It’s been interesting to watch the evolution of wireless mic systems over the years, from simple (few features) to complex and virtually bristling with features and controls. Because so few people could understand all the knobs and buttons, real-world performance has actually suffered even as features have improved.
Several wireless mic manufacturers are pushing for simplicity without sacrificing features, and Shure is at the forefront of this effort. Operation of their PGX UHF wireless mic system is about as simple as it gets, yet few concessions are made in features or performance at this price point. List prices of the PGX system range from $530 to $698 depending on mic and transmitter.
Where are the Controls?
The same half-rackspace PGX4 receiver works with both belt-pack PGX1 and handheld PGX2 transmitters. The receiver, which sports two rotating (but not removable) microprocessor-controlled diversity antennas on its front panel, is set up out-of-the-box for tabletop use. If you want to rackmount a PGX4 receiver (or pair of receivers), a rackmount tray is available. Back panel outputs include a 1/4-inch unbalanced output and XLR balanced output. Output level is fixed— there is no overall output level control on the receiver.
To call the PGX4’s front panel simple is an understatement. Between the two antennas lie just two buttons and three LED displays. Shure gets triple-duty from the PGX4’s “channel” button. One push engages scan mode, where the receiver locates and selects the cleanest transmit frequency. Hold the “channel” button down, and you’ll put the receiver in manual channel select mode. The same button then increments the group and channel number. The PGX system uses 90 selectable frequencies across an 18 MHz swath of the UHF band. Up to nine PGX systems can happily coexist.
Automatic or manual channel selection on the receiver—that’s half the battle. But what about the fact that the PGX1 and PGX2 transmitters have no channel select controls whatsoever? Here’s where the PGX’s “advanced simplicity” comes into play. Turns out the PGX receiver and transmitter will swap roles just long enough for the receiver to broadcast its channel back to the transmitter by infrared. Push the receiver’s “sync” button, and a front-panel LED emits an infrared beam with channel information. Put the transmitter within a foot or so of the receiver, and it will detect and select the matching frequency. Elegant.
The PGX4 receiver has an LED audio indicator that changes color with level. The LED lights green with signal present, turns amber with “strong” signals (per the manual) and glows red with peaks. Next to this display is a two-digit LED readout of channel number. Finally, a “ready” light glows green when the receiver is picking up a usable signal from the transmitter.
One-Button Wonder
The PGX system is available with a range of transmitter and mic capsule options. The PGX2 handheld transmitter can be topped off with a PG58, SM58, Beta 58 or SM86 (condenser) head. The PGX1 belt-pack options include a guitar cable, WL93 lavalier mic, Beta 98H clip-on instrument mic or WH20 head-worn mic. Both transmitters offer about eight hours of use from a pair of AA batteries.
As with the receiver, the PGX-series transmitters use a single button for all major controls. A two-second push on the button turns the transmitter on or off. Once powered up, a brief push engages or disengages mute mode. Hold the button down for about five seconds, and the transmitter engages or disengages lock mode. In lock mode, the mic cannot be muted or powered off.
A single LED on the transmitter displays all the basic information a user needs. In normal operation, the LED glows green. In mute mode, it lights amber. If the batteries needs replaced, it glows red. Lock the mic’s controls, and the LED will flicker briefly in response to a (futile) button press.
The only other control on the PGX transmitter is that of sensitivity. In the case of the handheld mic, unscrewing the capsule reveals a 10-dB pad switch to accommodate extremely loud instruments or voices. The belt pack’s switch is a three-way affair, with settings labeled “mic,” “0” (guitar) and “-10” (for louder sounds).
In Use
I tested the PGX system with the PGX2 handheld mic and Beta 58 capsule. In every venue, the system proved itself to be very easy to set up and use. The automatic channel scan found a vacant frequency every time—manual channel selection was never necessary, even in a church running several additional wireless systems from different manufacturers.
Sonically, the PGX system puts in a good showing. Shure’s Audio Reference Companding processing lets the sound of the capsule come through clean and without audible noise. And when it comes to mics of this type, the main factor in the sound is the capsule. Being able to choose the capsule based on a desired sound is a plus, and the Shure PGX series offers a generous selection.
The PGX transmitter powers up and down silently, and engages and disengages mute mode with similar stealth. Though the PGX receiver offers no squelch control, the fixed setting handles dropouts gracefully. Other notable sonic characteristics include resistance to handling and breath noise, and the PGX2 does very well on both counts. As stated earlier, the PGX system cuts no corners where sound is concerned.
In-hand, the PGX2 feels solid and well-balanced. Its sole button is small and recessed enough to never be engaged on accident. In fact, operating the button may be a challenge for folks with larger fingers. On the plus side, the Shure’s covert button emits a positive “click” when depressed.
Does the PGX system get perfect marks in the area of operation? Not quite. My main gripe is with the receiver’s skimpy level metering. Shure’s LED mixing scheme makes it difficult to tell when the input signal is peaking—the peak indicator looks too much like the “strong” signal indicator. Also, the PGX system omits a feature that I believe should be on every wireless system regardless of price point—a battery gauge (or low-battery indicator) on the receiver. This one simple feature goes a long way towards eliminating untold hassle, embarrassment and unplanned silence for wireless mic users everywhere.
There’s no question that Shure left certain controls off the PGX system to keep its price point low, and the prospective buyer should consider these before purchasing. If you must have manual squelch control, variable audio output level, detachable antennas or a battery gauge at the receiver, the PGX system may not be for you.
If you can live without these features but still want a high-quality wireless mic system, the Shure PGX system is definitely worth a closer look.
Loren Alldrin is a regular contributor to Church Production Magazine.
