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Tired of tangled wires tripping you up onstage? Then ditch the cord and go wireless! But with so many options out there, how do you find the mic that rocks as hard as you do? Fear not, fellow musicians and performers! This blog post is your backstage pass to the Top 5 Best Wireless Microphones, ready to amplify your voice and unleash your inner rockstar. Let's get to it!
Included in this guide:
| Image | Product | Features | Price |
|---|---|---|---|
Best Overall  | Shure SLXD24D/B58 Dual Channel Wireless Microphone System
| 4.3 | Check Price |
Runner-up  | Sennheiser XSW 1-835 Dual Channel Wireless Microphone System
| 4.1 | Check Price |
Top Pick  | Audio-Technica ATW-1322 Wireless Dual Handheld Microphone System
| 3.9 | Check Price |
Top Pick  | Audix AP42 OM5 Dual Handheld Wireless Microphone System
| 4.5 | Check Price |
Lowest Price  | JBL Lifestyle Dual Channel Handheld Wireless Microphone Set
| 4.6 | Check Price |
Related Article: How To Avoid Microphone Feedback: Expert Tips For Clear Audio
The 24-bit SLXD24D is the dual handheld model of the SLX-D wireless lineup. The receiver here is made with scalability in mind, being able to handle up to 32 systems on the 44MHz band and 12 systems on the 8MHZ. The 6MHz band, however, only supports 10 channels.
Included in the package are SLXD2 transmitters with Beta 58 vocal capsules. With a max SPL of 145dB, a neodymium magnet, a frequency response of 50Hzā16kHz, and a super-cardioid pattern, these mics are quite focused and sensitive. However, the system is also compatible with other mics, including the dynamic SM58, the condenser Beta 87A/C, and the dualdyne dynamic KSM8.
The wireless XS dual system from Sennheiser supports eight frequency banks, and each one contains up to 10 preset channels. This model, however, is the A-range, with a bandwidth of 548ā572MHz. The antennas on the receiver are integrated and non-detachable, though.
XSW comes with two handheld transmitters, each featuring an 835 double superheterodyne capsule with warm sound and decent off-axis rejection. The signal-to-noise ratio on these mics is ā„ 103 dBA. Meanwhile, their frequency response is 80Hzā16kHz.
Audio-Technicaās ATW-1322 system comes with two T1002 mics transmitters. The dynamic range on these mics is 109 dB. For the receiving end, the set includes the RC13 rack-mount dual-unit chassis.
Since the chassis is only a half-rack, you can set up four wireless channels on a single rack space with a total of 10 simultaneous channels per band. Itās also possible to release the antenna units and mount them separately using a standard Ethernet cable. The operating range, in this case, will be up to 328ā.
The AP42 OM5 features two H60 transmitters and one R42 two-channel receiver with 106 pre-coordinated frequencies, operating over a 300ā line-of-sight range. The set is available in two frequency band options. But we went with the B-band model here.
A few OM series dynamic capsules and VX5 condenser capsules work on the H60 transmitters. However, the mic capsules that come with the set are the dynamic OM5 with a max SPL of 144 dB. These heads feature Audixās VLM (Very Low Mass) diaphragm, improving the transient response and sound reproduction.
Rather than using a rack-mountable or even a table-top receiver for this wireless mic set, JBL opted for a receiver that you plug into your speakers directly via a Ā¼ā output. The receiver doesnāt run on a DC power supply, though. Instead, itās rechargeable via a USB connection. That said, you wouldnāt want to use the system while charging the receiver because the connection could create some noise interference.
Related Article: The Top 5 Best Vocal Mics For Live Performance
There are handheld mics, headset mics, and bodypack mics (with lavalier clips for instruments). It's important to note that lav microphones are meant for speaking engagements and not for singing.
Digital systems arenāt fully digitalāthey still use an analog carrier wave, much like traditional analog mic systems. However, the main difference here is the sound signal. Digital systems send the signal as ones and zeros to make it easier to filter out noise.
No, not necessarily. While digital units reduce noise and artifacts, they can introduce a bit of latency. An analog system, on the other hand, tends to have a shorter delay, especially if you go for a high-end model.
The cost-effective ISM 2.4GHz signals can be easier to obstruct (with wood, metal, etc.) than UHF. This makes UHF more robust and reliable in professional settings. That said, the legal frequencies change from one country to another, which could make touring with a UHF system trickier.
Wi-Fi, other wireless devices, and even power lines can cause static. If you live in a highly populated area make sure to choose a mic with strong interference resistance.
The dual-channel SLX-D system with Beta 58 mics is convenient, scalable, and delivers a rock-solid RF performance. The analog Sennheiser XSW is more affordable, but it does compromise on the scalability and premium feel. But if you just want an entry model with a hassle-free setup for music performances, the JBL plug-and-play set would be the way to go. No matter which wireless system you choose, donāt forget to pack a spare set of batteries!
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