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Best wireless microphone system 2018 – [Buyer’s Guide]Last Updated September 1, 2020
Best wireless microphone system of 2018
You can make a choice based on the my list as you shop. Not all wireless microphone system are created equal though.
On that note, I review the three best wireless microphone system of 2018 to help you get value for your money. After carefully examining the reviews and ratings of the people who have used them earlier this listicle has been made.
Test Results and Ratings
Why did this wireless microphone system win the first place?
I really enjoy the design. It is compact, comfortable and reliable. And it looks amazing! I also liked the delivery service that was fast and quick to react. It was delivered on the third day. The product is very strong. Its material is stable and doesn’t crack. I am very happy with the purchase. It is definitely worth its money. The product is top-notch!
Why did this wireless microphone system come in second place?
The design quality is top notch and the color is nice. I really liked it. It is amazing in every aspect. It did even exceed my expectations for a bit, considering the affordable price. I like this product. For such a low price, I didn’t even hope it to be any better. It’s decently made. Seems that the material is good. It has a very beautiful color but I don’t really like the texture.
Why did this wireless microphone system take third place?
I liked the design. We’ve been using it for 2 months and it still looks like brand new. It doesn’t squeaks nor bents. Looks great in my apartment. This price is appropriate since the product is very well built. I hope that the good reputation of the manufacturer will guarantee a long-term work.
wireless microphone system Buyer’s Guide
Special Projects AQUA 2020 Microphone System 16
Those were the simple reviews of reliable and worth buying wireless fitness microphones. Be sure that you read the first part of the article, because those features are really important when you want to buy this kind of microphone. Don’t encourage yourself to buy a cheap and low quality model, because in time you will invest the same amount of money, but with no satisfaction. Also, be sure that the microphone’s features are good enough for you and your type of work. Scan the market before buying anything and also make comparison between the products. Be really careful at the prices, too. Our advice is to buy a quality item, but some of them have only high prices, without any quality. So be really sure before you want to invest in something that is more expensive than usual. Don’t forget to make a pro and a cons list. This way will be easier for you to better see each item’s positive and negative features and the choosing will be simpler. Also, you can search for other reviews of the product and see other points of views. This will surely make you think about a product from different angles and it will really help you choose the right one for you.
With the GTD Audio G-380H VHF Wireless Microphone System, you are seriously getting a huge bang for your buck.
It’d also be a great addition to a new or “basement” band that is looking to grow their sound but isn’t quite ready to purchase high-end premium equipment. In addition to the four wireless microphones, this system comes with a receiver and each channel has its own volume controls.
Wireless Dynamic Microphones
If you’re looking for a rugged microphone that can take the rigors of the road or daily use in a venue, a wireless dynamic mic is probably the best option for you. These mics are simple in design and built to take a beating, while also giving you access to the best in wireless microphone technology. Many brands have brought over classic mic capsules and packaged them with transmitters and receivers, including the Shure PG58, SM58, Beta 58, BeyerDynamic TG550 and Sennheiser XSW.
There are multiple versions of Bluetooth, and not all Bluetooth specifications are the same, so you might want to make sure your two chosen devices will work with each other. All of the newer Bluetooth versions are backward-compatible, however, so as long as you’re using the more basic Bluetooth features, you won’t have much to worry about. Check out the various profiles and their features in the chart below.
Thought you were out of school, correct? Not so fast. Life is an ongoing educational process and every bit of background you possess on how wireless technology has come to be a driving force—specifically as it applies to combination microphones—is going to pay off.
These are deep roots grounded in 1940s and 1950s wireless radio history, thus if you’re big on vintage and longevity, you may wish to know that the Shure Brothers are credited with introducing the first performer-designed wireless mic, which boasted a 15-foot range.
Innovation and experimentation drove global companies forward. Some failed. Others thrived. Considered the break-out firm in 195was Germany’s Lab W, a company that later came to be known as Sennheiser. Under the purview of American electrical engineer Raymond A. Litke, wireless technology became a necessity at political convention venues, Olympic events and stage performances.
Under the purview of American electrical engineer Raymond A. Litke, wireless technology became a necessity at political convention venues, Olympic events and stage performances.
Litke was granted a patent in 196at which point his systems were marketed exclusively by Vega Electronics. At around the same time, Sony and Nady Systems jumped in; the latter introducing the first compander wireless microphone preferred by music icons like Todd Rundgren and the Rolling Stones.
In 199Nady, Sennheiser and Vega all received Emmy Awards for their contributions to developing broadcast wireless mics.
How to Choose a Combination Microphone
But like all folks in the music industry, it’s incumbent upon you to do your homework so you become a quasi-expert on the topic yourself. Start out by asking pertinent questions like the following to begin your shopping journey.
How to Set Up and Use Your Wireless Combination
Give thanks for YouTube offering an endless menu of how-to guides so you don’t zone out reading text. This handy set-up tutorial can get you started, and this one can help you interface your speaker and your wireless mic.
Always provide a clear line of site between the receiver and transmitter. Sound like a no brainer? You wouldn’t believe how many newbies haven’t a clue. Audition, audition, audition after set-up to avoid last-minute confusion.
Become obsessive about checking battery life and always bring spares just in case. This is the sort of preparation that makes mom proud; especially moms obsessed with reminding you to always carry extra pencils and paper when you were in school.
If given a choice, pick a “diversity” receiver. Radio frequencies, like boomerangs, bounce off surfaces if not directed properly. With a diversity receiver, you get redundancy to cover this possibility: two antennas and two demodulators.
Frequency, as you probably know, is the measurement of a sound wave that corresponds to the pitch it creates. Treble sounds are higher in frequency, and bass sounds are lower. All microphones have an upper and lower limit to the frequencies they can pick up, and this is referred to as the mic’s frequency response range. In general, a bigger range is better, but it also depends on the application. For instance, a range of 80Hz-15kHz would be solid for vocals, but for miking percussion instruments like snares and toms, a range starting around 50 Hz is a better choice – and even lower for a bass drum, as low as 40Hz or even 30Hz.
Total range is only half the story, though. To find out how well the mic performs across that range, keep your eyes peeled for a “frequency chart,” which you might find on the packaging or included in the microphone’s specifications. These charts plot the frequency response as a line and are usually scaled to the range of human hearing (about 20Hz to 20kHz), with the horizontal numbers representing frequencies and the vertical numbers representing how strongly the microphone “hears” them, in decibels. To use frequency charts effectively, you should start by researching the fundamental frequency range of the instrument you’re planning to record – or that of your voice, if you’re a vocalist. Then, look for microphones that have a smooth, level line across those frequencies on the chart.
A good example here would be the Shure SM57, which is a popular mic for snare drums because it has consistent, flat response along the 150Hz-250Hz range, where the snare’s fundamental frequency resides. There’s also a bit of a bump at the higher end, about the same frequency as the snare’s sharp “snapping” sound. And on the lower end, it tapers off just high enough to avoid picking up the nearby bass drum during recording. This is what to look for in a response curve: neutral response for the instrument’s typical sound, a bump for frequencies that could use accentuating and a range that helps filter out other instruments.
Another characteristic of some microphones is something called “proximity effect.” You won’t hear about this in technical specs, but pay attention for it in product descriptions. The proximity effect produces intensified bass frequencies when the sound source moves closer to the microphone, which can be used to your advantage. For instance, in studio recording, a mic with strong proximity effect will emphasize an instrument’s bass tones. On the stage, a vocalist can actually affect the way his or her voice sounds by working the mic at varying distances. If you like the idea of a strong proximity effect, consider using a condenser mic. To minimize it, choose a dynamic microphone instead.
Polar patterns describe the shape of the soundstage a microphone “listens” to, which allows you to set up your studio or stage to accept sounds from certain locations and ignore others. General types of polar patterns are omnidirectional (accepting sounds from all directions), bi-directional (accepting sounds from front and back while ignoring the sides) and the most common type, uni-directional (accepting sounds primarily from a single direction).
Common Polar Patterns
Cardioid – This polar pattern gets its name from being roughly heart-shaped. That ‘heart’ is positioned to the front of the mic, and it ignores most sound from the sides and behind the microphone. Cardioid microphones are popular onstage and in the studio, since their rejection of sound sources to the rear helps to limit audience and ambient noise. All cardioid microphones will exhibit proximity effect to some extent.
Supercardioid & Hypercardioid – These are variations on the cardioid response pattern, with supercardioid microphones being more focused in direction than cardioid models, and hypercardioid mics being even narrower still. A key difference between these two patterns and a cardioid mic is that supercardioid and hypercardioid microphones will also pick up some sound from behind. You could think of all three of these response patterns as different steps on a spectrum: as you move from cardioid to supercardioid to hypercardioid, response to the sides decreases while response to the rear increases.
Omnidirectional – In a class all their own, these microphones have no directional bias and will pick up sound from anywhere around them. This makes them well-suited to situations where you want to pick up all sound in a space, including ambient noise. Omnidirectional microphones are also the least susceptible to proximity effect.
Figure– A balanced type of bi-directional polar pattern, the figure-picks up sound equally from two opposing directions, while ignoring the perpendicular ones. Essentially, if the mic were positioned to pick up sound from North and South, it would ignore sound sources to the East and West.
In studio settings from hobby to professional, the condenser microphone is king. They come in different varieties, including multiple sizes for the diaphragm that vibrates to create the signal and even the choice between solid-state and vacuum tube electronics. This gives you a lot of options to find a condenser microphone perfectly customized for your recording situation. There are a few live sound applications for condenser microphones as well, including choirs, pianos, acoustic stringed instruments and some percussion instruments.
When it comes to the diaphragm in a condenser microphone, there’s a lot to be said for size. The diaphragm is a conductive membrane that works like the mic’s eardrum, and its width determines the characteristics of the microphone. Traditionally, mics have been grouped into large and small-diaphragm categories, and more recent times have seen the introduction of medium-diaphragm condenser mics positioned as a hybrid between the two extremes.
Large-diaphragm Condenser Microphones: These models are frequently used for vocals and voiceover recording, as well as strings, brass, percussion and more. Adding to their versatility is the fact that many of these mics are multiple-pattern models. Since their diaphragms alone can measure as much as an inch in diameter, they’re large microphones best-suited to diverse recording needs where compact size isn’t a priority. A large-diaphragm condenser mic is the workhorse of a typical studio. Specialty models are common as well, devoted to miking such instruments as kick drums and toms.
Small-diaphragm Condenser Microphones: Often found in professional recording environments, these mics may give up most of the spotlight to their larger cousins – but when they’re in their element, they can’t be beaten. Some of the strengths of small-diaphragm condensers include picking up the fast transients of cymbals and hand drums, as well as the percussive quality in the sound of an acoustic guitar. Plus, since they’re smaller than large-diaphragm mics, you can easily position small-diaphragm microphones and fit them into tight places such as the inside of an acoustic piano. For high frequencies and for sounds sources with sudden attack or rapidly-changing volume, small diaphragms have no equal.
Medium-diaphragm Condenser Microphones: There’s no strict definition for what qualifies as a medium-diaphragm since, historically, most microphones were classified as either large or small. A good ballpark, however, is around the 5/8″-3/4″ diameter range. These microphones deliver a good balance between large and small diaphragms, with the ability to accurately capture transients and high-frequency sound, like a small-diaphragm mic, as well as conveying a sense of fuller, better-rounded and warmer sound, like a large-diaphragm mic.
Roll-off & Bass Attenuation Switches
If you’re looking for a condenser microphone with maximum versatility, you might want to search for a model with roll-off and bass attenuation switches. A roll-off switch allows you to limit the frequency range, lowering or completely cutting off response below a certain level. This way, you can avoid feeding your recording hardware or speaker system a frequency range outside of what it can handle – and you can also use it to help reduce interference from low-ranged instruments during targeted recording of a high-frequency one, or simply to improve recording clarity. Attenuation switches are similar, but with regards to the microphone’s sensitivity: they’ll insulate the mic against high-volume sound sources, preventing it from becoming overloaded, and reducing distortion in turn.
Capable of taking high sound pressure levels in stride, dynamic microphones excel at live sound recording and amplification, as well as studio recording of loud sources such as percussion instruments and guitar amplifiers. Like condenser microphones, dynamic mics use a vibrating diaphragm to generate a signal. The difference is in the electronics that pick up the vibrations, and it’s that difference in design that makes dynamic models so rugged by comparison. One big advantage of dynamic microphones is that they tend to be very affordable, and a high-end dynamic mic can be a cost-effective choice even in a studio environment – especially if you’re recording vocals, drums, or electric guitars.
Handheld Vocal Dynamic Microphones
There’s no doubt that this style of mic is the image that pops into just about anyone’s head at the mention of the word “microphone.” The venerable Shure SM5is probably the best example of a handheld dynamic mic, though there are countless others if you’d like to try something different. These models often have internal shock-mounting systems built right in, so you can use them by hand or on a stand without the need for an external shockmount.
Instrument-specific Dynamic Microphones
It is possible to record audio in stereo simply by using two microphones, but in many cases it’s even more practical to simply use a stereo microphone. These models have two capsules built into a single mic casing, and they excel as room microphones: place one on a tall stand in the middle of a venue, and mix its stereo recording in with the soundboard feeds from your stage mics to give live recordings an enhanced sense of space.
Wireless systems take on many different forms, depending on their intended application. At their most basic level, all wireless systems consist of two main components: a wireless transmitter and a wireless receiver, which send and receive audio, respectively.
FOR SINGERS AND PRESENTERS
Handheld vocal microphone sets are one of the most common wireless configurations. The vocal handheld transmitter looks like a traditional wired microphone, but with a small antenna at the bottom rather than an XLR socket. Sennheiser handheld transmitters traditionally have a distinctive “shark fin” antenna on the bottom. Like their wired counterparts, vocal sets are available in a range of capsule options to fit the performer’s needs.
In some applications, the microphone needs to be unobtrusive. Theaters, for example, often use miniature clip-on “lavalier” microphones which can be hidden out of sight to preserve a clean, traditional look. Lavaliers connect to a beltpack (or bodypack) transmitter, a small device which simply clips to a belt, slips into a pocket, or gets hidden in a costume. Sennheiser offers several different lavaliers (lapel mics) with both omnidirectional and cardioid pickup to serve different applications.
The possibilities of wireless transmission are limitless.
To identify the right series for your application’s needs, consider a few simple questions.
Sam Ash is your destination for all things Sennheiser Wireless. Visit a sales associate at any of our Sam Ash Music stores to pick up your next Sennheiser wireless system. Not near a store, not to worry, we have experts standing by at 1-800-472-627who are always ready to help.
Shure SM5Dynamic Vocal Microphone Features
Shure SM5vocal microphone is designed for professional vocal use in live performance, sound reinforcement, and studio recording. Rugged construction, a proven shock-mount system, and a steel mesh grille ensure that even with rough handling, the SM5will perform consistently, outdoors or indoors.
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This device complies with Part 1of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) This device must accept any interference received, including interference that may cause undesired operation.
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The History of Wireless Audio Systems
Several individuals and companies have made competing claims that they invented the first wireless system. The earliest wireless mic schematics and do-it-yourself kits appeared in hobbyist magazine such as Popular Science and Popular Mechanics in the mid-1940s. From the late ‘40s through the early ‘50s various tinkerers created “wireless radio microphones” that transmitted signals using radio frequencies. These systems showed up sporadically in theatrical and sporting events.
The Shure Brothers laid claim to having the first wireless microphone system for performers. Called the Vagabond, it had a very limited range of about 1feet. In 1957, a German company called Lab W, later to become Sennheiser, created a wireless system that had a range of about 300 feet.
An American electrical engineer, Raymond A. Litke, developed a wireless microphone system in 195that was used in various applications such as the Olympic trials in 195and the 1960 Democratic and Republican conventions. He was granted the first wireless system patent in 196A version of the system was introduced later that year by Vega Electronics and was marketed as the Vega Mike.
Sony introduced its first wireless microphone system, the CR-4, in 1958, and by 1960 it was the system of choice for many theatre performances and nightclub acts. German manufacturer, Beyerdynamic, was also successful during this era with its wireless technology that was used in 196to capture the soundtrack for the filmed version of the musical My Fair Lady.
In the mid 1970s companding technology developed by Nady Systems resulted in wireless systems with a wider dynamic range. This led to their adoption by stadium acts such as Todd Rundgren and The Rolling Stones.
Today, almost every large venue uses wireless systems, dramatically changing the dynamics of performance. In 199a joint Emmy Award for “pioneering the development of the broadcast wireless microphone” went to Nady, CBS, Sennheiser, and Vega.
Wireless Microphone System Components
All wireless mic systems, regardless of their applications, are made up of two basic components: transmitters and receivers. Transmitters convert the audio signal captured by the mic into a radio signal. These are then sent to a receiver that converts them back to an audio signal that is then sent to the sound system.
First, we’ll look at the various types of mic transmitters.
Handheld Microphone Transmitters
These wireless mics incorporate the transmitter into their handle so both functions are contained in a single unit. As with wired handheld mics, there are numerous wireless dynamic and condenser mic models to choose from that will match just about any performer’s needs. Some manufacturers offer separate transmitters that can be plugged into the XLR connector of any dynamic mic, making microphone options even more plentiful when going wireless.
The Shure BLX24/SM5Handheld Wireless System with SM5Capsule includes a BLXreceiver which is a lightweight, durable ABS polymer chassis. It has a smaller footprint than previous receivers, and features an enhanced group and channel scan. Equipped with true diversity and a rugged build quality, this easy to use wireless receiver brings unprecedented quality into this price range.
VHF vs. UHF
Virtually all pro wireless systems operate on either the VHF (very high frequency) or UHF (ultra high frequency) bands. VHF wireless systems generally operate within the 17to 216MHz range (the range of TV channels 7-13), while UHF uses the 470 to 805MHz range (the range for TV channels 14-69).
Traditionally, UHF has been used by higher-end wireless systems, and has the reputation for having more transmitter range and being less prone to TV interference. These are real advantages but need some qualification.
UHF-based systems are allowed more transmitter power by regulation, but that doesn’t mean that any given system actually has more power than a given VHF system. UHF also has more range than VHF, not because of power, but because the signals move through the atmosphere more easily. UHF also has up to eight times more frequencies available.
As for less interference, that situation is changing. As parts of the UHF range are being assigned to public safety communications and digital TV broadcasting, the band is becoming more crowded. Also, the highest end of the UHF spectrum (above 900MHz) is a general-purpose range used for cordless telephones, garage door openers, and ham radio, so it’s not advisable for wireless use as interference problems are very likely. Actually, both bands are becoming more crowded. As discussed in the next section, digital signal processing technology is playing an important role in dealing with interference.
Key Wireless Receiver Functions and Features
The true worth of a wireless system is determined by its overall sound quality, dynamic range, freedom from dropouts and interference, and its operating range. Essentially, you want a wireless system to sound like a wired system. You also want a system that has easy-to-use controls and easy-to-read displays. There are a number of other common features that are true for all wireless mic, instrument, and in-ear monitoring systems that are not so immediately obvious.
Automatic Frequency Selection
With this feature, a frequency-agile system selects the frequency automatically. It’s a nice feature to have if you need a system with frequency agility as described in the previous paragraphs, because you’ll be resetting your system fairly often. Some high-end systems offer automatic setup of your entire wireless system.
As with any piece of electronic music gear, how well a wireless system keeps you informed of its status is an important consideration. Having a display that’s highly legible and well-lit is a big help during setup and performance. It should indicate signal strength, identify the channel being used, and have low-battery level warning indicators or battery-level meters. Battery-status displays are usually located on the transmitter, but some high-end systems have them on the receiver too.
First of all thanks for reading my article to the end! I hope you find my reviews listed here useful and that it allows you to make a proper comparison of what is best to fit your needs and budget. Don’t be afraid to try more than one product if your first pick doesn’t do the trick.
Most important, have fun and choose your wireless microphone system wisely! Good luck!
So, TOP3 of wireless microphone system
- №1 — Movo WMIC10-G 2.4GHz Wireless Lavalier Microphone System for GoPro HERO3
- №2 — Phenyx Pro Dual UHF Wireless Microphone System
- №3 — Wireless Handheld Microphone System with 2 Cordless Mics