Microphone without a physical cable

A wireless microphone, or cordless microphone, is a microphone without a physical cable connecting it directly to the sound recording or amplifying equipment with which it is associated. Also known as a radio microphone, it has a small, battery-powered radio transmitter in the microphone body, which transmits the audio signal from the microphone by radio waves to a nearby receiver unit, which recovers the audio. The other audio equipment is connected to the receiver unit by cable. In one type the transmitter is contained within the handheld microphone body. In another type the transmitter is contained within a separate unit called a "bodypack", usually clipped to the user's belt or concealed under their clothes. The bodypack is connected by wire to a "lavalier microphone" or "lav" (a small microphone clipped to the user's lapel), a headset or earset microphone, or another wired microphone. Most bodypack designs also support a wired instrument connection (e.g. to a guitar). Wireless microphones are widely used in the entertainment industry, television broadcasting, and public speaking to allow public speakers, interviewers, performers, and entertainers to move about freely while using a microphone without requiring a cable attached to the microphone.

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Wireless microphones usually use the VHF or UHF radio frequency bands since they allow the transmitter to use a small unobtrusive antenna. Cheap units use a fixed frequency but most units allow a choice of several frequency channels, in case of interference on a channel or to allow the use of multiple microphones at the same time. Frequency modulation is usually used, although some models use digital modulation to prevent unauthorized reception by scanner radio receivers; these operate in the 900 MHz, 2.4 GHz or 6 GHz ISM bands. Some models use antenna diversity (two antennas) to prevent nulls from interrupting transmission as the performer moves around. A few low cost (or specialist) models use infrared light, although these require a direct line of sight between microphone and receiver.

History

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Various individuals and organizations claim to be the inventors of the wireless microphone.

From about there were schematics and hobbyist kits offered in Popular Science and Popular Mechanics for making a wireless microphone that would transmit the voice to a nearby radio.[1][2]

Figure skater and Royal Air Force flight engineer Reg Moores developed a radio microphone in that he first used in the Tom Arnold production "Aladdin on Ice" at Brighton's sports stadium from September through the Christmas season. Moores affixed the wireless transmitter to the costume of the character Abanazar, and it worked perfectly. Moores did not patent his idea, as he was illegally using the radio frequency 76 MHz. The producers of the ice show decided that they would not continue using the device; they would rather hire actors and singers to perform into hidden microphones to "dub" the voices of the other ice skaters, who would thus be free to concentrate on their skating. In Moores donated his prototype to the Science Museum in London.[3][4][5]

Herbert "Mac" McClelland, founder of McClelland Sound in Wichita, Kansas, fabricated a wireless microphone to be worn by baseball umpires at major league games broadcast by NBC from Lawrence–Dumont Stadium in .[6] The transmitter was strapped to the umpire's back. Mac's brother was Harold M. McClelland, the chief communications architect of the U.S. Air Force.

Shure Brothers claims that its Vagabond 88 system from was "the first handheld wireless microphone system for performers."[7] Its transmitter used five subminiature vacuum tubes and could cover an area from 500 to 5,000 square feet (46 to 465 m2) (a line-of-sight distance of 15 to 40 feet (4.6 to 12.2 m) from the receiver, depending on local electromagnetic interference), using FM at a carrier frequency of 2.1 MHz.[8] At about the same time, Donald[9] E. Thomas at Bell Labs described an experimental transmitter that used a single point-contact transistor as both oscillator and modulator and whose signal could be picked up by any commercial FM receiver.[10]

In , the German audio equipment manufacturer Sennheiser, at that time called Lab W, working with the German broadcaster Norddeutscher Rundfunk (NDR), exhibited a wireless microphone system. From the system was marketed through Telefunken under the name of Mikroport. The pocket-sized Mikroport incorporated a dynamic moving-coil cartridge microphone with a cardioid pickup pattern. It transmitted at 37 MHz with a specified range of 300 feet (90 m).[11]

The first recorded patent for a wireless microphone was filed by Raymond A. Litke, an American electrical engineer with Educational Media Resources and San Jose State College, who invented a wireless microphone in to meet the multimedia needs for television, radio, and classroom instruction. The main transmitter module was a cigar-sized device that weighed 7 ounces (200 g), contained the microphone and circuitry including four junction transistors (a two-transistor audio amplifier, a one-transistor oscillator/modulator similar to the one described by Thomas, and a final RF amplifier), and was suspended around the user's neck in lavalier fashion by a cord that also carried the antenna wire.[12] Vega Electronics Corporation manufactured the design in , producing it as a product called the Vega-Mike. The device was used by the broadcast media at the Democratic and Republican National Conventions. It allowed television reporters to roam the floor of the convention to interview participants, including presidential candidates John F. Kennedy and Richard Nixon.[13][verification needed] Litke's patent was granted in May , assigned to Vega Electronics.[12]

Introduced in , the Sony CR-4 wireless microphone was being recommended as early as for theater performances and nightclub acts. Animal trainers at Marineland of the Pacific in California were wearing the $250 device for performances in . The 27.12 MHz solid-state FM transmitter was capable of fitting into a shirt pocket. Said to be effective out to 100 feet (30 m), it mounted a flexible dangling antenna and a detachable dynamic microphone. The tube-based receiver incorporated a carrying drawer for the transmitter and a small monitor loudspeaker with volume control.[14][15]

Another German equipment manufacturer, Beyerdynamic, claims that its Transistophone, which went into production in , was the first wireless microphone.[16][17]

The first time that a wireless microphone was used to record sound during filming of a motion picture was allegedly on Rex Harrison in the film My Fair Lady, through the efforts of Academy Award-winning Hollywood sound engineer George Groves.[18]

By , wireless microphone products for amateurs and hobbyists were available. Radio Shack offered a microphone/transmitter module that proved to be vulnerable to capacitive detuning as a user moved around and mingled with crowds. One solution was to build on a final RF amplifier stage, which the module lacked,[19] though Litke had already anticipated the problem and included one in his patent.[12]

Wider dynamic range came with the introduction of the first compander wireless microphone, offered by Nady Systems in . Todd Rundgren and the Rolling Stones were the first popular musicians to use these systems live in concert. Kate Bush is regarded as the first artist to have had a headset with a wireless microphone built for use in music. For her Tour of Life in she had a compact microphone combined with a self-made construction of wire clothes hangers, to free her hands for expressionist dance performances. Her idea was adopted for live performance by other artists such as Madonna and Peter Gabriel.[20]

Nady joined CBS, Sennheiser and Vega in to receive a joint Emmy Award for "pioneering [the] development of the broadcast wireless microphone".[21]

Techniques

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The professional models transmit in VHF or UHF radio frequency and have 'true' diversity reception (two separate receiver modules, each with its own antenna), which eliminates dead spots (caused by phase cancellation) and the effects caused by the reflection of the radio waves on walls and surfaces in general. (See antenna diversity).

Another technique used to improve the sound quality (actually, to improve the dynamic range), is companding. Nady Systems, Inc. was the first to offer this technology in wireless microphones in , which was based on the patent obtained by company founder John Nady.

Some models have adjustable gain on the microphone itself to be able to accommodate different level sources, such as loud instruments or quiet voices. Adjustable gain helps to avoid clipping and maximize signal to noise ratio.

Some models have adjustable squelch, which silences the output when the receiver does not get a strong or quality signal from the microphone, instead of reproducing noise. When squelch is adjusted, the threshold of the signal quality or level is adjusted.

Products

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AKG Acoustics, Audio Ltd, Audio-Technica, Electro-Voice, Lectrosonics, MIPRO, Nady Systems, Inc, Samson Technologies, Sennheiser, Shure, Sony, Wisycom and Zaxcom are all major manufacturers of wireless microphone systems. They have made significant advances in dealing with many of the disadvantages listed above. For example, while there is a limited band in which the microphones may operate, several high-end systems can consist of over 100 different microphones operating simultaneously. However, the ability to have more microphones operating at the same time increases the cost due to component specifications, design and construction. That is one reason for such large price differences between different series of wireless systems.

Generally there are three wireless microphone types: handheld, plug-in and bodypack:

• Handheld looks like a 'normal' wired microphone, may have a bigger body to accommodate the transmitter and battery pack.
• Plug-in, plug-on, slot-in, or cube-style transmitters attach to the bottom of a standard microphone, thus converting it to wireless operation (see below).
• Bodypack is a small box housing the transmitter and battery pack, but not the microphone itself. It is attachable to clothing or on the body and has a wire going into a headset, a lavalier microphone or a guitar.

Several manufacturers including Sennheiser, AKG, Nady Systems, Lectrosonics and Zaxcom offer a plug-in transmitter for existing wired microphones, which plugs into the XLR output of the microphone and transmits to the manufacturer's standard receiver. This offers many of the benefits of an integrated system, and also allows microphone types (of which there may be no wireless equivalent) to be used without a cable. For example, a television, or film, sound production engineer may use a plug-in transmitter to enable wireless transmission of a highly directional rifle (or "shotgun") microphone, removing the safety hazard of a cable connection and permitting the production engineer greater freedom to follow the action. Plug-in transmitters also allow the conversion of vintage microphone types to cordless operation. This is useful where a vintage microphone is needed for visual or other artistic reasons, and the absence of cables allows for rapid scene changes and reducing trip hazards. In some cases these plug-in transmitters can also provide 48 volt phantom power allowing the use of condenser microphone types. DC-DC converter circuitry within the transmitter is used to multiply the battery supply, which may be three volts or less, up to the required 48 volts.

Receivers

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There are many types of receiver. True Diversity receivers have two radio modules and two antennas. Diversity receivers have one radio module and two antennas, although some times the second antenna may not be obviously visible. Non-diversity receivers have only one antenna.

Receivers are commonly housed in a half-rack configuration, so that two can be mounted together in a rack system (that is to say the receiver is enclosed in a box 1U high and half-width, so two receivers can be installed in 1U). For large complex multi channel radio microphone systems, as used in broadcast television studios and musical theater productions, modular receiver systems with several (commonly six or eight) true diversity receivers slotting into a rack-mounted mainframe housing are available. Several mainframes may be used together in a rack to supply the number of receivers required. In some musical theater productions, systems with forty or more radio microphones are not unusual.

Receivers specifically for use with video cameras are often mounted in a bodypack configuration, typically with a hotshoe mount to be fitted onto the hotshoe of the camcorder. Small true diversity receivers which slot into a special housing on many professional broadcast standard video cameras are produced by manufacturers including Sennheiser, Lectrosonics and Sony. For less demanding or more budget conscious video applications small non-diversity receivers are common. When used at relatively short operating distances from the transmitter this arrangement gives adequate and reliable performance.

Bandwidth and spectrum

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Almost all wireless microphone systems use wide band frequency modulation, requiring approximately 200 kHz of bandwidth. Because of the relatively large bandwidth requirements, wireless microphone use is effectively restricted to VHF and above.

Many older wireless microphone systems operate in the VHF part of the electromagnetic spectrum. Systems operating in this range are often crystal-controlled, and therefore operate on a single frequency. However, if this frequency is chosen properly, the system will be able to operate for years without any problems.

Most modern wireless microphone products operate in the UHF television band, however. In the United States, this band extends from 470 to 614 MHz. In the Federal Communications Commission issued new regulations on the operations of TV-band devices. Other countries have similar band limits; for example, as of January , Great Britain's UHF TV band extends from 470 to 790 MHz.[citation needed] Typically, wireless microphones operate on unused TV channels ("white spaces"), with room for one to two microphones per megahertz of spectrum available.

Intermodulation (IM) is a major problem when operating multiple systems in one location. IM occurs when two or more RF signals mix in a non-linear circuit, such as an oscillator or mixer. When this occurs, predictable combinations of these frequencies can occur. For example, the combinations 2A-B, 2B-A, and A+B-C might occur, where A, B, and C are the frequencies in operation. If one of these combinations is close to the operating frequency of another system (or one of the original frequencies A, B, or C), then interference will result on that channel. The solution to this problem is to manually calculate all of the possible products, or use a computer program that does this calculation automatically.

Digital Hybrid Wireless

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Digital Hybrid systems use an analog FM transmission scheme in combination with digital signal processing (DSP) to enhance the system's audio. Using DSP allows the use of digital techniques impossible in the analog domain such as predictive algorithms, thus achieving a flatter frequency response in the audio spectrum and also further reducing noise and other undesirable artifacts when compared to pure analog systems.

Another approach is to use DSP in order to emulate analog companding schemes in order to maintain compatibility between older analog systems and newer systems. Using DSP in the receiver alone can improve the overall audio performance without the penalty of increased energy consumption and resulting battery life reduction that is incurred by incorporating DSP into a battery-powered transmitter.

Digital

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A number of pure digital wireless microphone systems do exist, and there are many different digital modulation schemes possible.

Digital systems from Sennheiser, Sony, Shure, Zaxcom, AKG and MIPRO use the same UHF frequencies used by analog FM systems for transmission of a digital signal at a fixed bit rate. These systems encode an RF carrier with one channel, or in some cases two channels, of digital audio. Only the Sennheiser Digital system, introduced in , is currently capable of transmitting full-bandwidth, uncompressed, digital audio in the same 200 kHz bandwidth UHF channels that were used by analog FM systems.[22] The advantages offered by purely digital systems include low noise, low distortion, the opportunity for encryption, and enhanced transmission reliability.

Pure digital systems take various forms. Some systems use frequency-hopping spread spectrum technology, similar to that used for cordless phones and radio-controlled models. As this can require more bandwidth than a wideband FM signal, these microphones typically operate in the unlicensed 900 MHz, 2.4 GHz or 6 GHz bands. The absence of any requirement for a license in these frequency bands is an added attraction for many users, regardless of the technology used. The 900 MHz band is not an option outside of the US and Canada as it is used by GSM cellular mobile networks in most other parts of the world. The 2.4 GHz band is increasingly congested with various systems including Wi-Fi, Bluetooth and leakage from microwave ovens. The 6 GHz band has problems of range (requires line of sight) due to the extremely short transmission carrier wavelengths. The Alteros GTX Series is a local area wireless microphone network that overcomes the line-of-sight problem by utilizing up to 64 transceivers around the performance area. It is also the only system employing Ultra WideBand pulsed RF technology which doesn't generate intermodulation products common with FM, QAM and GFSK modulated carriers used by most other systems.

Digital radio microphones are inherently more difficult for the casual 'scanner' listener to intercept because conventional "scanning receivers" are generally only capable of de-modulating conventional analog modulation schemes such as FM and AM. However, some digital wireless microphone systems additionally offer encryption technology in an attempt to prevent more serious 'eavesdropping' which may be of concern for corporate users and those using radio microphones in security sensitive situations.

Manufacturers currently offering digital wireless microphone systems include AKG-Acoustics, Alteros, Audio-Technica, Lectrosonics, Line 6, MIPRO, Shure, Sony, Sennheiser and Zaxcom. All are using different digital modulation schemes from each other.

Licensing

[edit] Main article: Wireless microphone licensing

United Kingdom

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In the UK, use of wireless microphone systems requires a Wireless Telegraphy Act license, except for the license free bands of 173.8–175.0 MHz and 863–865 MHz. In the UK communications regulator, Ofcom, held an auction in which the UHF band from 790 MHz to 862 MHz was sold to be used for mobile broadband services.[23][24][25]

United States

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Licenses are required to use wireless microphones on vacant TV channels in the United States as they are a part of the Broadcast Auxiliary Service (BAS). Licenses are available only to broadcasters, cable networks, television and film producers.

There are currently some wireless microphone manufacturers that are marketing wireless microphones for use in the United States that operate within the 944–952 MHz band reserved for studio-transmitter link communications. Beginning in , the amount of TV band spectrum available for wireless microphone use is decreasing as a result of the incentive auction, which was completed on April 13, .

Australia

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In Australia, operation of wireless microphones of up to 100 mW EIRP between 520 and 694 MHz is on unused television channels and is covered by a class license, allowing any user to operate the devices without obtaining an individual license.[citation needed]

Other countries

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Licensing in European countries is regulated by the Electronic Communications Committee (ECC) which is part of the European Conference of Postal and Telecommunications Administrations (CEPT) based in Denmark.[26]

White Space Devices (United States)

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There is a move to allow the operation of personal unlicensed wideband digital devices using the UHF television spectrum in the United States. These 'white space' devices (WSDs) would be required to have GPS and access to a location database to avoid interfering with other users of the band. Initial tests performed by the FCC showed that, in some cases, prototypes of these devices were unable to correctly identify frequencies that were in use, and might therefore accidentally transmit on top of these users. Broadcasters, theaters, and wireless microphone manufacturers were firmly against these types of devices ostensibly for this reason.

Later tests by the FCC indicated that the devices could safely be used.[27] This did not reduce the opposition by broadcasters who might also have been concerned by the possibility of entertainment delivery competition from high-speed mobile Internet access delivered in the white spaces.

On September 23, , the FCC released a Memorandum Opinion and Order that determined the final rules for the use of white space for unlicensed wireless devices.[28] The final rules adopt a proposal from the White Spaces Coalition.[29]

Cognitive Access (UK)

[edit] Main article: Cognitive radio

A similar class of device to those known in the US as White Space Devices (WSD) is being researched in the UK and probably many other countries. While the WSD situation in the US is being closely watched by interested parties in the UK and elsewhere, early in Ofcom launched research and a public consultation on Cognitive Access to the UHF interleaved spectrum.[30] The outcome of this consultation and the related WSD activities in the US could have far reaching implications for users of UHF radio microphones in the UK and around the world.

See also

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• Boom operator (media)
• Electronic field production (EFP)
• Electronic news gathering (ENG)
• Filmmaking
• FM transmitter (personal device)
• Professional video camera
• Recording studio
• Television production

References

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A Beginner's Guide to Digital Wireless Microphone Systems

While they may not share the same prestige, history or reverence as studio mics, wireless microphone systems are ubiquitous in modern communications. Far beyond the realm of music-making these mics are integral for beaming voice to ear, used in everything from filmmaking and broadcasting to journalism, business and education.

In some instances, wired microphones are inconvenient and impractical, and in others, their use is simply not feasible. Technological innovators have addressed this problem as far back as the '40s, with early wireless prototypes being used for a variety of applications – from mic’ing up performers in theatres to broadcasting umpires in ball games.

Since then, a huge amount of headway has been made – in the modern age, wireless mics are affordable, reliable and versatile. If you’re new to wireless microphones, there’s a little bit to learn. With more physical components, technical elements, and practical applications than traditional mics, using a wireless system may seem daunting, but once you get your head around the basics, they’re really quite straightforward. Let’s dive in.

How Wireless Microphone Systems Work

Wireless microphone systems are comprised of three fundamental components: the microphone, the transmitter, and the receiver.

Mics

Typically, a wireless system will feature one of three mic types: handheld, headset or lavalier.

Handheld

The former is your standard, archetypal stage microphone ­– usually a dynamic or condenser. These will usually have a transmitter built into their body, making them quick and easy to set up and move around with. The RØDELink TX-M2 is a perfect example of a versatile, high-quality handheld wireless mic. You’ll find them used by everyone from stage performers to reporters to educators.

Headset

As the name suggests, these are worn on the head, often over the ear, while a discrete arm positions the capsule very close to the mouth. Headsets – like the RØDE HS2 – are especially useful when subjects are in noisy environments or on the move, the mic stays the same distance from the mouth and allows the user to be completely hands-free. Headsets usually use the same beltpack systems as lavs – the RØDE Filmmaker Kit and Wireless GO are a case in point.

Lavalier­

Also known as ‘lav‘ or ‘lapel’ mics, lavalier microphones are small and unobtrusive, designed to be clipped onto the clothing of the subject doing the talking. This close proximity to the mouth gives them a good signal-to-noise ratio. It also eliminates a lot of the issues involved with achieving good audio quality with shotgun or on-camera mic placement. Lav mics are most commonly used in video and filmmaking, where a visible mic doesn’t fit into the context of what is being captured, or in a scenario where the subject needs their hands free.

Lav mics connect to a transmitter pack, usually worn on the belt of the subject. They can take some time to set up (making sure they are positioned correctly and look neat, or in some cases, invisible) and are rather delicate, meaning they aren’t always suitable for run-and-shoot situations. Our Filmmaker Kit is a classic example of a wireless lav mic system.

Transmitter

So, what does the transmitter actually do? As you probably guessed, its role is to convert the audio signal it receives from the mic into a signal that can be picked up by the receiver, then transmit it wirelessly. When it comes to digital wireless systems, this process involves converting the analog mic signal into a digital signal, which is then sent as a series of 1s and 0s to the receiver over a radio link.

Receiver

The receiver is at the other end of the radio link. It extracts the 1s and 0s of the digital signal and converts them back into the audio signal. These can either be single or multi-channel systems and, depending on their capabilities, are either larger desktop units (like our Performer Kit) or smaller camera-mounted units or beltpacks (like the Wireless GO).

The Benefits of Wireless Microphones

Wireless microphone systems have a heap of benefits over traditional cabled mics:

• They are wireless! Meaning no trip hazards and mucking around with messy cables
• They allow far greater ease of movement
• Many wireless systems operate with large distances between the transmitter and receiver
• They are discreet – whether you’re shooting video or performing on stage, wireless systems lend a clean look to the proceedings
• They are durable ­– cables wear out, radio waves don’t
• They can be hands-free

There are some disadvantages to consider when using a wireless system, such as latency, interference and environmental factors (such as ‘dead spots’ where signals cannot transmit), however, in many applications they are the best ­– or only – option.

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Wireless Microphone Systems: What Are They Used For?

One of the key virtues of wireless microphones is their versatility; they are crucial to workflows in many creative and professional fields and have been central to the advancement of many media formats since their inception.

Filmmaking, Broadcasting and Streaming

Filmmakers, broadcasters and vloggers have been the most avid adopters of wireless mic technology, particularly those outside the realm of feature films ­–­ budding videographers, content creators, video journalists and streamers. There are a few reasons for this, but one stands out above the rest: handheld mics don’t look great stuck in front of a person’s face.

There are ways to record sound on set without using a hand-held microphone. On-camera mics are a great way to capture both primary and reference audio from a DSLR or video camera. Boom-mounted shotgun mics are another option. But if you need to close-mic your subject, and don’t want a hulking microphone in your shot (or cables threatening to trip you and your crew over), a wireless lav mic system is the way to go.

Education and Events

Wireless mics are hugely beneficial in education environments, allowing teachers, lecturers and guest speakers to move freely and engage with students and reference material using their hands. Remote education is also on the rise, and the demand for lectures and classes to be recorded for live streaming and repeat viewing means that you will find recording devices used in most education institutions across the world.

The same goes for any kind of presentation. From seminars to conferences to public events and houses of worship, wireless mics offer an effective solution to simply transmit and record audio.

Live Performance

In many instances, stage performers require the use of their hands, meaning traditional mics are a no-go. Whether it’s for a rock show or a musical, wireless headset mics allow freedom of movement and reduce the risk of tripping over cables. And for large-scale performances, wireless mics significantly reduce the complexity and size of cable looms and runs.

Analog vs Digital Wireless Microphones

Digital wireless microphones are superior to analog systems in a number of ways.  

Sound Quality ­– Digital wireless microphones transmit audio signals that have been converted into 1s and 0s, which are not affected by the transmission medium. Analog systems, by contrast, send the audio signal as a modulated radio wave, which means disturbances or interference in the transmission will result in audio artefacts. Analog systems also rely on what is called a ‘compander’ to compress the dynamic range of the audio signal before it can be transmitted, which can lead to degradation of the audio signal. In high end analog units with quality components, this is usually not noticeable, but it can be an issue with cheaper units.

Longer Battery Life – On average, the battery life of digital wireless mics is better than analog ones. Typically, digital systems require a lower power transmitter than their analog counterparts, which can result in up to 40% longer battery life. 

Security – Digital systems are encrypted, meaning the link is secure from eavesdroppers – whereas analog signals can be picked up by anyone in the vicinity with a suitable receiver.

What to Look for in a Digital Wireless Microphone

The wireless microphone you choose will greatly depend on what you intend to use it for. There are lots of options out there, each designed with a specific application in mind. Some cover many bases, others are tailored for a purpose, whether it’s on-the-go filmmaking or big stage performances. Some of the things you will want to consider when choosing a wireless mic.

Microphone Type ­– Do you want a wireless system with a handheld, lavalier or headset microphone? Each mic is suited to different scenarios, so the kind you need will be fairly obvious.

Range ­– Different systems have different transmission ranges, ranging from short distances to hundreds of feet. A good rule of thumb is to think about how far you will usually be from your subject, then doubling it to be safe. Range is often reflected in the price of a system, so don’t go spending hundreds of dollars on something with greater transmission capabilities than you need (or do! - you never know when you might need that extra distance).

Size – Wireless systems come in a range of sizes, from ultra-compact like the Wireless GO to larger desktop units like the Performer Kit. If you’re constantly interviewing remotely, shooting on-the-go, or need something that is discreet, the smaller the better. If your system is going to be sitting in a classroom or the back of a club, something with larger controls and screen will be easier to operate.

Battery Life – Battery life is an important feature to consider when choosing a wireless mic. However, keep in mind that battery life, size and range should all be taken into consideration together. If small size is very important to you, you may have to sacrifice battery life. Or if range is your biggest concern, a larger unit may be your only option. Think about what is most important to you and make your pick to suit.

Latency ­– The reality is that, with digital wireless systems, latency is part of the package. This is because transforming an analog audio signal into digital binary code (during the transmission stage) takes time. How much time is something you will want to investigate. Check out a mic’s max latency time in its spec list. RØDE’s Filmmaker Kit and Performer Kit operate with a maximum of 4ms of latency, which is negligible.

RØDE Wireless Microphones: What Are Your Options

RØDE is world-renowned for making the best wireless microphones on the market. Our range offers a selection of wireless solutions for everyone from filmmakers to musicians to professionals, all built with superior components and unmatched features, delivering incredible audio quality, versatility and reliability.

Wireless GO

Wireless GO is the smallest and most versatile wireless mic system in the world. It offers the best of both worlds when it comes to wireless recording: yes, you can easily plug a standard lapel mic like our Lavalier or smartLav+ into the compact transmitter as you would any other wireless system, but it also features a high-quality omnidirectional condenser mic built into the transmitter, meaning that if you’re in a high-pressure situation where you need to be nimble with your recording, or if you just don’t like messing around with lav mic cabling, you can simply clip the pack onto the shirt, jacket or tie of your subject and you’re good to go. It’s the perfect wireless mic solution for content creators in all disciplines: filmmakers, on-camera presenters, newsgatherers, vloggers and more.

Key features include:

• Operates as a clip-on microphone or beltpack transmitter for a lavalier/headset microphone

•  Built-in omnidirectional condenser microphone delivers broadcast-quality sound

• Series III 2.4GHz digital wireless transmission with 128-bit encryption designed to deliver crystal clear audio under any conditions, even in locations with dense Wi-Fi and Bluetooth activity like shopping malls, conventions, hotels etc

• Up to 70m range (line-of-sight), but optimised for shorter-range operation in congested radio-frequency environments

• TX and RX have built-in rechargeable batteries, charged via USB-C

• Power via included LB-1 Rechargeable Battery, 2 x AA Batteries

• Up to 7 hours on a full charge, including a battery-saver mode

• Super-lightweight and ultra-compact: TX is 31g and RX only 31g

• The transmitter and receiver pair in just 3 seconds

• 3-stage output pad: 0, -6dB and -12dB

RØDELink Filmmaker Kit

The RØDELink Filmmaker Kit is the industry standard in on-camera wireless audio capture. Using a Series II 2.4GHz digital transmission with 128-bit encryption, it is able to constantly monitor and hop between frequencies to maintain the strongest possible signal level at a range of up to 100 metres. The kit comes with our compact TX-BELT transmitter, RX-CAM receiver and our broadcast-quality omnidirectional Lavalier mic.

Key features include:

• Series II, 2.4GHz digital transmission

• 128-bit encryption

• Up to 100 metres range

• OLED display (on receiver)

• One button pairing

• Three level gain control

• AA battery or USB powered

RØDELink Newshooter Kit

The RØDELink Newsshooter Kit is all you need to capture incredible audio for ENG and reporting. It also uses a Series II 2.4GHz digital transmission with 128-bit encryption to hop between frequencies to maintain the a strong signal level at a range of up to 100 metres. The kit comes with everything you need to start recording right away, including our TX-XLR wireless transmitter (which can be plugged into any XLR mic) and RX-CAM receiver.

Key features include:

• Series II, 2.4GHz digital transmission

• 128-bit encryption

• Up to 100 metres range

• OLED display (on receiver)

• One touch pairing

• Five level gain control

• AA battery, NP-F battery or USB powered

RØDELink Performer Kit

The RØDELink Performer Kit is a versatile wireless mic solution, perfect for lectures, live performance, weddings and school presentations. Featuring the TX-M2 handheld condenser microphone, which pairs with a RX-DESK desktop receiver, the Performer Kit is highly intuitive, with one-touch pairing between transmitter and receiver and dual signal transmission to ensure audio is as secure as a cabled connection.  

Key features include:

• Series II 2.4 GHz digital transmission

• 128-bit encrypted signal

• Up to 8 Kits can operate simultaneously

• Low Handling Noise

• Up to 100m range

• Power via included LB-1 Rechargeable Battery, 2 x AA Batteries

• Mute Switch