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Line 6 - XD-V35: A digital system operating in the 2.4 GHz band, with 75 MHz bandwidth; up to six simultaneous channels; 24-bit/44-kHz sampling rate; variable transmitter power level; microphone modeling algorithms in transmitters; half-rack receivers with fixed antennas.
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Samson - Concert 88: An analog system operating in the UHF band between 542 - 566, 606 - 630, and 638 - 662 MHz, covering 24 MHz with 16 selectable channels; up to 16 simultaneous channels over two frequency bands; half-rack receiver with fixed antennas and rack-mount kits included.
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Sennheiser - 9000: A professional digital system operating in the UHF band between 470 - 798 MHz; frequency-agile over 328 MHz; scanning and spectrum analyzer functions; wide audio bandwidth with 24-bit sampling, at selectable levels between 44 - 96 kHz; variable transmitter power levels; encryption; analog and digital outputs; Ethernet for computer control; 4RU with eight receiver channels.
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CAD Audio - StagePass WX1200: An analog system operating in the VHF band between 175 - 185 MHz, with 16 selectable channels; scanning function to select clear frequencies; up to seven simultaneous channels; half-rack receivers with fixed antennas.
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Shure - ULX-D: A professional digital system operating in the UHF band, with several frequency-agile 64-MHz bands available between 470 - 932 MHz; scanning with automatic or manual channel selection; wide audio bandwidth with 24-bit/48-kHz sampling rate; latency < 2.9 ms; variable transmitter power levels; encryption; analog and digital outputs; Ethernet for computer control; 1RU with two receiver channels.
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Sony - DWZ: A digital system operating in the 2.4 GHz band, with 75 MHz bandwidth; up to six simultaneous channels with scanning function and automatic or manual channel selection; wide audio bandwidth with 24-bit/48-kHz sampling rate; receiver menu with 5-band EQ and intelligent feedback reducer; half-rack receiver with detachable antennas.
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Nady - UHF-3: An analog system operating in the UHF band between 470 - 500 MHz; single-channel receiver/transmitter pairs with up to five simultaneous channels; half-rack eceivers with fixed antennas and rack mount kit; UHF-4 model operates in the 900-MHz band with up to six simultaneous channels.
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Audio-Technica - Artist Elite 5000: A professional analog system operating in the UHF band between 541 - 566 and 655 - 680 MHz; frequency-agile over 25 MHz; scanning with automatic or manual channel assignments in 1RU/2-channel receiver; variable transmitter power levels; Ethernet for computer control plus receiver “linking” capabilities.
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[LEFT] Electro-Voice - RE2 PRO: An analog system operating in the UHF band between 614 - 642 and 648 - 676 MHz; frequency-agile over 28 MHz; scanning with automatic frequency selection or manual within frequency-coordinated groups; half-rack receiver with detachable antennas; handheld transmitter offers a variety of EV microphone heads. [RIGHT] Galaxy Audio - TRC 64: An analog system operating in the UHF band between 584 - 607 and 655 - 679 MHz, covering 24 MHz with 120 selectable channels; receiver works with both the 64- and 76-series transmitters; half-rack receiver with detachable antennas
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AKG - DMS700: A professional digital system operating in the UHF band between 548 - 698 MHz; frequency-agile over 155 MHz; scan and spectrum analyzer functions in 1RU / 2-channel receiver; wide audio bandwidth with 24-bit/44-kHz sampling rate; latency of < 4 ms; variable transmitter power levels; encryption; analog and digital outputs; Ethernet for computer control.
Chances are that your church has at least one or two wireless microphones, or is at least considering purchasing them. The convenience of wireless, coupled with the variety of good to excellent options at relatively modest prices, makes the technology quite attractive.
However, not every model and performance level of wireless is appropriate in all settings, and there are valid reasons to consider investing in a better wireless microphone system. With such a variance in features, and at prices ranging from sub-$100 to several thousands of dollars per channel, how do you decide what is best for your particular circumstances?
What to consider
Wireless microphone systems are made to operate in a variety of frequency bands, ranging from VHF (170 - 216 MHz) and UHF (470 - 698 MHz, and until 2010 extending to almost 900 MHz) to the unlicensed 900-MHz and 2.4-GHz bands. In addition, frequency ranges are available for use in countries other than the United States.
A combination of FCC regulations and further commercialization of the available RF spectrum (think ever-expanding broadband, smart phones, and future wireless equipment) are guaranteed to shrink the clear spectrum that you use for wireless mics—and mean that negotiating interference will become more common even outside urban areas. When selecting wireless that you plan to use for many years, choose accordingly.
Within the past few years, all except for the most entry-level wireless systems have become frequency-agile, meaning that any particular unit can be set to a number of different frequencies (channels) across a wireless spectrum. Depending on the system, agile wireless spans between approximately 20 MHz to over 150 MHz.
The ability to easily set different frequencies allows the user to avoid existing or new interference sources, and bring in additional wireless channels without complex frequency coordination (at least for a handful of channels in less RF-saturated environments). Many wireless systems include a scanning function and will suggest and/or set themselves to the most interference-free frequencies.
Both analog and the newer digital wireless technologies are available in moderately priced systems, as well as in professional-level wireless. Digital wireless systems are much more immune to audible interference effects and, in my experience, generally perform reliably while sounding quite good. Many of the moderately priced digital systems operate in the 2.4-GHz or 900-MHz unlicensed bands, though a few join the touring-/broadcast-level systems in the UHF band.
The quality of the microphone transducers, transmit and receive circuitry, audio circuitry, input and outputs, robustness of design, and more differ widely. As with most equipment, you can expect that a higher end wireless system will be a more reliable, longer-lasting tool that will deliver high-fidelity audio. Typically, the better systems provide the most precise frequency control and filtering that allow more channels to operate together simultaneously.
Other considerations include: how many channels of wireless you expect to eventually be using for your services and other events, such as celebrations and pageants; how often will the wireless be used and by how many users; how large the facility is and what distance the signal will need to travel from transmitter to receiver antennas; how critical is the audio quality and freedom from any dropouts or audio glitches; and interactions with other wireless production equipment using the same spectrum (in-ear monitors, wireless intercom, etc.). Where will the receivers be located, and how will line-of-sight antennas be placed?
A small rural church …
With a small church located away from the hustle and bustle of the city (and the very crowded RF spectrum), interference from broadcast television signals in the VHF and UHF spectrum will likely be less of a problem. Fixed frequency wireless systems may even be a viable option here, but be sure to know which TV channels are broadcast into your area—and avoid selecting a wireless mic in those already-used bands.
If you just need a wireless for the pastor to move with during the sermon, a moderately priced headset system would suffice, including a basic receiver with permanently attached antennas. Many, but not all, inexpensive wireless systems feature both a quarter-inch and an XLR audio connector for your mixer. When you are looking at more than a handful of wireless mics, consider a higher quality wireless system, preferably frequency agile and/or self-coordinating, and with detachable antennas and perhaps antenna-combining. A table full of non-rack-mountable, fixed-antenna wireless receivers can be visually obtrusive.
If you already have a wireless mic of a certain model and type that you will continue using, confirm the particular frequency or frequency band and the system's channel plan. The new wireless must be compatible with what is already in operation, and different manufacturer's channel plans don't always take other brands into account. If the new wireless is frequency-agile and has a scanning function to detect and avoid existing transmitters, you will be better off.
A mid-sized urban church …
When you need several channels of wireless and the airwaves are crowded with broadcast TV and broadband signals, along with other wireless transmissions in the nearby vicinity, the systems you use must be up to the task. Expect to spend at least several hundred dollars per channel for quality UHF or 2.4-GHz systems, with receivers and transmitters that are solidly built with good radio circuitry. These systems will be more reliable, less prone to interference, and should yield better audio quality—with higher quality microphones on the transmitters.
Frequency-agile systems that span enough spectrum to offer at least one or two empty television channels should be a key criterion. Select a higher end analog or one of the newer digital systems with rack-mountable half-rack or full-rack receivers, the ability to detach or remote the antennas, and with informative displays and controls on the receivers and transmitters. If you already have several UHF systems and need to add more channels, the 2.4-GHz systems offer a convenient way to increase your channel count in a different frequency band, and will not potentially interfere with your existing wireless.
Full-production church needs
Some churches have audio and broadcast capabilities that a concert hall or TV station would envy. Services and other events reach a wider congregation via radio and/or television broadcasts—even streaming on the Internet. With this level of production, such churches have professional staff to run the systems, along with a communications infrastructure to coordinate their actions.
If your audio system is large enough that the pastor and other worship leaders are all wearing headsets with bodypack transmitters, all of the vocalists and many members of the praise band are wireless, and perhaps are using in-ear monitors, and those working behind the scenes are using wireless intercom, ensuring problem-free wireless operation is critical to the transparency of your message. You need to select wireless systems that will easily accommodate many channels operating simultaneously, resist interference, be flexible enough to quickly change frequency bands if interference is detected, and allow for ideal and unobtrusive placement of remote antennas with multiple receivers sharing the RF signal from those antennas.
Look for professional rack-mountable wireless receivers with two or more channels of wireless per unit; some systems come with two or four separate receivers permanently installed in the 1RU chassis, and others are modular and allow you to add radios as needed up to six or eight. These systems invariably have a multicoupler (antenna combiner) integrated, so that one pair of antennas will feed the signals to all connected receivers. External omni or directional antennas can be used for ideal antenna placement, allowing receivers to be located with the other audio equipment for closer monitoring.
Since it is likely that this type of church resides in a dense RF environment, a digital or hybrid analog/digital system with its greater resistance to interference may be a good choice. The quality of the filtering to attenuate out-of-band signals and maintain the separation between channels helps distinguish the higher end systems. Make sure that scanning and both automatic and manual frequency selection is provided. Some systems even have high-density modes that allow more channels to be placed within the available spectrum, which in some areas might be only one or two TV channels. Virtually all of the professional wireless systems have networking capabilities and software tools that will allow remote monitoring and control of the receivers and, in some cases, the transmitters, as well.
Making the choice
So many choices are available, with even the mid-priced systems offering reliability and audio quality that was unimaginable a few years ago, that a successful wireless experience is within reach—even as the RF spectrum becomes more crowded. Before making the first purchase, though, spend some time determining who will eventually be using a wireless and how many simultaneous channels you will need. Look at the facility size and layout, the distance between transmitters and receivers, and what potentially interfering television and other signals are in place. The more you know beforehand, the better the chance that the wireless will be a transparent part of the worship experience.
