Open Forum

Firstly, enter 'wireless mics' into this site's search function - you find many good discussions and information.

Secondly, be very aware that the FCC is hacking another big chunk of the frequency spectrum away from our legal use.  Be wary of bargains on wireless products - the vendor may be foisting products on to you that you cannot legally use.

Third, due to the reduced availability of wireless mic operating bands, and the continual reshuffling of local TV station channels, you have to be on your toes about setting-up your mic frequencies.  To work well AS A SET, they ALL have to be coordinated in regard to the frequencies the are set to operate on.  ALL OF THEM - AS A SET.  This includes any other wireless mics / guitars, intercoms, or IEM's (In Ear Monitors) in the area.  This means you need to coordinate with local churches, the football team, guest artist's personal equipment, etc.  Wireless devices must be set-up based upon some very precise frequency calculations so none of the transmitter frequency harmonics end-up similar to some other transmitter's primary frequency or harmonics.  There is software to do this.  It is FREE.  Get it, install it, learn it, and use it.  This is your STEAM moment.  It can save your show from nasty interruptions!  Search for the "Shure Wireless Workbench".  Sennheiser and Audio Technica also have programs similar to this.  The software works with any brand of hardware.

Six article about wireless microphones are attached.  Geek-out and read them.

------------------------------
Erich Friend
Theatre Consultant
Teqniqal Systems
------------------------------

Original Message:
Sent: 04-10-2017 15:22
From: Erika Trahan
Subject: Wireless Microphones

Two years ago, I was able to purchase some Airwave microphones.

The previous teacher had purchased Airwave and they have been our most reliable microphones. 144+ channels helps find a channel if we are having frequency issues. We have no auditorium, so it is set up in our gym. From what I understand, Airwave is going out of business or something of the sort.

I'm just wondering those of you who use wireless:

1. What brand do you purchase and have they been successful for good life of a wireless unit?

2. What issues if any have you had? How did you fix/correct them?

3. Do you have a contract with the performer if they break it or damage that they must pay for  it? (I find they are not being as careful as they could be with them..)

Thanks for any input. I am very slowly learning about microphones.

There are so many things to take into consideration and it is my LEAST favorite thing to deal with when running a show. 

--

Erika Trahan

Kaplan High School

Speech and Theatre

Thank you! I will definitely check educate myself and this is a good place to begin.

Erika

------------------------------
Erika Trahan
Kaplan LA
------------------------------

Original Message:
Sent: 04-11-2017 05:16
From: Erich Friend
Subject: Wireless Microphones

Firstly, enter 'wireless mics' into this site's search function - you find many good discussions and information.

Secondly, be very aware that the FCC is hacking another big chunk of the frequency spectrum away from our legal use.  Be wary of bargains on wireless products - the vendor may be foisting products on to you that you cannot legally use.

Third, due to the reduced availability of wireless mic operating bands, and the continual reshuffling of local TV station channels, you have to be on your toes about setting-up your mic frequencies.  To work well AS A SET, they ALL have to be coordinated in regard to the frequencies the are set to operate on.  ALL OF THEM - AS A SET.  This includes any other wireless mics / guitars, intercoms, or IEM's (In Ear Monitors) in the area.  This means you need to coordinate with local churches, the football team, guest artist's personal equipment, etc.  Wireless devices must be set-up based upon some very precise frequency calculations so none of the transmitter frequency harmonics end-up similar to some other transmitter's primary frequency or harmonics.  There is software to do this.  It is FREE.  Get it, install it, learn it, and use it.  This is your STEAM moment.  It can save your show from nasty interruptions!  Search for the "Shure Wireless Workbench".  Sennheiser and Audio Technica also have programs similar to this.  The software works with any brand of hardware.

Six article about wireless microphones are attached.  Geek-out and read them.

------------------------------
Erich Friend
Theatre Consultant
Teqniqal Systems
------------------------------

Original Message:
Sent: 04-10-2017 15:22
From: Erika Trahan
Subject: Wireless Microphones

Two years ago, I was able to purchase some Airwave microphones.

The previous teacher had purchased Airwave and they have been our most reliable microphones. 144+ channels helps find a channel if we are having frequency issues. We have no auditorium, so it is set up in our gym. From what I understand, Airwave is going out of business or something of the sort.

I'm just wondering those of you who use wireless:

1. What brand do you purchase and have they been successful for good life of a wireless unit?

2. What issues if any have you had? How did you fix/correct them?

3. Do you have a contract with the performer if they break it or damage that they must pay for  it? (I find they are not being as careful as they could be with them..)

Thanks for any input. I am very slowly learning about microphones.

There are so many things to take into consideration and it is my LEAST favorite thing to deal with when running a show. 

--

Erika Trahan

Kaplan High School

Speech and Theatre

Erika,
I would recommend Shure Products. Their wireless lines are fantastic and are very durable. I would recommend either their ULX or ULXD models. It depends on the budget you are working with. They are a little on the higher end but they are built for use and always perform greatly. As for care of the mics, training and discipline of the care are the best things to get the kids to treat them best. With a product like Shures, you are guaranteed to have them last 15+ years of heavy use. I believe in educating the performers on the prper care of them and only having one or two people hand them out and collect them at the end of performances. Let me know if you have any other questions and or want more ideas.


------------------------------
Best of luck,
Benjamin P. Stroh
BPS Pro Audio, LLC
bpsproaudio.com
------------------------------

Original Message:
Sent: 04-10-2017 15:22
From: Erika Trahan
Subject: Wireless Microphones

Two years ago, I was able to purchase some Airwave microphones.

The previous teacher had purchased Airwave and they have been our most reliable microphones. 144+ channels helps find a channel if we are having frequency issues. We have no auditorium, so it is set up in our gym. From what I understand, Airwave is going out of business or something of the sort.

I'm just wondering those of you who use wireless:

1. What brand do you purchase and have they been successful for good life of a wireless unit?

2. What issues if any have you had? How did you fix/correct them?

3. Do you have a contract with the performer if they break it or damage that they must pay for  it? (I find they are not being as careful as they could be with them..)

Thanks for any input. I am very slowly learning about microphones.

There are so many things to take into consideration and it is my LEAST favorite thing to deal with when running a show. 

--

Erika Trahan

Kaplan High School

Speech and Theatre

Benjamin, can Shures be used with Audio Technica transmitters?  And would you say the lines on the Shures are more durable/longer lasting than those on the AT mics?

Thanks!

------------------------------
Laura Steenson
Theatre Director
Reynolds High School
Troutdale OR
------------------------------

Original Message:
Sent: 04-11-2017 18:47
From: Benjamin Stroh
Subject: Wireless Microphones

Erika,
I would recommend Shure Products. Their wireless lines are fantastic and are very durable. I would recommend either their ULX or ULXD models. It depends on the budget you are working with. They are a little on the higher end but they are built for use and always perform greatly. As for care of the mics, training and discipline of the care are the best things to get the kids to treat them best. With a product like Shures, you are guaranteed to have them last 15+ years of heavy use. I believe in educating the performers on the prper care of them and only having one or two people hand them out and collect them at the end of performances. Let me know if you have any other questions and or want more ideas.


------------------------------
Best of luck,
Benjamin P. Stroh
BPS Pro Audio, LLC
bpsproaudio.com
------------------------------

Original Message:
Sent: 04-10-2017 15:22
From: Erika Trahan
Subject: Wireless Microphones

Two years ago, I was able to purchase some Airwave microphones.

The previous teacher had purchased Airwave and they have been our most reliable microphones. 144+ channels helps find a channel if we are having frequency issues. We have no auditorium, so it is set up in our gym. From what I understand, Airwave is going out of business or something of the sort.

I'm just wondering those of you who use wireless:

1. What brand do you purchase and have they been successful for good life of a wireless unit?

2. What issues if any have you had? How did you fix/correct them?

3. Do you have a contract with the performer if they break it or damage that they must pay for  it? (I find they are not being as careful as they could be with them..)

Thanks for any input. I am very slowly learning about microphones.

There are so many things to take into consideration and it is my LEAST favorite thing to deal with when running a show. 

--

Erika Trahan

Kaplan High School

Speech and Theatre

Technically, it is possible to mix brands of Transmitters and Receivers, but unless you are a Radio Frequency Electronics Engineer, your results may be extremely unpredictable.  It is best to stay with the manufacturer's pairings.

It is OK to use different manufacturer's mic elements with other manufacturer's transmitters, however, you have to know what you are doing as there are numerous 'standard' mic connectors.  Also, each transmitter product has different bias voltage for condenser capsules, and different mic capsules require different bias voltages, so you have to make sure you have them paired-up correctly.  Some mic manufacturers, like dPA, have a wide selection of adapters that connect their product to the various transmitter manufacturers, so the information for pairing is out there, but you do have to check it.  Of course, be sure to clearly document any changes you make to connectors of mics so the next person doesn't scratch their head wondering why the mic doesn't work as expected.

For keeping the mic cables (the 'lines' you were referring to?) from being damaged, it is really important to educate the performers and costuming staff about how delicate they are and how expensive they are to replace or repair.  Once they understand that if they damage the mic it is them that will not be heard, and it is their wallet that will foot the bill, they begin to become more respectful of the hardware. ("Involve me and I will learn.  Invoice me and I will learn.").  These seem to get damaged (yanked apart) during costume changes, particularly at the end of the show when everyone is trying to get out of costume in a hurry in a crowded dressing room.  Have your tech crew remove the mics from the performers before they are allowed to go into the dressing room.

For handheld type transmitters, some (not all) types can have the head (diaphragm capsule) unscrewed and replaced with heads from other microphones.  This can provide a quick fix if someone damages the diaphragm capsule and the transmitter is still OK.

Also, some antenna distributors (RF splitters) and antennas can be used with several different brands of receivers, but you have to check the connector types (BNC 50 Ohm, BNC 75 Ohm {shouldn't be this!}, TNC, reverse thread TNC, etc.), and whether-or-not the remote antennas require a bias voltage.  Connect the wrong parts together and they won't work.  Some antennas have a narrow receiving frequency range, too, so if it is for use at low frequencies (like VHF band) it may not provide a strong signal at high frequencies (like UHF band), and vice-versa.  Some mics use even higher frequency bands above UHF like 900 MHz, 1,900 MHz, and 2,400 MHz, and those antennas are very specific to their groups and generally can't be mixed with UHF and/or VHF equipment.

With the loss of available bandwidth in the 'normal' UHF range (due to FCC re-allocations of frequencies), it is becoming more common that shows with lots of wireless mics have devices operating in multiple frequency groups (VHF, UHF, 900, 1,900, 2,400, & others).  The days of getting 24-36 wireless mics all working in the UHF band are mostly gone.  Many larger shows (both touring and site specific) have a person that continually addresses this problem. The SuperBowl  is an extreme example - they have hundreds of devices that must be coordinated!  This is a really interesting task for the engineering oriented theatre person to work with. STEAM!  The job title 'RF Coordinator' is a real thing.

------------------------------
Erich Friend
Theatre Consultant
Teqniqal Systems
------------------------------

Original Message:
Sent: 04-11-2017 21:27
From: Laura Steenson
Subject: Wireless Microphones

Benjamin, can Shures be used with Audio Technica transmitters?  And would you say the lines on the Shures are more durable/longer lasting than those on the AT mics?

Thanks!

------------------------------
Laura Steenson
Theatre Director
Reynolds High School
Troutdale OR
------------------------------

Original Message:
Sent: 04-11-2017 18:47
From: Benjamin Stroh
Subject: Wireless Microphones

Erika,
I would recommend Shure Products. Their wireless lines are fantastic and are very durable. I would recommend either their ULX or ULXD models. It depends on the budget you are working with. They are a little on the higher end but they are built for use and always perform greatly. As for care of the mics, training and discipline of the care are the best things to get the kids to treat them best. With a product like Shures, you are guaranteed to have them last 15+ years of heavy use. I believe in educating the performers on the prper care of them and only having one or two people hand them out and collect them at the end of performances. Let me know if you have any other questions and or want more ideas.


------------------------------
Best of luck,
Benjamin P. Stroh
BPS Pro Audio, LLC
bpsproaudio.com
------------------------------

Original Message:
Sent: 04-10-2017 15:22
From: Erika Trahan
Subject: Wireless Microphones

Two years ago, I was able to purchase some Airwave microphones.

The previous teacher had purchased Airwave and they have been our most reliable microphones. 144+ channels helps find a channel if we are having frequency issues. We have no auditorium, so it is set up in our gym. From what I understand, Airwave is going out of business or something of the sort.

I'm just wondering those of you who use wireless:

1. What brand do you purchase and have they been successful for good life of a wireless unit?

2. What issues if any have you had? How did you fix/correct them?

3. Do you have a contract with the performer if they break it or damage that they must pay for  it? (I find they are not being as careful as they could be with them..)

Thanks for any input. I am very slowly learning about microphones.

There are so many things to take into consideration and it is my LEAST favorite thing to deal with when running a show. 

--

Erika Trahan

Kaplan High School

Speech and Theatre

Ok.  My 2 cents worth.

I love my Shures - I have almost 100 SLX and ULX systems in rental - but all the major brands and many of the minor ones are as good or better (especially in the bang for buck department).  As a rule only the major players a a very few minor brands have multiple frequency bands - this is important if you plan to use more than 8-12 channels together.  Among the Majors, my value pick is Audio-Technica - though they do need to add a new band to replace the 600mHz band they currently have to increase the number of channels available particularly in major metro areas. Between Shure and Sennheiser it is a real toss up - my long history with using Shure's tends to bias me in that direction, but friends who have lots of Sennheiser's feel the same way about their choice. Is it a Ford or a Chevy or a Dodge. Or will a Kia work for me?  Same question with wireless.

As I have said on this forum before - most Audio guys are brand blinded (I often use other less polite terms) - they like what they like and cannot rationally explain why another product is "inferior" or not suitable.  

IS A SYSTEM BOASTING 1156 CHANNELS BETTER THAN ONE THAT OFFERS JUST 20?
Don't be confused by claims that this unit has over 1000 frequencies and this one has 256 - this does not mean you can run a multitude of systems together. In fact it is highly unlikely you'll get more than a 12-16 frequencies that play nice, and then you will almost certainly lose some of those to local TV stations and other nearby users.

Follow the advice of your "trusted" vendor, read the stuff Erich posted, try not to mix brands and models if possible (it just makes life simpler).
EVER CHANGING FCC RULES
Do not buy Anything not in the 470 to 598MHz band.  And if the rumors are tru, try to stay in the 470-550MHz range as it seems the FCC may auction of the top half of 500MHz as well - Government has got to pay for golf outings to Palm Beach every weekend (almost) somehow.

If buying for the first time consider buying digital units on 500MHz UHF - but they are more expensive than standard UHF systems.  Digital on UHF increases the number of available channels in in given band - we can pack more into the same limited space.

Be careful with 2.4GHz systems - they severely limit the # channels that can be used and there are issues with WiFi hot spots - these can usually be rectified by moving the receivers. -They can be good for adding to an already large system 12-16channels to get more channels (+4-10) relatively easily and economically.

LONGEVITY - COST OF OWNERSHIP
While a Shure top of the line unit may last 15 years (I have a few that are close to this, but oh yeah - they are no longer legal!), do not bank on this - the tax man let's us write these off over 3-7 years, so from a budgeting viewpoint I would work on 7 at best.  So a $700 Shure ULXs transmitter and receiver system has an effective cost of $100 per year - assuming as few as 10 performance nights per year the cost/performance is $10 - not bad really (less than the cost of a pizza).  Then you have it for rehearsals, tech training  etc.

Lower Cost systems may not last as long - say 4 rather than 7 years, but if you paid $300/channel then your annual cost over 4 years is just $75/channel so the economics may work for you, and you can upgrade to newer systems more often.  Like most consumer items the cheap Chinese junk of today is not the cheap junk it used to be (in many cases).  I have my own branded systems (RFdevices by bodymics) - made for me in China- that have lasted in rental over 4 years, and other than the odd failed transmitter (oh and I have had that on my Shure Systems too) on rentals have had no quality or reliability complaints from clients.

RENTING vs. OWNING
In these uncertain FCC auction times - and even at others - it may be better to rent.  You can scale the system to meet the requirements of the show, you can select the mic style, you have no maintenance to perform, no storage issues, no risk of damage or loss between shows.  We rent Shure SLX systems at $50/channel/week delivered (to you and back to us) anywhere in the lower 48. If you have 3 performances in that week the cost is $16.66 per performance including your choice of microphone - hairline, over the ear, headset.  They come racked and ready to use - even have the most likely to work frequencies preselected and matched.

Other local folks are likely to have similar options.

When you buy 16 channels at $500 to $2500 a pop, that;s just the start - you have to rack the equipment ($500-2000), you have to cable the antennas - and preferably use an antenna distribution system that will run between $1000 and $5000 for 16 channels, you need to cable the audio to you mixer ($250-1500)  SO beware! That lower end $8000 system just blew out to $10-12,000.  Or you could've rented it for 15-20 weeks for the same dollars with lots more flexibility.  

MIXING BRANDS OF TRANSMITTERS and RECEIVERS
I know folks who have done this, but there are risks - not all companding algorithms are the same, not all tone lock frequency grabbing systems are the same - so unless you know a lot more than I do - DON't DO IT.  Dont even mix models among the same brand- no Shure BLX transmitters on ULXS receivers etc!  

LINES (ELEMENTS, BODY PACK MICROPHONES)
They are all fragile - if you wear it on the head and it uses a very thin cable like your earbuds, they will suffer the same fate as earbuds if they are not looked after properly. Countryman and dpa have more "robust" cable options, but you need to sell your first born to pay for them.  

You can mitigate the cost of damaged microphone lines/leads/elements by using significantly less expensive models that will perform to the required standard (plug...that's what we make and sell), use versions with replaceable cables (yep we do those too), use ones that have "unbreakable" booms - Countryman E6i, the dpa earsets and (yep again) our flexible adjustable length earsets.

The damage to these thin cables is caused by (usually) repeated stretching - not enough play in cable to allow a full head turn, disconnecting the mic from the pack but butting some strain on the cable, wrapping the cable around the bodypack and creating rightangle bends at the p;ufg ot earhook entry, dropping the bodypack while the mic is connected, mic being dragged off the head during a costume change, cable getting caught on a prop etc.  These small incidents add up to the point that the wires inside the sheath simply part ways and voila a dead or crackling mic.

All headworn mics need to be considered consumables to some degree or another.  I have a couple of professional local theatres that are running back to back 6-8 week seasons, and they actually buy new mics for each show and junk the old ones.  Each actor is assigned a mic and it is their responsibility to "maintain it and keep it safe".Not aware of the consequences for a failure is ...

In a 16 channel system I usually expect 2-5 cable failures per show.  If using standard aluminum tube earsets at least one actor will try to reshape it a break the boom.

If you use hairline/wig miking, then we and others do smallish mics (normally about 1/4" diameter) with heavier cables that take more abuse, yet can still be pretty well hidden in the hairline, above the ear or in a wig or hat.

The trick is to train your actors to treat them with respect, empower them to take responsibility and to have consequences for any bad behavior that causes unnecessary damage.

FinALe
Follow the advice of your "trusted" vendor (or me), read the stuff Erich posted, try not to mix brands and models if possible (it just makes life simpler).

Just remember there are few true bargains in the world - you get what you pay for.  You just need to work out if what you are paying for is what you need!

------------------------------
Rod Reilly
Owner, Bodymics
908-899-1277
Somerset NJ
------------------------------

Original Message:
Sent: 04-11-2017 21:27
From: Laura Steenson
Subject: Wireless Microphones

Benjamin, can Shures be used with Audio Technica transmitters?  And would you say the lines on the Shures are more durable/longer lasting than those on the AT mics?

Thanks!

------------------------------
Laura Steenson
Theatre Director
Reynolds High School
Troutdale OR
------------------------------

Original Message:
Sent: 04-11-2017 18:47
From: Benjamin Stroh
Subject: Wireless Microphones

Erika,
I would recommend Shure Products. Their wireless lines are fantastic and are very durable. I would recommend either their ULX or ULXD models. It depends on the budget you are working with. They are a little on the higher end but they are built for use and always perform greatly. As for care of the mics, training and discipline of the care are the best things to get the kids to treat them best. With a product like Shures, you are guaranteed to have them last 15+ years of heavy use. I believe in educating the performers on the prper care of them and only having one or two people hand them out and collect them at the end of performances. Let me know if you have any other questions and or want more ideas.


------------------------------
Best of luck,
Benjamin P. Stroh
BPS Pro Audio, LLC
bpsproaudio.com
------------------------------

Original Message:
Sent: 04-10-2017 15:22
From: Erika Trahan
Subject: Wireless Microphones

Two years ago, I was able to purchase some Airwave microphones.

The previous teacher had purchased Airwave and they have been our most reliable microphones. 144+ channels helps find a channel if we are having frequency issues. We have no auditorium, so it is set up in our gym. From what I understand, Airwave is going out of business or something of the sort.

I'm just wondering those of you who use wireless:

1. What brand do you purchase and have they been successful for good life of a wireless unit?

2. What issues if any have you had? How did you fix/correct them?

3. Do you have a contract with the performer if they break it or damage that they must pay for  it? (I find they are not being as careful as they could be with them..)

Thanks for any input. I am very slowly learning about microphones.

There are so many things to take into consideration and it is my LEAST favorite thing to deal with when running a show. 

--

Erika Trahan

Kaplan High School

Speech and Theatre

Thanks for all the responses.  We have Audio Technica transmitters and receivers (and a resounding YES PLEASE! to replacing the 600 band that was taken away) and have been using AT mics as well.  We switched models a couple of weeks ago and so far I'm very happy with the new model, but would love something less expensive.  Perhaps I'm expecting too much from the life of a hairline/wig mic.  We generally can get 4-8 weeks of daily use out of a mic, depending on the physicality of the role. My kids are well versed in how to handle mics, the tech crew puts them on the actor and takes them off, and they are stored properly.  

Rod, I have looked at your products and need to email you - I need to get you as an approved vendor so we can use a district PO to purchase some to try.  Your prices are 1/3 what we just spent on the new mics!

------------------------------
Laura Steenson
Theatre Director
Reynolds High School
Troutdale OR
------------------------------

Original Message:
Sent: 04-12-2017 08:55
From: Rod Reilly
Subject: Wireless Microphones

Ok.  My 2 cents worth.

I love my Shures - I have almost 100 SLX and ULX systems in rental - but all the major brands and many of the minor ones are as good or better (especially in the bang for buck department).  As a rule only the major players a a very few minor brands have multiple frequency bands - this is important if you plan to use more than 8-12 channels together.  Among the Majors, my value pick is Audio-Technica - though they do need to add a new band to replace the 600mHz band they currently have to increase the number of channels available particularly in major metro areas. Between Shure and Sennheiser it is a real toss up - my long history with using Shure's tends to bias me in that direction, but friends who have lots of Sennheiser's feel the same way about their choice. Is it a Ford or a Chevy or a Dodge. Or will a Kia work for me?  Same question with wireless.

As I have said on this forum before - most Audio guys are brand blinded (I often use other less polite terms) - they like what they like and cannot rationally explain why another product is "inferior" or not suitable.  

IS A SYSTEM BOASTING 1156 CHANNELS BETTER THAN ONE THAT OFFERS JUST 20?
Don't be confused by claims that this unit has over 1000 frequencies and this one has 256 - this does not mean you can run a multitude of systems together. In fact it is highly unlikely you'll get more than a 12-16 frequencies that play nice, and then you will almost certainly lose some of those to local TV stations and other nearby users.

Follow the advice of your "trusted" vendor, read the stuff Erich posted, try not to mix brands and models if possible (it just makes life simpler).
EVER CHANGING FCC RULES
Do not buy Anything not in the 470 to 598MHz band.  And if the rumors are tru, try to stay in the 470-550MHz range as it seems the FCC may auction of the top half of 500MHz as well - Government has got to pay for golf outings to Palm Beach every weekend (almost) somehow.

If buying for the first time consider buying digital units on 500MHz UHF - but they are more expensive than standard UHF systems.  Digital on UHF increases the number of available channels in in given band - we can pack more into the same limited space.

Be careful with 2.4GHz systems - they severely limit the # channels that can be used and there are issues with WiFi hot spots - these can usually be rectified by moving the receivers. -They can be good for adding to an already large system 12-16channels to get more channels (+4-10) relatively easily and economically.

LONGEVITY - COST OF OWNERSHIP
While a Shure top of the line unit may last 15 years (I have a few that are close to this, but oh yeah - they are no longer legal!), do not bank on this - the tax man let's us write these off over 3-7 years, so from a budgeting viewpoint I would work on 7 at best.  So a $700 Shure ULXs transmitter and receiver system has an effective cost of $100 per year - assuming as few as 10 performance nights per year the cost/performance is $10 - not bad really (less than the cost of a pizza).  Then you have it for rehearsals, tech training  etc.

Lower Cost systems may not last as long - say 4 rather than 7 years, but if you paid $300/channel then your annual cost over 4 years is just $75/channel so the economics may work for you, and you can upgrade to newer systems more often.  Like most consumer items the cheap Chinese junk of today is not the cheap junk it used to be (in many cases).  I have my own branded systems (RFdevices by bodymics) - made for me in China- that have lasted in rental over 4 years, and other than the odd failed transmitter (oh and I have had that on my Shure Systems too) on rentals have had no quality or reliability complaints from clients.

RENTING vs. OWNING
In these uncertain FCC auction times - and even at others - it may be better to rent.  You can scale the system to meet the requirements of the show, you can select the mic style, you have no maintenance to perform, no storage issues, no risk of damage or loss between shows.  We rent Shure SLX systems at $50/channel/week delivered (to you and back to us) anywhere in the lower 48. If you have 3 performances in that week the cost is $16.66 per performance including your choice of microphone - hairline, over the ear, headset.  They come racked and ready to use - even have the most likely to work frequencies preselected and matched.

Other local folks are likely to have similar options.

When you buy 16 channels at $500 to $2500 a pop, that;s just the start - you have to rack the equipment ($500-2000), you have to cable the antennas - and preferably use an antenna distribution system that will run between $1000 and $5000 for 16 channels, you need to cable the audio to you mixer ($250-1500)  SO beware! That lower end $8000 system just blew out to $10-12,000.  Or you could've rented it for 15-20 weeks for the same dollars with lots more flexibility.  

MIXING BRANDS OF TRANSMITTERS and RECEIVERS
I know folks who have done this, but there are risks - not all companding algorithms are the same, not all tone lock frequency grabbing systems are the same - so unless you know a lot more than I do - DON't DO IT.  Dont even mix models among the same brand- no Shure BLX transmitters on ULXS receivers etc!  

LINES (ELEMENTS, BODY PACK MICROPHONES)
They are all fragile - if you wear it on the head and it uses a very thin cable like your earbuds, they will suffer the same fate as earbuds if they are not looked after properly. Countryman and dpa have more "robust" cable options, but you need to sell your first born to pay for them.  

You can mitigate the cost of damaged microphone lines/leads/elements by using significantly less expensive models that will perform to the required standard (plug...that's what we make and sell), use versions with replaceable cables (yep we do those too), use ones that have "unbreakable" booms - Countryman E6i, the dpa earsets and (yep again) our flexible adjustable length earsets.

The damage to these thin cables is caused by (usually) repeated stretching - not enough play in cable to allow a full head turn, disconnecting the mic from the pack but butting some strain on the cable, wrapping the cable around the bodypack and creating rightangle bends at the p;ufg ot earhook entry, dropping the bodypack while the mic is connected, mic being dragged off the head during a costume change, cable getting caught on a prop etc.  These small incidents add up to the point that the wires inside the sheath simply part ways and voila a dead or crackling mic.

All headworn mics need to be considered consumables to some degree or another.  I have a couple of professional local theatres that are running back to back 6-8 week seasons, and they actually buy new mics for each show and junk the old ones.  Each actor is assigned a mic and it is their responsibility to "maintain it and keep it safe".Not aware of the consequences for a failure is ...

In a 16 channel system I usually expect 2-5 cable failures per show.  If using standard aluminum tube earsets at least one actor will try to reshape it a break the boom.

If you use hairline/wig miking, then we and others do smallish mics (normally about 1/4" diameter) with heavier cables that take more abuse, yet can still be pretty well hidden in the hairline, above the ear or in a wig or hat.

The trick is to train your actors to treat them with respect, empower them to take responsibility and to have consequences for any bad behavior that causes unnecessary damage.

FinALe
Follow the advice of your "trusted" vendor (or me), read the stuff Erich posted, try not to mix brands and models if possible (it just makes life simpler).

Just remember there are few true bargains in the world - you get what you pay for.  You just need to work out if what you are paying for is what you need!

------------------------------
Rod Reilly
Owner, Bodymics
908-899-1277
Somerset NJ
------------------------------

Original Message:
Sent: 04-11-2017 21:27
From: Laura Steenson
Subject: Wireless Microphones

Benjamin, can Shures be used with Audio Technica transmitters?  And would you say the lines on the Shures are more durable/longer lasting than those on the AT mics?

Thanks!

------------------------------
Laura Steenson
Theatre Director
Reynolds High School
Troutdale OR
------------------------------

Original Message:
Sent: 04-11-2017 18:47
From: Benjamin Stroh
Subject: Wireless Microphones

Erika,
I would recommend Shure Products. Their wireless lines are fantastic and are very durable. I would recommend either their ULX or ULXD models. It depends on the budget you are working with. They are a little on the higher end but they are built for use and always perform greatly. As for care of the mics, training and discipline of the care are the best things to get the kids to treat them best. With a product like Shures, you are guaranteed to have them last 15+ years of heavy use. I believe in educating the performers on the prper care of them and only having one or two people hand them out and collect them at the end of performances. Let me know if you have any other questions and or want more ideas.


------------------------------
Best of luck,
Benjamin P. Stroh
BPS Pro Audio, LLC
bpsproaudio.com
------------------------------

Original Message:
Sent: 04-10-2017 15:22
From: Erika Trahan
Subject: Wireless Microphones

Two years ago, I was able to purchase some Airwave microphones.

The previous teacher had purchased Airwave and they have been our most reliable microphones. 144+ channels helps find a channel if we are having frequency issues. We have no auditorium, so it is set up in our gym. From what I understand, Airwave is going out of business or something of the sort.

I'm just wondering those of you who use wireless:

1. What brand do you purchase and have they been successful for good life of a wireless unit?

2. What issues if any have you had? How did you fix/correct them?

3. Do you have a contract with the performer if they break it or damage that they must pay for  it? (I find they are not being as careful as they could be with them..)

Thanks for any input. I am very slowly learning about microphones.

There are so many things to take into consideration and it is my LEAST favorite thing to deal with when running a show. 

--

Erika Trahan

Kaplan High School

Speech and Theatre

Look forward to hearing from you.  I will be at the Thespian Festival if you want a face to face or hands on look at our microphone elements.  We sell over 500 a month mainly to schools and community arts organizations.  They all sound great - on stage it is hard to pick the expensive brands from ours - I have even embarrassed a few Broadway sound engineers who thought ours was the dpa or countryman in a blind test.  

We know they are not as technically perfect - could be a little flatter in freq response, but even in a quiet controlled studio environment it is hard to pick the differences and most of those can be tweaked with a little EQ.

We design and build for the real world - I would love to drive a Jaguar F-type (my current dream car), but in the real world my Honda Civic performs just fine.  And in everyday use it does everything asked of it.  That is what our products aim to achieve - good solid reliable performance at a price that more accurately reflects the available budget.

Feel free to call any time/day from 8am to 10pm.  If I am available I will answer.

------------------------------
Rod Reilly
Owner, Bodymics
908-899-1277
Somerset NJ
------------------------------

Original Message:
Sent: 04-12-2017 13:46
From: Laura Steenson
Subject: Wireless Microphones

Thanks for all the responses.  We have Audio Technica transmitters and receivers (and a resounding YES PLEASE! to replacing the 600 band that was taken away) and have been using AT mics as well.  We switched models a couple of weeks ago and so far I'm very happy with the new model, but would love something less expensive.  Perhaps I'm expecting too much from the life of a hairline/wig mic.  We generally can get 4-8 weeks of daily use out of a mic, depending on the physicality of the role. My kids are well versed in how to handle mics, the tech crew puts them on the actor and takes them off, and they are stored properly.  

Rod, I have looked at your products and need to email you - I need to get you as an approved vendor so we can use a district PO to purchase some to try.  Your prices are 1/3 what we just spent on the new mics!

------------------------------
Laura Steenson
Theatre Director
Reynolds High School
Troutdale OR
------------------------------

Original Message:
Sent: 04-12-2017 08:55
From: Rod Reilly
Subject: Wireless Microphones

Ok.  My 2 cents worth.

I love my Shures - I have almost 100 SLX and ULX systems in rental - but all the major brands and many of the minor ones are as good or better (especially in the bang for buck department).  As a rule only the major players a a very few minor brands have multiple frequency bands - this is important if you plan to use more than 8-12 channels together.  Among the Majors, my value pick is Audio-Technica - though they do need to add a new band to replace the 600mHz band they currently have to increase the number of channels available particularly in major metro areas. Between Shure and Sennheiser it is a real toss up - my long history with using Shure's tends to bias me in that direction, but friends who have lots of Sennheiser's feel the same way about their choice. Is it a Ford or a Chevy or a Dodge. Or will a Kia work for me?  Same question with wireless.

As I have said on this forum before - most Audio guys are brand blinded (I often use other less polite terms) - they like what they like and cannot rationally explain why another product is "inferior" or not suitable.  

IS A SYSTEM BOASTING 1156 CHANNELS BETTER THAN ONE THAT OFFERS JUST 20?
Don't be confused by claims that this unit has over 1000 frequencies and this one has 256 - this does not mean you can run a multitude of systems together. In fact it is highly unlikely you'll get more than a 12-16 frequencies that play nice, and then you will almost certainly lose some of those to local TV stations and other nearby users.

Follow the advice of your "trusted" vendor, read the stuff Erich posted, try not to mix brands and models if possible (it just makes life simpler).
EVER CHANGING FCC RULES
Do not buy Anything not in the 470 to 598MHz band.  And if the rumors are tru, try to stay in the 470-550MHz range as it seems the FCC may auction of the top half of 500MHz as well - Government has got to pay for golf outings to Palm Beach every weekend (almost) somehow.

If buying for the first time consider buying digital units on 500MHz UHF - but they are more expensive than standard UHF systems.  Digital on UHF increases the number of available channels in in given band - we can pack more into the same limited space.

Be careful with 2.4GHz systems - they severely limit the # channels that can be used and there are issues with WiFi hot spots - these can usually be rectified by moving the receivers. -They can be good for adding to an already large system 12-16channels to get more channels (+4-10) relatively easily and economically.

LONGEVITY - COST OF OWNERSHIP
While a Shure top of the line unit may last 15 years (I have a few that are close to this, but oh yeah - they are no longer legal!), do not bank on this - the tax man let's us write these off over 3-7 years, so from a budgeting viewpoint I would work on 7 at best.  So a $700 Shure ULXs transmitter and receiver system has an effective cost of $100 per year - assuming as few as 10 performance nights per year the cost/performance is $10 - not bad really (less than the cost of a pizza).  Then you have it for rehearsals, tech training  etc.

Lower Cost systems may not last as long - say 4 rather than 7 years, but if you paid $300/channel then your annual cost over 4 years is just $75/channel so the economics may work for you, and you can upgrade to newer systems more often.  Like most consumer items the cheap Chinese junk of today is not the cheap junk it used to be (in many cases).  I have my own branded systems (RFdevices by bodymics) - made for me in China- that have lasted in rental over 4 years, and other than the odd failed transmitter (oh and I have had that on my Shure Systems too) on rentals have had no quality or reliability complaints from clients.

RENTING vs. OWNING
In these uncertain FCC auction times - and even at others - it may be better to rent.  You can scale the system to meet the requirements of the show, you can select the mic style, you have no maintenance to perform, no storage issues, no risk of damage or loss between shows.  We rent Shure SLX systems at $50/channel/week delivered (to you and back to us) anywhere in the lower 48. If you have 3 performances in that week the cost is $16.66 per performance including your choice of microphone - hairline, over the ear, headset.  They come racked and ready to use - even have the most likely to work frequencies preselected and matched.

Other local folks are likely to have similar options.

When you buy 16 channels at $500 to $2500 a pop, that;s just the start - you have to rack the equipment ($500-2000), you have to cable the antennas - and preferably use an antenna distribution system that will run between $1000 and $5000 for 16 channels, you need to cable the audio to you mixer ($250-1500)  SO beware! That lower end $8000 system just blew out to $10-12,000.  Or you could've rented it for 15-20 weeks for the same dollars with lots more flexibility.  

MIXING BRANDS OF TRANSMITTERS and RECEIVERS
I know folks who have done this, but there are risks - not all companding algorithms are the same, not all tone lock frequency grabbing systems are the same - so unless you know a lot more than I do - DON't DO IT.  Dont even mix models among the same brand- no Shure BLX transmitters on ULXS receivers etc!  

LINES (ELEMENTS, BODY PACK MICROPHONES)
They are all fragile - if you wear it on the head and it uses a very thin cable like your earbuds, they will suffer the same fate as earbuds if they are not looked after properly. Countryman and dpa have more "robust" cable options, but you need to sell your first born to pay for them.  

You can mitigate the cost of damaged microphone lines/leads/elements by using significantly less expensive models that will perform to the required standard (plug...that's what we make and sell), use versions with replaceable cables (yep we do those too), use ones that have "unbreakable" booms - Countryman E6i, the dpa earsets and (yep again) our flexible adjustable length earsets.

The damage to these thin cables is caused by (usually) repeated stretching - not enough play in cable to allow a full head turn, disconnecting the mic from the pack but butting some strain on the cable, wrapping the cable around the bodypack and creating rightangle bends at the p;ufg ot earhook entry, dropping the bodypack while the mic is connected, mic being dragged off the head during a costume change, cable getting caught on a prop etc.  These small incidents add up to the point that the wires inside the sheath simply part ways and voila a dead or crackling mic.

All headworn mics need to be considered consumables to some degree or another.  I have a couple of professional local theatres that are running back to back 6-8 week seasons, and they actually buy new mics for each show and junk the old ones.  Each actor is assigned a mic and it is their responsibility to "maintain it and keep it safe".Not aware of the consequences for a failure is ...

In a 16 channel system I usually expect 2-5 cable failures per show.  If using standard aluminum tube earsets at least one actor will try to reshape it a break the boom.

If you use hairline/wig miking, then we and others do smallish mics (normally about 1/4" diameter) with heavier cables that take more abuse, yet can still be pretty well hidden in the hairline, above the ear or in a wig or hat.

The trick is to train your actors to treat them with respect, empower them to take responsibility and to have consequences for any bad behavior that causes unnecessary damage.

FinALe
Follow the advice of your "trusted" vendor (or me), read the stuff Erich posted, try not to mix brands and models if possible (it just makes life simpler).

Just remember there are few true bargains in the world - you get what you pay for.  You just need to work out if what you are paying for is what you need!

------------------------------
Rod Reilly
Owner, Bodymics
908-899-1277
Somerset NJ
------------------------------

Original Message:
Sent: 04-11-2017 21:27
From: Laura Steenson
Subject: Wireless Microphones

Benjamin, can Shures be used with Audio Technica transmitters?  And would you say the lines on the Shures are more durable/longer lasting than those on the AT mics?

Thanks!

------------------------------
Laura Steenson
Theatre Director
Reynolds High School
Troutdale OR
------------------------------

Original Message:
Sent: 04-11-2017 18:47
From: Benjamin Stroh
Subject: Wireless Microphones

Erika,
I would recommend Shure Products. Their wireless lines are fantastic and are very durable. I would recommend either their ULX or ULXD models. It depends on the budget you are working with. They are a little on the higher end but they are built for use and always perform greatly. As for care of the mics, training and discipline of the care are the best things to get the kids to treat them best. With a product like Shures, you are guaranteed to have them last 15+ years of heavy use. I believe in educating the performers on the prper care of them and only having one or two people hand them out and collect them at the end of performances. Let me know if you have any other questions and or want more ideas.


------------------------------
Best of luck,
Benjamin P. Stroh
BPS Pro Audio, LLC
bpsproaudio.com
------------------------------

Original Message:
Sent: 04-10-2017 15:22
From: Erika Trahan
Subject: Wireless Microphones

Two years ago, I was able to purchase some Airwave microphones.

The previous teacher had purchased Airwave and they have been our most reliable microphones. 144+ channels helps find a channel if we are having frequency issues. We have no auditorium, so it is set up in our gym. From what I understand, Airwave is going out of business or something of the sort.

I'm just wondering those of you who use wireless:

1. What brand do you purchase and have they been successful for good life of a wireless unit?

2. What issues if any have you had? How did you fix/correct them?

3. Do you have a contract with the performer if they break it or damage that they must pay for  it? (I find they are not being as careful as they could be with them..)

Thanks for any input. I am very slowly learning about microphones.

There are so many things to take into consideration and it is my LEAST favorite thing to deal with when running a show. 

--

Erika Trahan

Kaplan High School

Speech and Theatre

I'm also one who uses Shure products and have had good success with them. Is there an AV person you can work with when looking? When I started at my school a decade ago I chatted with our AV guy to make sure anything I purchased worked well with your system. Our vendor is B&H for my district and they have been wonderful in terms of both the technology and the customer service. I'd recommend chatting online with them when you are ready to purchase new items. They can help guide you to new mics that will integrate with your system

------------------------------
Shira Schwartz
Chandler Unified School District
Chandler AZ
------------------------------

Original Message:
Sent: 04-12-2017 08:55
From: Rod Reilly
Subject: Wireless Microphones

Ok.  My 2 cents worth.

I love my Shures - I have almost 100 SLX and ULX systems in rental - but all the major brands and many of the minor ones are as good or better (especially in the bang for buck department).  As a rule only the major players a a very few minor brands have multiple frequency bands - this is important if you plan to use more than 8-12 channels together.  Among the Majors, my value pick is Audio-Technica - though they do need to add a new band to replace the 600mHz band they currently have to increase the number of channels available particularly in major metro areas. Between Shure and Sennheiser it is a real toss up - my long history with using Shure's tends to bias me in that direction, but friends who have lots of Sennheiser's feel the same way about their choice. Is it a Ford or a Chevy or a Dodge. Or will a Kia work for me?  Same question with wireless.

As I have said on this forum before - most Audio guys are brand blinded (I often use other less polite terms) - they like what they like and cannot rationally explain why another product is "inferior" or not suitable.  

IS A SYSTEM BOASTING 1156 CHANNELS BETTER THAN ONE THAT OFFERS JUST 20?
Don't be confused by claims that this unit has over 1000 frequencies and this one has 256 - this does not mean you can run a multitude of systems together. In fact it is highly unlikely you'll get more than a 12-16 frequencies that play nice, and then you will almost certainly lose some of those to local TV stations and other nearby users.

Follow the advice of your "trusted" vendor, read the stuff Erich posted, try not to mix brands and models if possible (it just makes life simpler).
EVER CHANGING FCC RULES
Do not buy Anything not in the 470 to 598MHz band.  And if the rumors are tru, try to stay in the 470-550MHz range as it seems the FCC may auction of the top half of 500MHz as well - Government has got to pay for golf outings to Palm Beach every weekend (almost) somehow.

If buying for the first time consider buying digital units on 500MHz UHF - but they are more expensive than standard UHF systems.  Digital on UHF increases the number of available channels in in given band - we can pack more into the same limited space.

Be careful with 2.4GHz systems - they severely limit the # channels that can be used and there are issues with WiFi hot spots - these can usually be rectified by moving the receivers. -They can be good for adding to an already large system 12-16channels to get more channels (+4-10) relatively easily and economically.

LONGEVITY - COST OF OWNERSHIP
While a Shure top of the line unit may last 15 years (I have a few that are close to this, but oh yeah - they are no longer legal!), do not bank on this - the tax man let's us write these off over 3-7 years, so from a budgeting viewpoint I would work on 7 at best.  So a $700 Shure ULXs transmitter and receiver system has an effective cost of $100 per year - assuming as few as 10 performance nights per year the cost/performance is $10 - not bad really (less than the cost of a pizza).  Then you have it for rehearsals, tech training  etc.

Lower Cost systems may not last as long - say 4 rather than 7 years, but if you paid $300/channel then your annual cost over 4 years is just $75/channel so the economics may work for you, and you can upgrade to newer systems more often.  Like most consumer items the cheap Chinese junk of today is not the cheap junk it used to be (in many cases).  I have my own branded systems (RFdevices by bodymics) - made for me in China- that have lasted in rental over 4 years, and other than the odd failed transmitter (oh and I have had that on my Shure Systems too) on rentals have had no quality or reliability complaints from clients.

RENTING vs. OWNING
In these uncertain FCC auction times - and even at others - it may be better to rent.  You can scale the system to meet the requirements of the show, you can select the mic style, you have no maintenance to perform, no storage issues, no risk of damage or loss between shows.  We rent Shure SLX systems at $50/channel/week delivered (to you and back to us) anywhere in the lower 48. If you have 3 performances in that week the cost is $16.66 per performance including your choice of microphone - hairline, over the ear, headset.  They come racked and ready to use - even have the most likely to work frequencies preselected and matched.

Other local folks are likely to have similar options.

When you buy 16 channels at $500 to $2500 a pop, that;s just the start - you have to rack the equipment ($500-2000), you have to cable the antennas - and preferably use an antenna distribution system that will run between $1000 and $5000 for 16 channels, you need to cable the audio to you mixer ($250-1500)  SO beware! That lower end $8000 system just blew out to $10-12,000.  Or you could've rented it for 15-20 weeks for the same dollars with lots more flexibility.  

MIXING BRANDS OF TRANSMITTERS and RECEIVERS
I know folks who have done this, but there are risks - not all companding algorithms are the same, not all tone lock frequency grabbing systems are the same - so unless you know a lot more than I do - DON't DO IT.  Dont even mix models among the same brand- no Shure BLX transmitters on ULXS receivers etc!  

LINES (ELEMENTS, BODY PACK MICROPHONES)
They are all fragile - if you wear it on the head and it uses a very thin cable like your earbuds, they will suffer the same fate as earbuds if they are not looked after properly. Countryman and dpa have more "robust" cable options, but you need to sell your first born to pay for them.  

You can mitigate the cost of damaged microphone lines/leads/elements by using significantly less expensive models that will perform to the required standard (plug...that's what we make and sell), use versions with replaceable cables (yep we do those too), use ones that have "unbreakable" booms - Countryman E6i, the dpa earsets and (yep again) our flexible adjustable length earsets.

The damage to these thin cables is caused by (usually) repeated stretching - not enough play in cable to allow a full head turn, disconnecting the mic from the pack but butting some strain on the cable, wrapping the cable around the bodypack and creating rightangle bends at the p;ufg ot earhook entry, dropping the bodypack while the mic is connected, mic being dragged off the head during a costume change, cable getting caught on a prop etc.  These small incidents add up to the point that the wires inside the sheath simply part ways and voila a dead or crackling mic.

All headworn mics need to be considered consumables to some degree or another.  I have a couple of professional local theatres that are running back to back 6-8 week seasons, and they actually buy new mics for each show and junk the old ones.  Each actor is assigned a mic and it is their responsibility to "maintain it and keep it safe".Not aware of the consequences for a failure is ...

In a 16 channel system I usually expect 2-5 cable failures per show.  If using standard aluminum tube earsets at least one actor will try to reshape it a break the boom.

If you use hairline/wig miking, then we and others do smallish mics (normally about 1/4" diameter) with heavier cables that take more abuse, yet can still be pretty well hidden in the hairline, above the ear or in a wig or hat.

The trick is to train your actors to treat them with respect, empower them to take responsibility and to have consequences for any bad behavior that causes unnecessary damage.

FinALe
Follow the advice of your "trusted" vendor (or me), read the stuff Erich posted, try not to mix brands and models if possible (it just makes life simpler).

Just remember there are few true bargains in the world - you get what you pay for.  You just need to work out if what you are paying for is what you need!

------------------------------
Rod Reilly
Owner, Bodymics
908-899-1277
Somerset NJ
------------------------------

Original Message:
Sent: 04-11-2017 21:27
From: Laura Steenson
Subject: Wireless Microphones

Benjamin, can Shures be used with Audio Technica transmitters?  And would you say the lines on the Shures are more durable/longer lasting than those on the AT mics?

Thanks!

------------------------------
Laura Steenson
Theatre Director
Reynolds High School
Troutdale OR
------------------------------

Original Message:
Sent: 04-11-2017 18:47
From: Benjamin Stroh
Subject: Wireless Microphones

Erika,
I would recommend Shure Products. Their wireless lines are fantastic and are very durable. I would recommend either their ULX or ULXD models. It depends on the budget you are working with. They are a little on the higher end but they are built for use and always perform greatly. As for care of the mics, training and discipline of the care are the best things to get the kids to treat them best. With a product like Shures, you are guaranteed to have them last 15+ years of heavy use. I believe in educating the performers on the prper care of them and only having one or two people hand them out and collect them at the end of performances. Let me know if you have any other questions and or want more ideas.


------------------------------
Best of luck,
Benjamin P. Stroh
BPS Pro Audio, LLC
bpsproaudio.com
------------------------------

Original Message:
Sent: 04-10-2017 15:22
From: Erika Trahan
Subject: Wireless Microphones

Two years ago, I was able to purchase some Airwave microphones.

The previous teacher had purchased Airwave and they have been our most reliable microphones. 144+ channels helps find a channel if we are having frequency issues. We have no auditorium, so it is set up in our gym. From what I understand, Airwave is going out of business or something of the sort.

I'm just wondering those of you who use wireless:

1. What brand do you purchase and have they been successful for good life of a wireless unit?

2. What issues if any have you had? How did you fix/correct them?

3. Do you have a contract with the performer if they break it or damage that they must pay for  it? (I find they are not being as careful as they could be with them..)

Thanks for any input. I am very slowly learning about microphones.

There are so many things to take into consideration and it is my LEAST favorite thing to deal with when running a show. 

--

Erika Trahan

Kaplan High School

Speech and Theatre

Laura,
Only Audio-Technica products will work with Audio-Technica receivers. In all cases, the microphone and the receiver must be the same brand and in almost always they must be the same model also. Shure is one of the industry standard lines and is very durable. In my opinion, you will be more happy with the sound quality of a Shure microphone than an AT microphone. Feel free to contact me at bstroh@bpsproaudio.com for more questions.

------------------------------
Best of luck,
Benjamin P. Stroh
BPS Pro Audio, LLC
bpsproaudio.com
------------------------------

Original Message:
Sent: 04-11-2017 21:27
From: Laura Steenson
Subject: Wireless Microphones

Benjamin, can Shures be used with Audio Technica transmitters?  And would you say the lines on the Shures are more durable/longer lasting than those on the AT mics?

Thanks!

------------------------------
Laura Steenson
Theatre Director
Reynolds High School
Troutdale OR
------------------------------

Original Message:
Sent: 04-11-2017 18:47
From: Benjamin Stroh
Subject: Wireless Microphones

Erika,
I would recommend Shure Products. Their wireless lines are fantastic and are very durable. I would recommend either their ULX or ULXD models. It depends on the budget you are working with. They are a little on the higher end but they are built for use and always perform greatly. As for care of the mics, training and discipline of the care are the best things to get the kids to treat them best. With a product like Shures, you are guaranteed to have them last 15+ years of heavy use. I believe in educating the performers on the prper care of them and only having one or two people hand them out and collect them at the end of performances. Let me know if you have any other questions and or want more ideas.


------------------------------
Best of luck,
Benjamin P. Stroh
BPS Pro Audio, LLC
bpsproaudio.com
------------------------------

Original Message:
Sent: 04-10-2017 15:22
From: Erika Trahan
Subject: Wireless Microphones

Two years ago, I was able to purchase some Airwave microphones.

The previous teacher had purchased Airwave and they have been our most reliable microphones. 144+ channels helps find a channel if we are having frequency issues. We have no auditorium, so it is set up in our gym. From what I understand, Airwave is going out of business or something of the sort.

I'm just wondering those of you who use wireless:

1. What brand do you purchase and have they been successful for good life of a wireless unit?

2. What issues if any have you had? How did you fix/correct them?

3. Do you have a contract with the performer if they break it or damage that they must pay for  it? (I find they are not being as careful as they could be with them..)

Thanks for any input. I am very slowly learning about microphones.

There are so many things to take into consideration and it is my LEAST favorite thing to deal with when running a show. 

--

Erika Trahan

Kaplan High School

Speech and Theatre

Okay so I can't let this go ... I hate it when any professional audio folks make unsubstantiated claims about one brand over another.  Remember what I said about brand blinded - the term I held back from using is "brand whores".I wish it was so easy to say yep this is the only reasonable choice. It's not.  Pro's will never unilaterally agree on which brand or model is best!  We all come with our biases - some rational, most anecdotal, some ignorance and some driven by the profit motive.

If Brand A was categorically better than Brand B then it would be universally accepted industry wide.  The only professional wireless system close to being considered the BEST has not even been mentioned here despite the fact that it is used by the majority ob broadway shows.  But at 4-6000 dollars a channel it has no relevance to the average school.  So if Shure was the best of the rest, then why are there more Sennheiser systems in use in professional theatres than there are Shure systems.  Absolutes do not exist.  Shure does dominate the school install market, partly due to their we are American marketing, but I believe Sennheiser actually assembles more systems in the US than Shure.  Both manufacture there entry level products in China/Taiwan/Vietnam etc.  Then there is Shure's Mexican made gear.  Shure assembles their top end Axient in the US (or they did) and Sennheiser does their top of the line stuff in Germany.  Audio-Technica spreads their products throughout Asia.

I have no idea why anyone would denigrate Audio-Technica as a brand - I defy anyone to tell the difference in sound quality between systems from any of the 3 major brands and even some of the lesser known ones,  at any given price point (and as a rule AT is 15-20%lower in cost due to leaving off bells and whistles) in a real world school theatre environment.

I guess "pretending" there are absolutes makes it easier from a salesman's viewpoint and it certainly helps the customer choose, by limiting options!  But at what cost - in dollars and integrity.

Also saying Brand A is better than Brands B, C D and E completely ignores the fact that they all have models from a couple hundred $$ to many thousands of dollars per channel. And some models are not as "good" as others. Is Chevy better than Ford.  Both produce great vehicles, so-so vehicles and duds.

It always comes down to 

• what features must I have
• what features would I like to have
• what features are unnecessary
• how many channels do I expect to need within the next 5 to 7 years
• will my choice accommodate this expansion - easily, with work, not at all?
• what's my budget - can I get what I need in my budget?
• should I buy cheaper or buy as many of what I originally picked and rent extras until we can add more to our system? 
• what gives me the best bang for buck

Keep your options open.  You will not go wrong with any of the rack-mountable systems from any of the majors so long as they meet all your criteria

Enough .. sorry for the diatribe, but there is too much bs out there to sit back and let misinformation flourish.  Wireless mics and most other tech related to theatre is not simple.  It requires thought, work and sensible compromise (usually caused by budget).

------------------------------
Rod Reilly
Owner, Bodymics
908-899-1277
Somerset NJ
------------------------------

Original Message:
Sent: 04-10-2017 15:22
From: Erika Trahan
Subject: Wireless Microphones

Two years ago, I was able to purchase some Airwave microphones.

The previous teacher had purchased Airwave and they have been our most reliable microphones. 144+ channels helps find a channel if we are having frequency issues. We have no auditorium, so it is set up in our gym. From what I understand, Airwave is going out of business or something of the sort.

I'm just wondering those of you who use wireless:

1. What brand do you purchase and have they been successful for good life of a wireless unit?

2. What issues if any have you had? How did you fix/correct them?

3. Do you have a contract with the performer if they break it or damage that they must pay for  it? (I find they are not being as careful as they could be with them..)

Thanks for any input. I am very slowly learning about microphones.

There are so many things to take into consideration and it is my LEAST favorite thing to deal with when running a show. 

--

Erika Trahan

Kaplan High School

Speech and Theatre

I have used many of the brands listed. My last gig consisted of mostly Audio-Technica and I was consistently pleased with the product.  Regardless, with all brands there is a range of quality usually based on the price point. My best advice...you get what you pay for!

------------------------------
Garry Tiller
Theatre Arts Teaching Artist
Hawaii Independent Schools
Honolulu, HI
------------------------------

Original Message:
Sent: 04-13-2017 11:04
From: Rod Reilly
Subject: Wireless Microphones

Okay so I can't let this go ... I hate it when any professional audio folks make unsubstantiated claims about one brand over another.  Remember what I said about brand blinded - the term I held back from using is "brand whores".I wish it was so easy to say yep this is the only reasonable choice. It's not.  Pro's will never unilaterally agree on which brand or model is best!  We all come with our biases - some rational, most anecdotal, some ignorance and some driven by the profit motive.

If Brand A was categorically better than Brand B then it would be universally accepted industry wide.  The only professional wireless system close to being considered the BEST has not even been mentioned here despite the fact that it is used by the majority ob broadway shows.  But at 4-6000 dollars a channel it has no relevance to the average school.  So if Shure was the best of the rest, then why are there more Sennheiser systems in use in professional theatres than there are Shure systems.  Absolutes do not exist.  Shure does dominate the school install market, partly due to their we are American marketing, but I believe Sennheiser actually assembles more systems in the US than Shure.  Both manufacture there entry level products in China/Taiwan/Vietnam etc.  Then there is Shure's Mexican made gear.  Shure assembles their top end Axient in the US (or they did) and Sennheiser does their top of the line stuff in Germany.  Audio-Technica spreads their products throughout Asia.

I have no idea why anyone would denigrate Audio-Technica as a brand - I defy anyone to tell the difference in sound quality between systems from any of the 3 major brands and even some of the lesser known ones,  at any given price point (and as a rule AT is 15-20%lower in cost due to leaving off bells and whistles) in a real world school theatre environment.

I guess "pretending" there are absolutes makes it easier from a salesman's viewpoint and it certainly helps the customer choose, by limiting options!  But at what cost - in dollars and integrity.

Also saying Brand A is better than Brands B, C D and E completely ignores the fact that they all have models from a couple hundred $$ to many thousands of dollars per channel. And some models are not as "good" as others. Is Chevy better than Ford.  Both produce great vehicles, so-so vehicles and duds.

It always comes down to 

• what features must I have
• what features would I like to have
• what features are unnecessary
• how many channels do I expect to need within the next 5 to 7 years
• will my choice accommodate this expansion - easily, with work, not at all?
• what's my budget - can I get what I need in my budget?
• should I buy cheaper or buy as many of what I originally picked and rent extras until we can add more to our system? 
• what gives me the best bang for buck

Keep your options open.  You will not go wrong with any of the rack-mountable systems from any of the majors so long as they meet all your criteria

Enough .. sorry for the diatribe, but there is too much bs out there to sit back and let misinformation flourish.  Wireless mics and most other tech related to theatre is not simple.  It requires thought, work and sensible compromise (usually caused by budget).

------------------------------
Rod Reilly
Owner, Bodymics
908-899-1277
Somerset NJ
------------------------------

Original Message:
Sent: 04-10-2017 15:22
From: Erika Trahan
Subject: Wireless Microphones

Two years ago, I was able to purchase some Airwave microphones.

The previous teacher had purchased Airwave and they have been our most reliable microphones. 144+ channels helps find a channel if we are having frequency issues. We have no auditorium, so it is set up in our gym. From what I understand, Airwave is going out of business or something of the sort.

I'm just wondering those of you who use wireless:

1. What brand do you purchase and have they been successful for good life of a wireless unit?

2. What issues if any have you had? How did you fix/correct them?

3. Do you have a contract with the performer if they break it or damage that they must pay for  it? (I find they are not being as careful as they could be with them..)

Thanks for any input. I am very slowly learning about microphones.

There are so many things to take into consideration and it is my LEAST favorite thing to deal with when running a show. 

--

Erika Trahan

Kaplan High School

Speech and Theatre