Wireless microphone buyers guide

by David Gordon
Published on Jan 16, 2003 12:00 AM



If you truly want to cross the threshold into professional digital video, you might be surprised to find that the key to that door may well be in the audio department. As I think about any higher level, or professional video production, be it television, be it film, or be it occasions such as weddings, they all have one thing in common, and that is higher quality audio than can be accomplished with an out of the box camcorder.

How is this accomplished? The answer is not as simple as I initially had thought it would be. In putting together an upgrade to enhance audio quality via your camcorder, a number of factors come into play.

Purpose and Setting
What is the subject of your shot? What is the nature of the content? What is the audience? These are the right questions to ask in developing a plan for the audio component of your production. Some examples include:
1. An interview setting, for television, event taping, or presentation. Less likely the style for a movie or short subject.
2. A live action setting, also could be for television, an event (sporting), and more likely for a movie.
3. A musical event, concert or performance.
4. A "reality television" style production.
5. Narrative for a documentary.
6. Home movies.
For each of the settings listed, audio setup options need to be chosen.
1. A wireless microphone, usually small and unobtrusive, like a lavaliere-mounted microphone is ideal for this. Less ideal, would be a handheld microphone (wireless preferred). If you are in a studio, boom microphones may be an option, however you really have to sacrifice portability at this level.
2. This setting is more challenging, options include a boom, or shotgun microphone, and planting small microphones in various locations (preference again is wireless).
3. Here, a wireless handheld, or headset wireless microphone works well.
4. Similar to number 2 above, with preplanning and planting of numerous small microphones is probably the best bet.
5. Little restriction here, up to, and including dubbing audio from inside a studio.
6. For highest quality, but minimal disruption, a small shotgun microphone is probably the best compromise for this circumstance.

Portability/Wireless Technology
The advent of wireless technology has made for the ability of semi-professional videographers to step up to professional level audio capability as the need for a complicated network of wires, not possible in many settings, has been eliminated. The wireless technology necessary for this advancement is not all that complicated, however, the packaging and implementation is a little tricky. The goal is to incorporate this equipment with as little restriction on freedom of movement, or portability, as possible.
Range, in distance, is usually rated at 150 feet (up to claims of 250 plus feet for some) which is very functional, to the point where this should not present a problem for the user. If range is a problem, check the power cells/batteries, frequencies being used (which are adjustable), and environmental interference. With these troubleshooting tools in hand, you should have no problem making your setup work.
To explain the challenges of integrating the wireless audio equipment requires a basic understanding of how it works, and the necessary components. A wireless microphone system includes:

1. The microphone itself. Handheld, lavaliere, and stationary are a few configuration options
2. A transmitter, either in the microphone housing or remote from it, as in a battery/transmitter pack.
3. One battery for the microphone, in the form of a pack connected (with wires) to the microphone and worn on a belt, or internal to the microphone housing (handheld only).
4. A receiver, located near, or on the camera. With one (or preferably two) antennae (called diversity). This will require power as well, usually from the same source (battery) as the camera. If more than one source, or microphone, is used, a multichannel receiver is needed.
The challenge is largely one of size, with smaller being better. All of these components ideally will be as small as possible for obvious reasons. In addition, having a receiver that can mount onto the camera itself, unobtrusively, is a big plus (and maybe a big challenge). Some cameras, particularly at the very high end, have brackets and mounting connections with this concern in mind (i.e., the Sony pd100, pd150, pdx10, Panasonic agdvx100, and Canon XL1s).
Once you have the above components assembled, you are ready to go. Many companies offer wireless microphone packages with options for the type of microphone, channels, battery, and receiver. The signal is transmitted wirelessly via radio waves of specific frequency. Two bandwidths are available; VHF (standing for very high frequency), and UHF (ultra high frequency). UHF is preferred with a wider frequency range and more options for frequency settings, and therefore, multichannel capability. Wireless microphone packages are somewhat surprisingly expensive, ranging from about 120 dollars on the low end, up into the thousands at the higher end.

The Lineup
To attempt to list all of the available brands and models proved to be a daunting, if not, unrealistic task, as the permutations possible with all of the options easily numbers in the hundreds. Perhaps more helpful is to describe a few major brands and models across the price spectrum and highlight some of the features. A quick word of warning (sort of) is to point out that there are an immense number of products not specifically intended for interface with a camcorder (music performances, and Karaoke, to mention a couple). Some of these products could be made to work with a camcorder, and some cannot. The degree of difficulty necessary to retrofit one of these microphones to your camcorder varies from simple, too impossible. Therefore, unless there is something really unique and special about one of these products, that you cannot do without, it would be wise to gravitate to products specifically designed for use with a camcorder. Generally speaking, the offerings can be broken down into price segment.

1. The lower end, or consumer/prosumer grade with a range of price from 120 dollars, to about 300 dollars. Usually sold as packages including microphone (lavaliere, stationary, or handheld), transmitter with battery (on mic, or belt pack), receiver with battery (or camera battery powered) with camera mount, or belt pack. This category is, IMO most appropriate for the video enthusiast, as such, I would strongly recommend this category, the next level may end up costing more than the camera itself, and is really for the professional level videography/film-maker/broadcaster.
2. The high end, or professional grade, with a range of price from about 1500 dollars, up to 4500 (or more) dollars. These systems are generally sold "ala cart" with a need to choose the above mentioned components individually to assemble your own package. Again, I cannot imagine anyone less than a professional videographer, or studio investing this much money, as such, the cameras being used are likely full professional level (not prosumer) as well.

Some of the major manufacturers with appropriate wireless microphone package offerings are:

1. Sony: The WCS-999 model, at a MSRP of about 120 dollars, is a good prosumer package. Other, higher priced products are also available.
2. Azden: Offers the WLX-Pro and WDR-Pro (VHF) at 150 - 200 dollars. Other models also available.
3. Shure: Has the most extensive list of products ranging from about 250 up into the thousands. They also have an extremely informative, and helpful interactive website.
4. Sennheiser: Nearly as many options as Shure has, but tiered into the 2 price categories as described above. A top manufacturer of very high quality products.
5. Nady: Products tend towards the economy end of the spectrum, starting at as little as 70 dollars.
6. Audio Technica: Also a good selection of numerous products to choose from. Prices tend to be in the lower to middle range.
7. Polycom: With a smaller selection of camcorder specific products in the middle price range, they have a small town feeling, and seem to have very strong customer support.
To be certain, this is far from a comprehensive list of manufacturers, but covers the mainstream of popular products currently available. Happy hunting (it is a big field).


Conclusion
Today's wireless audio input technology has brought truly professional quality audio to the amateur or semi-professional videographer. However, this luxury currently comes at a fairly hefty cost, both financial, and ergonomic. However, it is certainly an accomplishable task for the enthusiast with modest too deep pockets today. It is also safe to assume that, in time, as with most consumer electronic technologies, price will come down, quality with come up, and size will come down. Before too long, we may see this level of audio performance in camcorders off the shelf. Marry this to the inevitable (if not distant future) advent of high definition personal digital video camcorders, and Videography utopia will have arrived. I, for one, can't wait.