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Galaxy Audio | ECD System. The Galaxy ECD system provides two handheld dynamic capsule transmitters and a dual (non-diversity) receiver. Each receiver has 16 channels available, and with IR channel sync. Both signals are mixed to a common ¼-inch output.
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Audix | RAD-360. The RAD-360 wireless system from Audix features the OM7 hypercardioid element, which delivers a remarkably flat 48 Hz to 19 kHz response with superior off-axis rejection.
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Shure | ULX-D. At the higher end of the UHF systems is Shure’s ULX-D. It starts with all the features of Shure’s QLX-D but adds dual and quad rack-mount configurations, internal audio summing options, receiver networking, and direct connection of the outputs to a Dante digital audio network.
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Audio-Technica | ATW-1102. Audio-Technica’s ATW-1102 “System 10” offers eight simultaneous channels and “three-way diversity” for a stable signal: frequency, time and space (two antennas).
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TOA | S5.3 Wireless System. The TOA S5.3 wireless system offers a fully synthesized UHF dual conversion receiver with an LCD screen, display jog wheel, IR data link, headphone monitor, USB-based computer monitoring and frequency scan function.
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Sennheiser | Evolution Wireless. G3 Series Sennheiser’s Evolution Series wireless has been a perennial best-seller, with a wide range of tunable frequencies to accommodate multiple microphones even in interference-prone locations.
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Samson | Synth 7. Samson’s Synth 7 features a multi- function LCD receiver display, graphic channel scan, Q8 dynamic mic capsule, and up to 20 simultaneous systems in operation.
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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.
With all the brouhaha about the (again delayed) television spectrum auctions, many church tech folks now approach the whole topic of wireless microphones with a dash of skepticism. Understandably, but frankly there's no need for doom and gloom. On the contrary, this might be a good time to go shopping—particularly if your current systems might be affected by the coming changeover. Wireless system manufacturers have plentiful options for moving your audio over, under, around and through the coming frequency crunch.
To begin with, most of the systems now being sold in the United States operate outside the proposed UHF auction bands, either amongst TV channels below it or in the unlicensed IMS (industrial, medical and scientific) spectrum where—among other devices—Wi-Fi routers now operate. Also, most new systems that do operate in the threatened 600 MHz band have extreme frequency agility, which allows them to navigate and circumvent potential interference.
That said, because more TV stations and wireless systems now are crowding into a shrinking frequency spectrum, you do have to pay close attention before you buy. If your church is in a rural area or smaller TV market, you will be blessed with more choices—particularly in low-end UHF systems—as more UHF frequency bands will remain open for use. However, if you're in a large metro area with lots of TV stations and you also need more than a half-dozen simultaneous wireless channels inside the same building, then be prepared for some extra homework and (sigh) higher costs if you want to stay safe.
In the following roundup we'll survey handheld wireless systems (transmitter/receiver pair) grouped into four general price categories. Not included here are systems designed exclusively for use with video cameras or for use as optional modules in portable systems.
Bargain Basement: under $200
If you need basic, low-cost wireless for non-critical applications (children's church, classrooms) you can get a workable system—or even two—for under $200. For example, the Galaxy ECD system provides two handheld dynamic capsule transmitters and a dual (non-diversity) receiver. Each receiver has 16 channels available, and with IR channel sync. Both signals are mixed to a common ¼-inch output.
For a single-channel unit, even less money will deliver a dedicated, fixed frequency system like the Nady UHF-3, which operates in the auction-safe low UHF band (TV channels 14-20). It's a true diversity system featuring a neodymium dynamic mic capsule and both XLR and ¼-inch outputs. Audio quality is surprisingly good (our church has one for classroom use), but remember—there are no alternate channel options here. Make sure the “hard-wired” frequency you choose is clear and likely will stay that way.
Pro Entry Level: $300 to $500
In this category, we get to the meat-and-potatoes of professional quality systems for small church worship. Choices here fall into two categories: the 2.4 GHz systems and the UHF systems. In a nutshell, the 2.4 GHz systems are easy to use, 100% digital, interference-free, and in a band not subject to government auctions. On the downside, compared to UHF analog, fewer channels are available and range is typically more limited, particularly if there's strong WiFi coverage in the room.
At most dealers, the lowest price tag for this lot is on Audio-Technica's ATW-1102 “System 10,” which offers eight simultaneous channels and “three-way diversity” for a stable signal: frequency, time and space (two antennas). If you like the 2.4 GHz idea and can pay a bit more, Sony's DWS-M50 offers notable extra features, including replaceable mic capsules (Sony or third-party) and an on-board, five-band graphic EQ. Like most (but not all) units in this price range, it has a rack-mountable metal cabinet and removable antennas to allow connection of external antenna systems.
The Line 6 XDV-55 rounds out the group with 12 available channels, up to 300-foot range, and the company's proprietary emulation of four different popular vocal microphones. (One of these days, I'm going to have to compare….)
2.4 GHz systems are easy to use, 100% digital, interference-free, and in a band not subject to government auctions.
Next we move into the $300-plus analog UHF systems, and most here will share a common feature set that includes both ¼-inch line and XLR mic level outputs; auto scanning for clear channels; and easy sync (usually via infrared) of transmitter and receiver.
Right at the $300 line we find competent performers like the Electro-Voice (EV) R300-HD. Features here include those above, with 32 channel presets (eight simultaneous), metal transmitter and receiver, backlit LCD display, a PL22 mic capsule, and detachable antennas.
Brand new on the scene is the Samson Synth 7 that features a colorful multi-function LCD receiver display, graphic channel scan, Q8 dynamic mic capsule, and up to 20 simultaneous systems in operation.
Up one more tick and we have Shure's BLX-R going head-to-head with Sennheiser's XSW. Shure's system offers up to 12 simultaneous systems per band (of 23 total), 14-hour battery life, detachable antennas and, of course, an SM58 dynamic capsule. Sennheiser counters with eight frequency banks of 12 presets each, distant remote transmitter sync via RF (not close-up IR), and Sennheiser's smooth and balanced e835 cardioid capsule. (We have some of these as wired mics along with our 58s, and my personal preference … well, depends on the singer.)
Rounding out this group is AKG's WMS 470, with a wide tuning band that accommodates up to 20 simultaneous channels with 16 presets stored in each receiver. The capsule is AKG's distinctive D5 supercardioid.
Mid-level Systems: $500 to $1,200
In this group we cut a wide swath of feature upgrades that will appeal to mid-sized and larger churches. Most models here will have LCD displays with detailed information on the transmitter (not just color LEDs), parallel antenna outputs for daisy-chaining in the rack, more sophisticated auto set-up and frequency scanning, wider frequency response, better S/N ratios, and greater tuning bandwidth to accommodate more simultaneous systems.
Leading off this group are a couple of step-up models in the 2.4 GHz band. The XD-V75 from Line 6 ups the ante with 14 “always available” channels, on-receiver battery indication, and 10—yes, 10—emulations of popular microphones. For its part, Sony upgrades its entry-level system in the DWZ-M70 by adding built-in feedback reduction and an upgraded transmitter and capsule—though still replaceable here, as well.
Many systems in this group are notable for the mic capsule upgrades, like the Telex FMR-500 equipped with EV's noteworthy supercardioid N/D767a head. (Yes, our church has a wired
N/D767a, and the extended high-end response is almost condenser-like.) The receiver offers a good feature set as well, including transmitter battery status indicator and advanced channel scanning that selects the best channels in the clearest groups.
Midway through this price range we find the popular Sennheiser EW 165 G3, which sports Sennheiser's highly respected e865 condenser capsule. Performance specs are impeccable (110 dB S/N), all features in models above are included, and the wide 48-MHz bandwidth allows 1,680 switchable frequencies.
If you’re in a large metro area with lots of TV stations, be prepared for extra homework & higher cost if you want to stay safe.
The RAD-360 wireless system from Audix is the only place you can get the company's esteemed OM7 hypercardioid element, which delivers a remarkably flat 48 Hz to 19 kHz response with superior off-axis rejection. Heads are interchangeable in case you'd like another OM series capsule. RF specs are also first-rate with 110 dB S/N ratio and battery life of up to 12 hours.
Up around the kilobuck mark, we find two premium analog systems. The AEW-4240a from Audio-Technica is a solid, proven pro featuring the premium “Artist Elite” 4100 dynamic capsule. The RF side features 996 selectable UHF channels per band, digital tone lock to block stray RF, and dual compander circuitry that processes highs and lows separately for a very low noise floor. AKG's premium WMS 4500 system claims a 120 dB-A signal-to-noise, offers 50 simultaneous channels from 1,220 selectable frequencies, and a data interface for remote computer control. The companion HT4500 transmitter features AKG's reference D7 cardioid dynamic capsule.
Also at this level we find the first entry-level UHF digital system: QLX-D from Shure. Up to 60 compatible systems are available per band, the transmitter has a backlit multi-function LCD, the 24-bit digital signal is AES-256 encrypted, and there's a network connection for remote PC set-up and operation.
Premium Systems: $1,200 and up
The aforementioned wireless systems—and scores of others like them—will fill the needs of around 98.3% of churches in America. But for those churches with extremely demanding production requirements, usually coupled with broadcast or touring ministries, even more elite systems are available. In all these systems, receivers and transmitters are sold a la carte, but the combos will average out at $1,200 and up—sometimes way up.
In the analog realm, you'll find systems like Sennheiser's 2000 Series. If you need lots of channels, you'll get up to 3,000 frequencies with 75 MHz switching bandwidth, arranged in six banks of 64 tunable channels. An integrated antenna splitter cascades up to eight devices with no external splitters. Ethernet connection to a PC accesses a wireless systems manager with real-time monitoring and control. And of course the transmitters can be fitted with the full array of replaceable capsules from Sennheiser and Neumann.
Lectrosonics goes its own way with its exceptionally rugged and sophisticated Digital Hybrid systems. This proprietary technology leverages the advantages of analog but eliminates the compander from the audio path to increase S/N, dynamic range and frequency response. The HH transmitter accepts capsules from all the majors (Shure, Heil, Earthworks, DPA), and features a side button programmable for latching or momentary mute, or on/off. The companion R400A receiver can be configured as a single or dual rack-mount unit.
This level also moves into the higher end of UHF digital with Shure's ULX-D. It starts with all the features of QLX-D but adds dual and quad rack-mount configurations, internal audio summing options, receiver networking, and direct connection of the outputs to a Dante digital audio network. (When connected to a Dante-equipped console, this avoids the latency induced by a D-A/A-D conversion cycle.) And, of course, the full range of Shure capsules is available. Hey, might as well go for a KSM-9 here, because at this point why compromise?
Beyond the Stratosphere
Is that the top? No, there's more. If your needs match those of network television and A-list arena tours, then there are more sophisticated systems—like the dual auto-frequency shifting Axient from Shure or the Digital 9000 Series from Sennheiser. To put it frankly, if you work at a church that needs systems like these, you really should know about them already.
So that's it, wireless for every congregation from a dozen folks in a country church up to 10,000 gathered as part of a global broadcast ministry. It all serves the Word, and—for the time being—it's all FCC-approved.
