ROOM TO MOVE
Oct 1, 2005 12:00 PM, By Erik Hawkins
Would you like to romp wildly about the stage without any worry of tripping over your instrument cable? How about jumping into the crowd and singing a song's chorus from the middle of a packed floor? It sounds fun, but if you're tethered to the stage by an audio cable, it's awfully difficult to perform such antics without getting ridiculously tangled. Fortunately, a good wireless setup can free you from the cables that keep you shackled to the stage. Best of all, wireless systems have improved markedly throughout the years and, at the same time, dropped tremendously in price. You can now get a decent wireless system for between $300 and $700 (depending on the features you need).
WIRELESS BASICS
A wireless system has two components: the receiver and the transmitter. The transmitter is the device that sends the radio signal, and the receiver is the device that picks up the signal; the audio output (XLR or ¼-inch) of the receiver is connected to your P.A. system. Transmitters are broken down into two categories, one for microphones and the other for instruments. Traditionally, performers who have the most to gain from a wireless system are lead vocalists and guitar and bass players. However, any instrument that can be easily carried about the stage (from a saxophone to a toy keyboard) can benefit from a wireless system and the freedom that it brings.
When it comes to wireless microphone setups, the transmitter is either a small box that snaps onto a microphone of your choice or built in directly to a microphone that's designed to be used with a specific receiver. Clearly, the advantage of a snap-on transmitter is that you can use it with any microphone. Although many snap-on transmitters are lightweight (such as the AKG SO 40), having this appendage at the base of your microphone can take some handling adjustments. Another disadvantage is that the controls (such as a transmitter mute switch — a crucial feature) of a snap-on are not so easy to reach, being at the base of the microphone instead of on its body. Mics with the transmitter built in are designed with easy-to-reach controls, but the microphone's body is larger and bulkier than a standard mic. Depending on the model, there can be sonic advantages to having the transmitter built in, because all of the components have been specifically designed to work together.
For instruments, there are also two varieties of wireless setups: either a belt-pack transmitter or a minitransmitter plug that connects directly to your instrument's line-output jack (such as Samson's AirLine plug-in transmitters for guitar and bass). A belt-pack transmitter clips onto your belt or some other sturdy part of your outfit, and an audio cable goes from it to your instrument's output jack. Belt-packs can be awkward if you have nowhere to attach them — and an eyesore if there's no place on your person to tuck them away from view. If you play an instrument and your belt-pack is securely attached to you, swapping instruments midperformance requires unplugging and replugging connections. By contrast, most plug-in transmitters are custom-made to fit snuggly against a bass or guitar body (the AirLine guitar model even has plug-ins to fit Fender Strat — or Gibson-style guitar jacks), and with a transmitter plugged into each instrument, swapping axes midperformance is a cinch. It's also much easier to reach a transmitter's controls when it's on your guitar's body rather than strapped to the small of your back.
RADIO FREQUENCIES
Continuing with the dual theme, wireless systems are offered in two different FCC-approved radio-frequency bandwidths: VHF (30 to 300 MHz) or UHF (300 MHz to 3 kHz). Initially, models employing the VHF bands were more affordable, but recent advancements in wireless technology have now made UHF models comparable in price. VHF and UHF can both be susceptible to radio frequency interference (RFI). However, with many more frequencies to choose from in the UHF range, you have a much better chance of finding RFI-free frequencies when using UHF systems. For example, if you're touring or using more than four wireless systems at the same time, the flexibility of having lots of frequencies to choose from is key. UHF systems that feature user-selectable channels (such as the Azden UHF 1000 Series) assure that, even with several systems running simultaneously, you'll get good transmission wherever you're playing.
The downsides to UHF are shorter bandwidths (radio waves with faster cycles) than VHF, making UHF frequencies less efficient at passing through impediments (such as air, walls and bodies). Con-sequently, UHF systems have less potential range, performing at peak efficiency when “line-of-sight” operation is maintained. If you won't be touring but plan instead to install a wireless system in one location, and if line-of-sight operation will be dubious, choose a VHF setup.
ENCOURAGE DIVERSITY
An important term to know when shopping for a wireless system is diversity. Diversity receivers are easily identified by their two antennae. The receiver continuously scans the incoming signal on both antennae, then smoothly and automatically switches to whichever signal is the strongest. Although diversity is invaluable for both VHF and UHF systems, the latter, having far fewer frequencies to work with, benefits (in terms of all-around performance) the most when paired with a diversity receiver.
Indicator lights and meters on the front of a receiver that show battery power, signal peaks and strength are helpful — it's difficult to troubleshoot when this information is not present. Front-panel controls on the receiver (such as the power switch and a level knob) are also a plus. If you're rough with your gear or plan to hit the road, be sure to invest in well-built devices (such as the Azden 511DRH receiver). It's exciting to realize how affordable wireless setups have become.
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