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Location Mixer Talks RF Tools

Jordan Moser, head of Waverider Audio, talks about the various gear he's used in a variety of documentaries and TV series.

Jordan Moser, head of Waverider Audio
Jordan Moser, head of Waverider Audio.

New York, NY (April 22, 2025)—Jordan Moser, head of Waverider Audio, an end-to-end location sound and post-production collective in New York City, often finds he has a wireless solution for any project, from documentaries to TV series to feature films to advertising and tech videos.

“Even during my early years, I knew from countless sound mixers that Lectrosonics made the best, most reliable wireless out there,” he says. “When I held an SMQV in my hand for the first time I understood why. It had rock-solid build quality, incredible sound, and most importantly, unwavering reliability in the field. I first used a 411 and SMQV combo on the set of a feature film called Mojin: The Lost Legend. I found that these transmitters could be tuned and sent off with talent without concern. The signal held up incredibly well and the battery lasted all day.”

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Moser still uses that UCR411a and SMQV but opts for a more compact solution for much of his more agile work. “I love my SRC/SSM combo,” he notes. “It’s perfect for bag work around New York City. They’re my go-to for run-and-gun documentary work, where having two channels in a small footprint is a must. I still own several 411s and SRb receivers for high lav-count days, but the SRC’s wideband tuning ability is more practical in NYC’s RF-heavy areas.

“The small footprint of the SSM transmitter is a talent favorite. It’s tiny,” he continues. “It blows my mind that pairing an SSM transmitter with a DPA 4060 lav mic sounds imperceptibly close to the robust sound of a boom mic. The built-in limiters are also some of the best, most transparent I’ve heard.”

Moser knows a thing or two about weathering tough environments. “While working on a documentary with the Army rugby team at West Point, I faced one of my toughest sound challenges,” he explains. “One day, an overcast sky turned into a torrential downpour just as the game kicked off. Standing 50 yards away on the sidelines, I braced for the worst. But despite the massive distance, pounding rain and sheer physical intensity of the match, I was relieved by how clear the audio remained and how well the signal transmitted across long distances.

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