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LIST PRICE: Starting at $500
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Audix recently released two frequency-agile wireless microphone systems for its Performance Series Wireless line, designated the 40-Series and 60-Series. Both operate in the lower UHF spectrum, with scanning capabilities and easy syncing of transmitters to receivers. The new systems replace the RAD360 model, adding a host of new features that are ideal for the church market. They're solidly built, performed quite well in our evaluation and appear to be priced with a bullseye on small- and medium-sized churches.
The overall system
The systems consist of half-rack/single-channel or 1RU/dual-channel receivers, with handheld or bodypack transmitters. The half-rack units can be used standalone on a tabletop or mounted side-by-side in an equipment rack using optional rack ears that attach to the chassis. Rear-mounted antennas may be placed in the typical 90-degree “rabbit ear” position or adjusted to a
45-degree or flat position when inside a rack.
The 40-Series receiver is tunable across 32 MHz of spectrum and features 106 pre-coordinated frequencies. Operating range is up to 300 feet, and up to 16 channels of wireless may be used simultaneously. The 60-Series receiver is tunable across 64 MHz of spectrum, with 207 pre-coordinated frequencies. In addition, specific frequencies can be set across the entire range, in 0.025 MHz increments. Operating range is up to 450 feet, and up to 20 channels can operate simultaneously.
The H60 handheld and B60 bodypack transmitters are compatible with either receiver, and tune across the full 64 MHz spectrum. The transmitters sync to the receivers via infrared, initiated at the receiver. So it is easy to use any transmitter with any receiver within the series, and to make reassignments as needed. For the bodypack, a lavalier mic, single- and dual-ear headset, and instrument cable are available. The handheld versions are available with either an Audix OM2 or OM5 dynamic or a VX5 condenser head. An antenna combiner that will support up to four systems and eight channels is also available.
R61/R62 receiver features
The receivers have a metal chassis—rigidly built—and should stand up to traveling use and repeated setup and teardown, if required. Removable, articulating antennas are mounted on the rear panel via BNC connectors. A true-diversity receiving system is employed, with each antenna feeding separate front-end receiver circuitry, and the system evaluating and processing the one with the best signal at that moment.
The front-panel features are simple and practical, allowing access to all of the necessary functions of the system and menu. An illuminating power switch is on the left, adjacent to the Sync button with its associated infrared emitter. An easy-to-read LCD display provides details about the current channel/frequency and other menu settings, as well as moment-to-moment audio and RF levels. Menu access and selection buttons round out the front-panel controls, consisting of up, down, and Set.
The rear panel as well is simply designed. BNC connectors on both outside edges attach to the diversity system's removable A and B antennas. The receiver provides an unbalanced quarter-inch audio output connector, and a balanced XLR with ground lift switch. It is powered by an external power supply, and a loop on the chassis holds the cable to prevent accidental disconnection.
The two-channel, 1RU receiver has the same basic layout as the one-channel unit, only with a single power switch on the front panel and a single pair of antennas to feed both channels. Each of the two receivers has its own sync function, display with menu access buttons, and audio outputs.
Menu and settings
Pressing and holding either the up or down menu button initiates the scanning mode, which effectively uses the receiver to detect existing RF signals within its bandwidth and then select a preset group and channel frequency that has the greatest potential to operate without interference in the particular location. This feature is especially useful in more crowded RF environments, or if a new interference source crops up at a later time. Once the receiver has selected the frequency, just sync the transmitter and you should have a clear channel.
The display panel shows the selected frequency using an easily readable pair of two-digit numbers, representing the pre-coordinated group and the particular channel within that group. The default mode is group/channel, though a menu setting will change this to a display of the actual frequency. Also, when in the default mode, a quick press of the Set button reveals the frequency. As an example, in the 60-Series the designation “01 03” is 582.450 MHz.
The current RF and AF (audio) signal levels are shown on the display using vertical 12-segment meters. If the audio at the transmitter is so high that it is overloading, a red triangle with an exclamation point in the middle will appear in the center of the display, indicating that the signal should be attenuated. The display also shows which antenna is currently active, the transmitter's battery status, the currently set receiver or squelch gain (settable within the menu), and whether the receiver buttons are locked to prevent accidental changes.
A variety of system parameters are accessible via the menu. These include settings for Group and Channel, setting the sensitivity level for the RF squelch and the receiver's audio output level, activating a scan for a clear channel, and creating a six-character name for the receiver display. The buttons of both the receiver and the associated transmitter can be separately locked or unlocked to prevent accidental changes; note that on the receiver the power, sync, and scan functions are disabled, but the menu may still be accessed. A transmitter “pilot tone”—part of the interference-reduction system—can be enabled or disabled. And on the 60-Series, the frequency selection can be set to group/channel or to the tuning mode, which allows the choice of specific frequencies.
Learn the menu process
Because the menu offers access to a variety of useful functions and parameters, and is controlled via only three buttons, it is quite helpful to consult the manual to learn the correct procedures and order for the button pushes. Practice a bit and learn how it's done before you need to make changes during a service. Once you know the process, it's not difficult—but it is possible to get into trouble since once you are in the menu with a press of the Set button, you remain until you press it again.
For example, after I had a transmitter synced with the receiver when first trying out the system, I pressed the Set button and the menu item Group appeared and stayed in place rather than “timing out” and going back to the main screen. When I pushed it again, the receiver was set to the same group as before, but also reverted to channel 01 of that group—which did not match the transmitter. I needed to go back into the menu to Channel and go up to the one that matched the transmitter to reestablish communication. Not a big deal, though the lessons are two fold: 1) learn the correct procedures, and 2) use the receiver locking function within the menu during operation.
H60 handheld transmitter features
The durable handheld transmitter features a metal body with a matte-black finish, and a sleek and spare design. The review sample had a dynamic hypercardioid OM5 mic head, which threads onto the transmitter and connects via internal gold-plated connections. A supercardioid condenser VX5 head is also available. Within the transmitter body where the mic head threads is an attenuation switch with settings of 0, -6, and -12 dB, used to compensate for higher output mic heads or for preventing overload distortion from very loud vocalists. The transmitter conveniently provides the choice of two RF output levels, 10 mW or 40 mW, via a microswitch within the battery compartment.
The transmitter's tuning range spans the entire 64-MHz bandwidth between 522 MHz-586 MHz, so can be used with either the Series-40 or Series-60 receivers. The transmitter is linked to a receiver via an infrared window located in the battery compartment. Turn on the transmitter, hold the window within six inches or so of the infrared emitter on the receiver, and push the Sync button. Within a couple seconds the process is complete.
The only external controls on the transmitter are a power/mute button and a small backlit display. The two-line display shows the actual tuned frequency and the group and channel numbers, along with a four-segment battery level icon. A half-second push of the power button mutes the audio (while maintaining the transmitter's RF connection with the receiver) and displays Mute; a similar push resumes audio. A rapid, momentary press of the button, such as an inadvertent quick bump while using the transmitter, does not engage the mute.
Also, setting the T-Lock at the receiver prevents accidental muting and powering off. To activate and subsequently deactivate the lock requires the same infrared syncing procedure used for frequency selection. Though it takes a bit more of an involved procedure than placing a lock switch inside the battery compartment of the transmitter, it is a quite secure method.
The handheld transmitter is powered by two AA alkaline batteries, and will function for up to 14 hours on that charge. The batteries fit snugly into the compartment, with the first one sliding up into the handle and the second clipped firmly in place—preventing rattles or accidental disconnection with movement. Conversely, the batteries are held so securely that removing them was a bit difficult at first. I found the best way was to pinch and pull up on the second battery at the point where the two meet.
B60 bodypack transmitter features
The rugged metal bodypack also spans the entire 64-MHz range, has a selectable 10 mW or 40 mW output, runs on two AA batteries, and has a similar battery life. A TA3-M (mini XLR) connector on the top surface connects headsets, lavaliers, and instrument cables. A short “whip” antenna extends from the top, and though rugged is also removable and replaceable—a nice touch. The power/mute button is located between the two. Differing from the handheld transmitter, the bodypack has its infrared window on its front face, below the backlit display, and a trio of settings buttons to the right of the display.
Pressing and holding the Set button (which is backlit with a symbol of a wrench) enters the menu. The first item is RF Amp, which selects the RF output level. Under Gain, three audio gain settings are available, with 0 dB recommended for use with the instrument cable, and -6 or -12 dB with microphones, depending on the particular circumstance and user. With the menu's Lock feature, the power and muting button can be disabled directly, and unlocked after use without resorting to a sync operation with the associated receiver. The bodypack may also be locked using the same T-Lock procedure as with the handheld.
System performance
The test system was a half-rack, single-channel 60-series receiver, along with handheld and bodypack transmitters, headset mics, and an instrument cable. I used the handheld mic with male and female vocals as well as spoken word, the headsets for speaking, and also tried the bodypack and instrument cable with acoustic guitar.
Vocals and spoken word with the handheld were clear and bright when held on-axis, using a flat setting on the sound system. The sound was quite good, and quiet when no signal was going in. The specifications mention a S/N ratio of 85 dB, and I detected no background noise generated by the system or wireless transmission link.
The OM5 dynamic mic itself is very directional, starting to attenuate pickup before reaching 45 degrees off-axis, so speaking or singing directly into it is best. It is quite resistant to other audio sources on stage, with very good rejection at the sides and rear. The mic is most responsive from lips-touching to an inch or so away. The optional VX5 condenser mic head is recommended for pickup at somewhat greater distances.
The miniature condenser headsets also sounded fine, though with flat EQ the gain before feedback was lower than with the handheld. Acoustic guitar using the bodypack and instrument cable was full and natural in sound quality, and followed the dynamics of playing.
Turning the transmitter on and off while the mixer channel was open was silent, rather than yielding a pop or other noise found in cheaper units. However, if there happened to be a lower level background RF signal, it might be possible that noise could enter in. The receiver squelch setting and pilot tone from the transmitter are designed to lessen this possibility. Also, turning the receiver on with the open channel was silent, and turning it off without muting the channel yielded only a mild thump.
Final thoughts
The new Audix Performance Series are fully featured, well-built wireless microphone systems, offering a variety of options for handheld vocal, spoken word, and instrument applications. Transmitters work with either the 32 or 64 MHz bandwidth receivers, and with a selection of microphone heads, headsets, and other accessories, the majority of scenarios are covered. Being able to choose either a 10 mW or 40 mW transmitter RF output is also a strong feature, as are the variety and flexibility of menu options.
When the ability to span a wider frequency bandwidth is desired in a crowded RF environment, more channels are required, or you need to be able to set specific frequencies, opt for the 60-Series. The addition of the optional antenna combiner makes multi-system installations easier, so that several receivers can share the same antennas. Using dual-channel receivers, up to eight channels of wireless can share a single pair of antennas. It was this strong set of professional features that led us to recognize the Performance Series as a “Top 5 Products for Churches” from Winter NAMM 2017 when it was first introduced. Now that we've finally had our first test drive, we're happy to report that Audix has introduced a solid and worthy competitor to other manufacturers who have long dominated the mid-level wireless microphone system market.