...668 MHz |
| ew 100 ENG G3-G |
|
Model #503307 |
MSRP: $1,199.99 |
| ew 100 ENG G3 - Frequency range 566...608 MHz |
| ew 100 ENG G3-A |
|
Model #503110 |
MSRP: $1,199.99 |
| ew 100 ENG G3 - Frequency range 516...558 MHz |
MSRP:$1,199.99
Glossary
| AF sensitivity |
| Specification used for judging the quality of acoustic transducers. A given sound pressure level will generate a certain voltage and vice versa. |
| Audio output level (unbalanced) |
| Logarithmic value of the audio output voltage based on a standard reference value. An unbalanced circuit or connection uses the ground connection (or screening) to return the signal (2-pole connection). |
| Compander |
| Also known as noise reduction system. A system which improves the signal-to-noise ratio by compressing the dynamics on the transmitter side using a compressor, and subsequently restores the normal dynamics on the receiver side using an expander. |
| Frequency response (microphone) |
| The frequency response of a microphone is given within the limits defined by the manufacturer. In studio condenser microphones it is generally within the range of between 20 Hz and 20 kHz. |
| In compliance with |
| Gives the guidelines and requirements which have to be met before a unit can be put onto the market. Such guidelines are published by e.g. standards committees, telecommunications authorities etc. |
| Input voltage range |
| Indicates the voltage range of the input signal within which a unit will work properly, i.e. as specified in its technical data. |
| Peak deviation |
| Maximum permissible deviation for FM. |
| Pick-up pattern |
| Also known as polar pattern, directivity. According to their acoustic design, microphones differ in their sensitivity towards sound from different directions. Pressure microphones have a sensitivity that is largely independent of direction (omni-directional pick-up pattern). Pressure gradient microphones have the pick-up patterns wide cardioid, cardioid, super-cardioid or figure-of-eight. Interference microphones can be used to achieve a further concentration of the pick-up pattern (lobar pick-up pattern). As a special case, dummy head microphones achieve the pick-up pattern of the human ear/head (dummy head stereo). |
| RF output power |
| Output power measured at the antenna socket. |
| Sound pressure level (SPL) |
| Due to the impractical numerical values, the sound pressure is usually given as the logarithmic value of the sound pressure level according to the equation: dB SPL = 20 x log (po / 0.00002 Pa). The abbreviation SPL (sound pressure level) is added in order to make a clear distinction from other uses of dB. The reference sound pressure, which is at the same time the threshold of hearing, is then 0 dB SPL. The threshold of pain is 140 dB SPL. A difference in the sound pressure level of 1 dB is just about perceptible, while a doubling of the sound pressure corresponds to 6 dB and a doubling of the volume corresponds to a rise of 10 dB.
|
| Switching bandwidth |
| The frequency band in which frequencies can be switched directly. |
| Total harmonic distortion (THD) |
| Total harmonic distortion is a measure of non-linear harmonic distortion and is given in %. Non-linear harmonic distortions are signals which were not present in the original before the signal was converted by the headphones. These unwanted signals are caused by the diaphragm, whose movements do not precisely move in time with the electric signals that cause it to move. Unfortunately, this is a feature of all electroacoustic transducers. Although it cannot be completely eliminated, suitable steps can be taken to minimise it. However, the user is not interested in why this distortion takes place but in how great the level of distortion must be for it to become perceptible. According to the findings of several research projects, a total harmonic distortion of 1% in the frequency range of 100 to 2000 Hz is imperceptible. Below 100 Hz, the perceptibility threshold lies at 10%. |
| XLR connector |
| Most common form of connector in audio studio technology. |
