Holyland has been constantly at the forefront of wireless audio capture, and their latest flagship, Larak Max 2A single broad system represents a push to consolidate almost every desirable modern audio feature. Are all these characteristics important, or the result is highly complex?
Larak Max 2 has been deployed as an all-in-one solution for all of Solo Vloggers to small production crew. It has a dual-transmitter setup, 32-bit float recording, advanced noise cancellation and a unique wireless monitoring system. The question is whether it translates into an ambitious feature set area into a practical, reliable equipment. After testing on my hands, it is clear that Hollland has engineered a system with remarkable depth and flexibility.
https://www.youtube.com/watch?v=8dcyqbymvji
Construction and design
The Lark Max 2 system begins with its two ultracampact transmitters. Weight of just 14 grams (0.5 ounces), they are among the lightest in their orbit and are small for high-end 2.4 GHz transmitters. The transmitters have a matte “nano-coated” finish which is both prudent and skin friendly. Attachment options are diverse, with a traditional clip design and an alternative magnetic clip system.
The system consists of two separate receivers. The primary camera-mount receiver is a traditional unit, with a color touchscreen and a touch control wheel that is a touch control wheel for quick adjustment for settings such as profit, recording mode and monitoring levels. A small USB-C plug-in receiver is also included for the direct connection of the smartphone and computer, which enables a highly streamlined mobile setup. The transmitter and the main receiver can be placed in a charging case that provides up to 36 hours of the total operational time.
Core audio performance
Lark Max 2 provides excellent sound with 48 kHz sample rate. The audio signature is clean and full-body. The system uses Hollland’s focallair technology, a proprietary processing system that naturally increases background noise, while designed to increase vocal frequencies. The microphones can handle the maximum sound pressure level of 128 dB, ensuring that even in the environment, the audio remains free from deformation.
https://www.youtube.com/watch?v=q0rsbvre9ug
Headline facility is implementing 32-bit float audio. Each transmitter has an internal storage of 8 GB, which enables it to act as a standalone recorder. It can capture 32-bit float audio (or 14-bit in 14 hours) for 10 hours. Specifically, Larak Max 2 also supports full-chain 32-bit float audio transmission. This allows the system to send a 32-bit float signal from the transmitter, through the receiver, and directly to a compatible recording device.
While the transmitter looks great in itself, you can run them with 3.5 mm Lav MICS, include 3.5 mm adapters for USB-C. It opens how you mount the mike and wire talent, and is an important feature for the user’s 2.4 GHz system at this stage.
A close look: 32-bit float audio?
For those creators who are not audio engineers, the word “32-bit float” may look like a technical jargon, but its practical advantage is easy to understand. Think of it like a difference between shooting a jpeg and a raw picture.
With traditional 24-bit audio (standard for most recorders), determining your input level, or “profit”, is a delicate balance act. If you set the profit too little, your audio will calm down, and when you promote it in post-production, you also promote the underlying noise floor, resulting in part. If you set the profit too much and the person you are recording suddenly speaks loudly or laughs, the audio signal will “clip”. It creates a rigid, finished wave and audio deformation that is almost impossible for repair. This is an audio equal to a blow-out highlight in a JPEG; The data is permanently lost.
32-bit float recording solves this problem. It captures a huge dynamic range, which can catch a 24-bit file. In practice, it means that it is almost impossible to clip the audio in the recording phase. You do not have to think about determining your benefits completely. If an audio file looks deformed on the playback, you can simply reduce its level in your editing software, and the clean, unlipled wave will be revealed. This provides peace of mind for single operators in particularly unexpected environment.
The main limit for a system like Lark Max 2 is that while transmitters can always record the 32-bit float internal, most cameras cannot accept 32-bit float signals. Therefore, the benefits for most users will come only with using internal recording.
Advanced facilities and control
Beyond its main audio capabilities, Larak Max 2 is equipped with a suit of intelligent features. AI noise cancellation is a simple example. Instead of on/off switch, it provides stable adjustment from 5 dB to 25 dB. This allows for fine-tune control, allowing users to be able to reduce ambient noise for natural sounds or DIN is aggressively cut off in the atmosphere.
In settings, there are also supportive guides such as recommended audio setups for a huge array of cameras (but no Sony FX 30, strangely enough), as well as control to transmitter LEDs. All the expected bases such as stereo, mono and safety track recording are also present, although the receiver will take a few minutes to understand the UI, as it adds swipes, taps, a clickable scroll wheel and a capacitive button.
The system also includes a built -in Timekode generator. This provides a frame-tier reference to simplify internal audio recording in synchronization and post-production of the video.
A close look: Understanding TimeCode Sink
Syncing audio and video from different sources is a fundamental challenge in post-production. The classic method is using a slate or a clap to create a fast view and audio spike that can be manually aligned at a time. It works, but it can be tedious and impervious.
Timecode is a professional solution to this problem. It is essentially a clock that stamps every moment of the video and every moment of the audio with a unique address (in hours, minutes, seconds and frames). When all your devices, including cameras and audio recorders, are running on the same clock, syncing them into your editing software becomes an automatic, one-click process. It saves a lot of time and ensures the correct alignment.
Larak Max 2 works by sending Time Kode signal as a audio pulse under one of the audio channels recorded by your camera. Your editing software can then read this audio track and use it to automatically sync with transmitters recorded internally.
The primary range of this method is that this requires renunciation of an audio channel. For example, if you are recording a stereo track in your camera, your microphone can have audio in the left channel while the right channel is completely dedicated to the inaccurate timekode signal. For the workflows that demand the right sink, it is a meaningful business off, and it brings this powerful feature to a more accessible price point than dedicated timekode solutions.
An innovative monitoring system
The ultimate combo package includes a pair of OWS (Open Wireless Stereo) monitor earphones, a novel approach for audio monitoring. These earphones connect to the receiver through a dedicated 2.4 GHz wireless signal, not Bluetooth, only 25 ms ultra-lo delay. This allows a camera operator or a member of another crew to monitor the audio from 100 meters away without tearing by a cable.
The open-air design sits on the ear instead of the ear canal. This has a double advantage of increased comfort for longer sessions and helps the user to be aware of their surroundings. Negative side is a lack of noise isolation, which can be a challenge in noise settings. However, for most production scenarios, this is a highly effective monitoring solution.
conclusion
Hollland Larak Max 2 There is an extraordinary wide and forward -minded wireless microphone system. It successfully combines excellent audio quality with a host of intelligent, practical characteristics that address the challenges of the real world faced by the material creators. The inclusion of dual receivers, 32-bit float internal recording, and unique wireless monitoring systems is one of the most versatile packages available today.
Hollland Larak Max 2 There is an extraordinary wide and forward -minded wireless microphone system. It successfully combines excellent audio quality with a host of intelligent, practical characteristics that address the challenges of the real world faced by the material creators. The inclusion of dual receivers, 32-bit float internal recording, and unique wireless monitoring systems is one of the most versatile packages available today.
What did i like
- Excellent audio quality with a complete and natural outspoken appearance
- 32-bit float internal recording
- Highly light transmitter
- Ows wireless monitoring system is innovative
- The comprehensive supreme combo kit involves everything required for different scenarios
What can be improved
- Comprehensive camera support camera manufacturers are required for full-chain 32-bit float
- Audio-based Timekode captures a recording channel, which can be a limit
