Two Wireless Microphones One Receiver Recording

I use all four XLRs for live steams from a small remote set with USB to my laptop for broadcast. Two channels are used for a Shure wireless receiver. One of those channels is for a CVL wireless lavaliere mic. The EQ on the panel results in great voice quality from the CVL. The other receiver channel is a wireless handheld that sounds great with little tweaking. Two channels are used with Shure SM58s. I find that I need more gain with these, but the voice audio quality is not compromised. The Mute buttons on each channel are very handy to mute the moderator and audience mics during a presentation.

I usually use wired microphones, but I needed a wireless microphone to work for a media outlet of South America. I use it for outdoor interviews, protests, press conferences etc. I also use it to record voice over. The way that cancels out background noise is amazing, I really did not think it would result as well. Also it never interfered signal. The receiver lets you monitor the batteries. As a negative, the receiver only uses an internal battery. So it will not let you settle for an interview if you run out of energy. Even though not XLR, the sound stays in very good quality. I use a Canon XF 205, 5D mk iii & 7D mk ii.

I use these devices to connect to PA boards when recording concerts. It's the best way to use wired and wireless microphones in addition to my own, without cluttering the stage with extra cables. May of these systems are plagued with ground loops which introduce hum to both systems when connected. These transformers provide nearly perfect isolation with unity gain. Their small and relatively inexpensive. The frequency response is more than adequate, considering the types of microphones generally employed.

Here's what NEW and improved over the original version 1: 1) The original Wireless GO had only a single channel, version II is a dual-channel system, with two transmitters feeding into ONE receiver with low latency (3.5 to 4 ms). The channels can be mixed or separated Left and Right. 2) Download the Rode Central Mac/Windows app to unlock powerful features and device customization: onboard transmitter recording, configurable safety track recording in dual-mono mode, file playback and export, and more. 3) Via the app, each transmitter provides an onboard audio recorder offering up to seven hours of uncompressed recording (24-bit / 48 kHz WAV) or 24 hours of compressed recording, perfect for worry-free backup recording or a fast and easy way to capture sound from your subjects. Export files in various formats such as MP3 or WAV (16-, 24-, or 32-bit float) with date and time stamp information as well as automatic markers anywhere the transmitter-receiver link was broken. 4) Along with the traditional 3.5mm TRS analog output, the Wireless GO II receiver has a USB Type-C digital audio output for operation as a 24-bit/48 kHz audio interface. This can be connected to a computer with the supplied USB Type-C to USB Type-A cable, to the Lightning port of an iOS mobile device via the Rode SC15 cable, or to the USB Type-C port of a laptop, iPad Pro, or Android mobile device with the Rode SC16 cable 5) The new Series IV technology extends the line-of-sight operating range of the Wireless GO II to approximately 656 feet compared to the 230-foot maximum range of the original Wireless GO. It also offers increased signal strength in crowded wireless environments.

I would like it if they could sell just the receiver so I could have two wireless signals.

The right tool if you want to minimize dropouts on your wireless microphones

My company only uses PRO X cases and its perfect for 4 wireless microphones, Wireless Antenna Disto and a Furman Power Conditioner. The drawer has plenty of space for mics and cables!

I connected it to a wireless receiver and was able to communicate with the talent during the show.

Great bang for the buck. Two transmitters and a single receiver, for a fraction of the cost of a Sony equivalent. Perfect for mic'ing interviewer and subject for documentary work, or hiding lavs on two actors for backup audio for narrative work. Very solidly built, and intuitive operation. Highly recommended.

Two-head interview with a single receiver going in L/R, what more can you say. This kit has so many perks and advantages over the old Senn G3, I'm not sure what kind of argument you can make for not buying a couple of these. Im still looking for someone to tell me why I should stick with the G3. Like the Senn mics better? Fine, plug them into the GO II. There's just no reason this isn't the new way to go from now on.