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May 2012

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Audio Review: Sony UWP Wireless System

by John F. McJunkin

Sony introduced the original UWP Series UHF wireless microphone package in 2003, and it became popular and widely used. In 2008, Sony announced five new packages based on the original UWP Series, the UWP-V1, UWP-V2, UWP-V6, UWP-X7 and UWP-X8, touting a “much higher level of stability, mobility, robustness and operational convenience than their predecessors.” I spent time with a UWP-X7 and UWP-X8, and put those claims to the test.

The UWP Series consists of paired packages—a microphone/transmitter combination and a receiver. In the case of the UWP-V Series, the receivers are portable units intended for camcorder-oriented ENG and EFP applications, and in the case of the two mics I test-drove, the receivers are modules intended for use with Sony’s MBX6 Tuner Base Unit, which accommodates up to six tuner modules for PA-oriented applications. This is an excellent system for a church that is in the process of growth and will require greater sophistication and more mics over time. The church starts with an MBX6 and one or two UWP packages, and then as more mics become necessary and additional UWP packages are acquired, the tuner module is plugged into the MBX6, and the solution is achieved. Alternatively, Sony’s SRP Series mixers accommodate these tuner modules and offer the additional functionality of a mixer, beyond simply hosting the tuner modules. The caveat here is that these mixers can only accommodate two modules each, and are better suited to A/V or commercial audio applications.

Hands-On Analysis

There are two distinct versions of the UWP-X7 and UWP-X8 packages—designated 3032 and 4244. The 3032 sub-version tunes channels 30-33, and the 4244 sub-version tunes channels 42-45. Both of the packages I evaluated were of the 3032 variety. The UWP-X7 package I assessed was comprised of a UTX-B2 bodypack transmitter with a unidirectional lavalier mic and a URX-M2 tuner module. Sony touts an “extremely robust metal chassis” as one of the outstanding features of the new UWP series, and I wholeheartedly concur. The hefty metal construction of the bodypack transmitter I test-drove feels incredibly solid—it seems to me as though this transmitter could really take a beating and survive. It operates on two standard AA batteries—nothing exotic—hence it’s very easy and inexpensive to maintain a store of replacement batteries. Atop the bodypack, you’ll find the unit’s ¼-wave flexible antenna, a slider switch that determines mic or line level input, and the 1/8-inch mini-jack representing the transmitter’s single input. This jack is of the “screw-on” variety, preventing inadvertent disconnections by animated pastors.

The front of the bodypack features a single bi-color “AF/PEAK” LED to indicate audio level (green indicates appropriate level and red indicates peaking). Indeed, the audio gain is adjustable from 0 dB to -21 dB in 3 dB increments—and pressing the unit’s “plus” button decreases level, which is an increase in attenuation, per se, but pushing the plus button to reduce gain still seems weird. In addition to the “plus” and “minus” data input buttons, there is also a “set” button on the front panel for menu navigation and to confirm selections. There is also a backlit LCD display that shows audio level, RF status, chosen RF output level, channel, frequency, audio attenuation and accumulated use time. The power switch is found on the right side of the bodypack.

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John McJunkin is the CEO of Avalon Podcasting in Chandler, Arizona, which offers high quality podcast production and consultation services to a broad range of clients. He’s also the host of the Podcast Pro Tech & Tips Podcast at www.avalonpodcasting.com.