systems tech can you hear me now?

by Wayne DolnickIt seems that every day we hear ofa new must-have feature in every-thing from the ubiquitous iPod toour personal favorite microphone.But, in reality, does the latest mi-crophone offering with a newpainted finish or new lighter-weight carbon fiber body make it amust-have? That depends on yourbudget, your proclivity to beingfirst on the block with the newpiece of tech gear, and overall be-lief in marketing hype.

But some things change for thebetter with qualified product im-provements—say hello to wirelessmicrophones 2006, specifically to-day’s new group of UHF-basedwireless microphone systems.

Most likely if you have asystem that is older,possibly picks up in-terference, is suscep-tible to RF and is limit-ed for expansion, youprobably have a high-band, VHF-based wire-less system.

Why UHF instead ofVHF? UHF physically us-es smaller antennae, witha potentially shorter transmissionrange and possible multi-pathdropouts. But with a “diversity” sys-tem, which is based on multiple an-tennae on the receiver, greaterbandwidth, potentially greater dy-namic range and a radio spectrumthat is eight times greater than VHF,

a larger number of systems can runsimultaneously.

If you are the AV specialist ofyour house of worship and are cur-rently using a wired podium micro-phone, now is the time to look atthe plethora of wireless systems.From a small congregation to a verylarge one, wireless systems will al-low for more interactivity betweenclergy and the congregants—a veryworthy investment, whose upgrade-ability is only limited by the initialsystem purchased.

If you’re already wireless, butwish for a clearer signal, and are in

the market for anew handheld or two,

then a new UHF sys-tem may be in order.The choices are varied,with features previouslynot available in wirelessmicrophones, includingbetter reception, morechannels for continual

sound, a larger selectionof optional capsules, and

even integration within Ether-net-controlled systems.Wireless systems are quite easy

to set up and install if you have amodicum of technical skill. A wire-less system is based on a receiver,transmitter and microphones.Three basic types of transmittersexist—one being the microphone it-self, called a handheld; and the oth-er a small, lightweight box that isusually attached to the person’sclothing via a clip, called a bodypack; and the third, a plug-on.

Simple, so far. Now, choosing themicrophone style, depending onthe system selected, can be madespecifically for vocals or instru-

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Avlex’s MIPRO MA-909 Wireless MixerAvlex’sMIPRO MA-909 profes-sional wire-less mixer isa UHF true-diversity 16-frequency agile wirelessmixer that combines up to two wire-less microphones, a CD player, micand line inputs into a rackmountable2-space control mixer with a wirelesstransmitter. Indicate 299 on Fast Facts card or visitwww.thru.to/systemscontractor.

beyerdynamic’sOpus 560 Wireless System

The Opus 560wireless systemfrom beyerdynamicis based on the

modular Opus800 system.The 560’s Au-toScan/ACT

function allows complicated system se-tups to be easily and quickly pro-grammed onsite. The receiver automat-ically searches for a free channel, whichthen can be transmitted via infrared tothe matching transmitter. The Opus 560is a vocal set comprised of receiver (NE

500 S) and handheld transmitter (SDM860 microphone). A rugged transportcase is also included.Indicate 298 on Fast Facts card or visitwww.thru.to/systemscontractor.

Azden’s APS 25bBattery PoweredSpeakerAzden’s APS25b batterypoweredspeaker canoperate with-out beingplugged intoan AC outlet,making itcompletely wireless. It uses an inter-nal, rechargeable battery that allowsthe speaker to operate for severalhours before needing to berecharged.

The APS 25b gives installers theability to have the right system for al-most any situation. The built-in wire-less receiver systems can be usedwith either body-pack lavalier orhandheld mics. By attaching one ofAzden’s plug-in transmitters to thehouse mixing console, the house feedcan be sent to any number of speak-ers wirelessly. Wireless receiver mod-ules can be changed any time with-out tools.Indicate 300 on Fast Facts card or visitwww.thru.to/systemscontractor.

Can You Hear Me Now?Wirelessly Into The Future

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S Y S T E M S T E C H 91M a r c h 2 0 0 6

ments. Within the type ofmicrophones, one canchoose patterns (car-dioid, supercardioid, om-ni, etc.), again dependingon the system selectedand one’s needs. Thesecapsules allow sounds totravel only into the mi-crophone as desired. Mi-crophones should be se-lected based on one’sprimary use and possiblesecondary need. Hand-held, lavalier, head-wornare all examples. System selectionis based on your needs and whohas an answer for you.

Internally, the capsule or ele-ment of the microphone determinesthe type of sound and pattern ofrecording. Therefore, purchasing ahandheld or lavalier model is de-pendent on one’s needs and theunit’s performance. Most UHF sys-tems allow for additional, optionalmicrophones to be added with vari-ous capsule styles.

Audio-Technica offers variouswireless systems. Recently, thecompany enhanced its 3000 Serieswith auto-frequency scanning, al-lowing up to 16 simultaneous sys-tems per band, maxing out at 32

across two bands. Within eachband, 200 frequencies are selec-table. With the true-diversity UHFreceiver system, you can choosefrom a body-pack transmitter(ATW-3110) or a handheld unit(ATW-3141).

Shure offers its UHF-R systemthat is UHF-frequency-based, allow-ing use of some of the most recog-nized microphones (capsules) thatShure makes. From the SM58 or theBeta58, or any of the other half-dozen or so capsules Shure is notedfor, the UHF-R might answer yourneeds. 1- or 2-channel diversity re-ceivers are available, allowing for2,400 possible frequencies across60 MHz bandwidth from which to

lock onto one of the 40preset compatible sys-tems per band, and up to108 systems with multi-ple bands. The receiversalso have the ability tostore six 60-channel cus-tom frequencies groupsto a flash memory. Forthe average-sized congre-gation, Shure offers theSLX UHF system, with di-versity receiver, optionalhandhelds and/or lavs,head-worn or instrument

microphones, in a more economicalpackage that supports up to 20compatible systems.

Sennheiser’s wireless micro-phone system, the Evo-lution series G2, was re-cently introduced with anupdated

grouping of transmitters, receiversand body packs. The SR3254-U andthe SR3256-U offer single- and dual-channel transmission respectively,with claimed noise suppression of upto 90 dB in a wide dynamic range.The new flagship handheld transmit-ter is the SKM 5200 UHF with eight in-terchangeable mic heads, includingtwo from legendary Neumann. Oper-ating in the 36-MHz bandwidth andswitching at 5-kHz steps, the systemoffers up to 7,200 frequencies.

An affordable UHF wireless sys-tem was recently introduced bySennheiser in its entry-levelfreePORT with three plug-and-playvariations. Using diversity technolo-gy with switchable UHF, the

freePORT has a vocal,presentation and

speech option. AKG Acoustics offers

the new WMS 40 Pro Wire-less system, a third-genera-tion product whose design

allows for systems pur-chased based on need. TheWMS 40 Pro Flexx Diversitysystem allows for three user-

selectable frequenciesper channel, withthe WMS 40 Pro Sin-


Sennheiser’s freePORT system

( continued on page 92 )Audio-Technica’s 3000 Series system

S Y S T E M S T E C H92M a r c h 2 0 0 6

gle having fixed frequencies, andthe WMS Pro Dual, with two trans-mitters and two independent chan-nels in a single half-rack. The ap-proach taken by AKG is based onmarket need more than engineeringprowess. If a simple system is need-

ed and one can use a fixed frequen-cy, the WMS 40 Pro Single is the an-swer, or, for more options, the WMS40 Pro Dual system allows for twopeople on the same receiver. An-swering an RF interference problem,the choice would be the WMS 40Pro Flexx.

If you work with a very large con-gregation and need more control ofthe room, AKG has introduced its

first HiQnet controlled wireless sys-tem. The WMS4000 can integratewithin the Harman family using theHUB 4000Q. Up to eight WMS 4000systems can be controlled and mon-itored simultaneously. If this is a de-sired feature, this is a productworth serious consideration. TheWMS 4000 system has dynamicrange up to 120 dB and a reportedfrequency response of 35 Hz-20 kHz.

Electro-Voiceoffers the RE 2UHF wireless sys-tem, with twovariants—the RE-2 and the RE-2Pro. Offering upto 1,112 possiblefrequencies viathe 28-MHz operating bandwidth inthe receiver, the systems allow forthe use of one of three handheldsplus a lavalier, with the RE-2 Pro al-lowing for one of two premium hand-helds to be used for a clearer spoken-word and a better vocal response. Tooutfit a larger facility or one that in-corporates a full choir and musicalsection, look at the RE-1.

As you can see, a wireless sys-tem allows for multiple users, ex-pansion, remote control and theability to pick microphones whosepatterns support your needs. Thedecision should be based on whichbrand and which system offer op-tions meeting your requirements,not whose product is the cheapest,or the most feature-laden.

Audio-Technica...www.audio-technica.comAKG...www.akg.comElectro-Voice...www.electrovoice.com Harman...www.harman.comShure...www.shure.comSennheiser...www.sennheiser.com

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A Quick Look At Common Microphone Patterns

Polar pattern, as the word suggests,is based on sound shape around a“pole” (think of the North Pole). Andthe polar-pattern is nothing morethan a graphical representation ofthe capsule’s directionality, hence theterms omni- and uni-directional.

Cardioid refers to a pickup areaaround the microphone whose pat-tern is concentrated in the front,with less on the sides, and is not assusceptible as some from feedback.This pattern resembles a flat tire,where the microphone is the axel,forming a type of unidirectionalplot. On a flat plot, the pattern ap-pears like a heart, with the mostsensitivity (absorption) coming fromthe top of the plot, or front of themic, with almost a complete null atthe back, or at 180 degrees.

Supercardioid and hypercardioidsare variants of the cardioid, whosepatterns are similar, but with lessfeedback, and a narrower “beam.”An omni-directional polar-patternmight be desirable for a choir or aband to record with, but might causeissues if a live PA system were nearit, with its susceptibility for pickingup sounds from all around.


W I R E L E S S M I C S( continued from page 91 )

EV’s RE2 system

systems tech can you hear me now?

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