Showing posts with label microphone. Show all posts
Showing posts with label microphone. Show all posts

Apex APEX460 Tube Condenser Microphone Review

Apex APEX460 Tube Condenser Microphone
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This mic by APEX is an excellent example of workmanship on a budget. It contains the exact same electronics as the higher priced R-F-T Telefunken M16. The tube in the 460 is actually quieter than the M16's tube. If you want the sound of a classic tube mic, but don't want to break your piggy bank, this is the mic for you.

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The APEX460 Tube Microphone is aggressively priced, yet superior sounding large diaphragm studio condenser capable of competing easily with much more expensive microphones in this class. The APEX460 is high performance, yet truly affordable large diaphragm condenser microphone. They are an outstanding choice for the main microphone for any professional studio, home studio, or any of the computer based direct to hard drive recording systems now available. APEX460 is also an outstanding choice for live sound reinforcement or live recording. They have proven themselves as overhead mics for drum kits, for guitar or bass cabinets where superior sound quality and high sound pressure handling is required, or as the mic of choice for saxophones, flutes, acoustic guitars or acoustic bass where subtlety and clarity is paramount.

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Wireless Lapel Microphone Kit Review

Wireless Lapel Microphone Kit
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I teach a weekly non-denominational adult Bible study, and as the group grew larger it became difficult for some to hear me speak. I purchased an AmpliVox Buddy amplifier but found the hand held microphone to be quite cumbersome. My wife then ordered the AmpliVox S1600 wireless microphone system (with lapel mic)for me. It is an excellent product and picks up the sound easily. Even persons sitting at the opposite end of the large room (some of whom are "hard of hearing") report that they can hear and understand every word. I would highly recommend this product.
Dr. Don Shockey

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Wireless Lapel Microphone Kit, Two Frequencies, 300 ft. Range

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sE Electronics sE2200a Class A Cardioid Condenser Microphone Review

sE Electronics sE2200a Class A Cardioid Condenser Microphone
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I use Neumann, AKG, Mojave Audio, Sennheiser and Rode mics in my studio. I sometimes prefer this mic over Neumann for close micing, especially when cutting acoustic/vocal tracks. It's very detailed presence is flawless and velvety smooth without accentuating any unnecessary higher frequencies. Don't let the price of the SE2200A fool you. It's a gem of a mic and rests in the mix without harshness, sizzling with a shiny authority, especially in lower register male vocalizations. The shock mount holds up to my Neumann TLM 103 shock mount. In fact, my TLM 103 shock mount cost as much as the entire SE2200A mic, shock mount and case combined. It has a clean contemporary, yet vintage design and sexy appeal in the studio. It looks and sounds much more expensive than it's low price tag. I'm surprised not to find this mic listed at some stores - Amazon is cool to distribute it. A local credible engineer suggested the SE2200A to me. I was not misinformed and am thankful for his knowledge. I like to interchange mics to lessen boring vocals and instruments and to mix up my tracks with various personality, so it's a pleasing addition to my studio mic cache.

Click Here to see more reviews about: sE Electronics sE2200a Class A Cardioid Condenser Microphone

The sE Electronics sE2200a condenser utilizes a hand crafted, gold sputtered 1.0" diaphragm with class A electronics, offering a clean, crisp, open and lively tone. Shock mount and deluxe aluminum flight case included.

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RODE NT1A Cardioid Condenser Microphone Review

RODE NT1A Cardioid Condenser Microphone
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If you are in to producing/engineering and want a super mean condensor mic without spending alot of cash, this is one to get; very cheap with an extremely expensive sound. It does not have any polar switches or any built in eq's, but most all DAW's do have eq's and phase reverse abilities. Plus, its better to cut freq's that are there, then to try and boost freq's that aren't there; the latter is impossible actually. I'm telling you, don't let the price tag throw you off; this baby makes everything sound good. I've used it on vocals, acoustic guitars, drums as an overhead/ride mic as well as a room mic for ambience. I also have a matched pair of NT 5's that are also absolutely amazing. Rode is a great Australian company that makes amazing mics with a 10 year warranty; yep...10 years. Get one, you won't be dissapointed. Remember though, bad acoustics = bad recording sound.

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The original NT1 was voted "Best Microphone at Any Price" by the editors of Electronic Musician magazine. The NT1A delivers performance usually associated with higher priced microphones. Features: large capsule (1") with gold-plated membrane; cardioid polar pattern; ultra low noise, transformerless circuitry; state of the art surface mount electronics; heavy-duty satin-nickel finish; internal shock mounting system; gold plated output connectors; true condenser (externally biased); full frequency response. The NT1A will blow you away! Ultra low-noise, transformerless circuitry.Cardioid polar pattern.Large capsule (1") with gold-plated membrane.Surface mount electronics.Heavy-duty satin-nickel finish.Internal shock mounting system.Gold plated output connectors.True condenser design (externally biased). WARRANTYAll RODE products are warrantied for 1 year from the date of purchase. Your purchase may be registered ?on-line? or by mailing the warranty card. The RODE Warranty covers parts and labour that may be required to repair the microphone during the warranty period.The Warranty excludes defects caused by normal wear, modification, shipping damage or failure to use the microphone as per RODE's Instruction Guide.

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Electro-Voice RE20 Dynamic Cardioid Microphone Review

Electro-Voice RE20 Dynamic Cardioid Microphone
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I am an independent hip hop producer/ artist. I love this mic because of its versatility. It's gonna capture those lower freqs on the vocals much better than the staple home studio MXL900 mic. It seems a favorite in the hip hop world...at least for beginners. I added the RE20 into the mix with a AKG Perception 100 (which really does no justice for lows). When used together as an acoustic equalization...very nice sounds. Back to the RE20... If the vocalist has a high voice, its a great mic and if the vocalist has a more bassy voice...its a great mic. You might be using a rolloff a bit though as it seems to capture those freqs well. As it advertises, you can get all up in the mic as most rappers do. I emphasize rappers because the abrasiveness of the style in its attack.
I am currently powered by an M-Audio Ultra Track preamp...which as a 45db gain on it. Many say the RE20 will need a really high boost. I'm not going to agree. With the preamp I'm using, the pot is turned up a little passed the half way mark, leaving plenty of head room. As you can see, its construction is also worthy of the title "workhorse". I hate the default mic holder, though...so wimpy and non adjustable. While the fancy upgrade does look a lot nicer and is more secure, you CAN find the right angle to place the mic w/o it falling over. This kinda depends on you needs for mic placement. If you need the mic to be parallel to the ground...get the upgrade. If you can work with the mic at a 45 degree angle, pointing upward..the stand holder will work.
As for the price...GREATNESS!...Some of the other sites are asking for $700-$800. Craziness. Thank you AMAZON.com
Guy Shifty

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The Electro-Voice RE20 is a professional-quality dynamic cardioid microphone created specially for recording, broadcast and sound-reinforcement applications requiring essentially flat response over a very wide frequency range. The wide frequency res...

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Sony UWPV1 Lavalier Microphone, Bodypack Transmitter & Portable RX Wireless System, Operating on TV Channels 30 to 33 Review

Sony UWPV1 Lavalier Microphone, Bodypack Transmitter and Portable RX Wireless System, Operating on TV Channels 30 to 33
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My UWPV1 arrived yesterday, and I'm thrilled with it. The audio is crystal clear - no static at all, and has good dynamic range. The transmitter and receiver are both extremely solid and fell like they'll take a beating. I let my camera roll while I walked around the house with the mic, and the signal remained solid even when it had to go thru multiple walls.

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The Sony UWPV1 is an UWP Series UHF synthesized wireless microphone system. The package includes a lavalier microphone, bodypack transmitter and portable diversity tuner. Mounting adapter for camcorder is also included. The TV channel receiving frequency is 30 to 33. The UWP-V1 includes extremely robust metal construction, mic/line input selection on the bodypack transmitter, a miniature metal body omni-directional microphone and plus the receiver includes a convenient auto channel scanning function allowing automatic search for unoccupied channels.

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Sennheiser ME66 Short Shotgun Capsule (for K6) Review

Sennheiser ME66 Short Shotgun Capsule (for K6)
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I had this recommended as the Microphone for bird recording. Sensitive and rugged. It lives up to the billing.
I had a moment of panic as I initially could not get any sound out of it but found my recorder needed high impendance and this is low. A transformer from radio shack fixed that.
A shock suspension system is required especially as I use in field and any bump or even rubbing of the microphone cable is picked up.

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The ME 66 is a short gun microphone head designed for use with the K6 and K6P powering modules. It is especially suitable for reporting, film and broadcast location applications and for picking up quiet signals in noisy or acoustically live environments as it discriminates against sound not emanating from the main pick-up direction.

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M-Audio Solaris Multipattern Condenser Microphone Review

M-Audio Solaris Multipattern Condenser Microphone
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Happy with product, only took about a week. It actually came with a shock mount which that wasn't list to come with it. Thanks

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The Solaris is a large-capsule condenser microphone that sounds as good as it looks. Beneath the stylish exterior lies the best-sounding solid-state electronics available at any price. Vintage design principles merge with incredibly tight manufacturing standards to yield no more than +/-1dB of deviation across the entire 20Hz-20kHz frequency range. The industry-thinnest evaporated gold diaphragm also delivers incredible sensitivity. Multi-pattern architecture provides flexibility that makes it ideal for just about any miking situation--included capturing vocals, guitar, piano, drums and live events. It's like having three mics in one.

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Azden Wireless Uhf Lavaliere Mic System Nic Review

Azden Wireless Uhf Lavaliere Mic System Nic
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This product was easy to use and worked well. Sound quality was good. However, this mic system only works with one transmitter at a time. Therefore, this product will only work if you are interested in mic-ing one person.

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The Azden compact wireless camera-mount system uses new UHF frequencies to avoid interference from HDTV transition. The 105 series sysetem features include 91 user-selectable UHF frequencies (566.25 - 589.75 MHz), a pivoting high gain antenna, headphone output with volume control and a power-on/receiving signal LED. The operating range is 200-300 feet and it is powered by two AA batteries. It is supplied with a mini-jack cable.

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Rode Podcaster USB Dynamic Microphone Review

Rode Podcaster USB Dynamic Microphone
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For recording my voice (baritone), it does a great job. For extra warmth that means close-miking, which in turn means not popping your p's, etc. If you hold it close to your mouth but don't directly face it end-on, that's easily done (or get a pop filter). [...].
The microphone electronics are extremely quiet - the audio is sampled at 18 bits.
It comes with a warranty which is easily extended to 10 years for free.
The real-time headphone monitoring is a great idea and works well.
It's a bit heavy (part of being built like a tank), and you need to think a little about how you're going to mount it, since some cheap desktop stands can barely manage it.
Some things to keep in mind are:
1) It likes close-miking (at least for male voices)
2) It is USB-only
3) It is a on the bit large and heavy side.
If those don't bother you, and the price is in your range, then you will probably like it a lot.

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The Rode Podcaster is the easiest way to record high quality vocals or audio on your computer and upload them to the world.Seamless integration was the idea, and it was obtained by creating a studio dynamic microphone with unparalleled A/D converters, so that the microphone can be plugged into any computer with no in/out boxes, no expensive computer pre-amps, just a USB cable.The Podcaster offers an end-address configuration, the clarity of RØDE's tailored-for-voice frequency response, an ON L.E.D, a direct headphone amp, and of course very low self noise.The Podcaster opens up possibilities for anyone who records audio from podcasters, journalists and students to business people adding audio files to websites and multimedia presentations.

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Shure SM7B Dynamic Vocal Microphone Review

Shure SM7B Dynamic Vocal Microphone
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If you are looking for a microphone for voice-overs or broadcast use, THIS IS WHAT YOU NEED TO BUY.
The Shure SM-5 and SM-7 microphones are the best voice mics ever made. The large SM-5 is no longer made, so you can only find it used, but the SM-7 is just as good.Either one, you have the best.
Don't let the price fool you. I have brought this in to studios that have $3000 Neuman condenser mics and they laughed when I said I wanted to use my $300 Shure mic instead.I told them to put up both mics and do an A/B test while I spoke into each of them. The three other audio engineers in the studio had to agree, the Shure was better and it was a night and day difference, not hard at all to decide it was best.
This mic has a warmth and rich sound no other mic can give you.
Even industry publications like MIX MAGAZINE and RadioWorld have done reviews where they did the same tests and said the same things about this mic in comparison to the expensive condenser mics...
--------------------------------------------
from MIX MAGAZINE, March 1998, page 53:
Eric Paul has made a career out of recording country giants like Willie Nelson, Waylon Jennings, Johnny Cash and many others: "My favorite overall microphone for voices is the Shure SM-5. If they can't get a Shure SM-5, they can still get Shure SM-7s, which are still available. If you've tried out three very expensive tube mics and you aren't happy with any of them, then the next step should immediately be a Shure SM-7. I will almost always guarentee you that if the expensive mic doesn't work, an SM-7 will. For some reason, people sound better on them."----------------------------------------------
from RADIO WORLD, February 18 1998, page 62:
Joe Stack, director of engineering for ABC radio said: "When I worked at WATH in Athens, Ohio, I had someone call and offer me ten RE-20s for the three SM-5s we had. I turned him down." ------------------------------------------
from EQ MAGAZINE, July 2006 issue:
The SM7 is perhaps most famous for being used as the vocal microphone on Michael Jackson's Thriller engineered by Bruce Swedien. -----------------------------------------------
Some interesting facts about the SM-7..."When we were doing "Off The Wall", "Thriller" and "Bad" I ended up with 6 Shure SM7's. That is a fantastic mike." - Bruce Swedien
The Red Hot Chili Peppers have used the SM 7 on vocals on every album they have done.
You can see James Hetfield from Metallica singing into a Shure SM 7 on the "Some Kind Of Monster" DVD.
----------------------------------------
Another thing I have noticed in the studio, is that some of my other mics require gating and downward expanders on the mics to get rid of room noise, but the SM-7 doesn't need it. It is quiet all by itself.
And to save many hours trying to edit out mouth noises, clicks and smacks from voice-over talent that use expensive CONDENSER microphones, just have them use the SM-7 next time, and no more wasted time editing out mouth noises anymore.Throughout the years on the Howard Stern Show, they have replaced and tried all sorts of microphones, from the Electrovoice RE-20 to Neuman mics. But if you notice, the Co-host, Robin Quivers, STILL uses the Shure SM-7 and refuses to change to any of the other mics. You can see throughout the years on the TV show that although the mics are always changing for everyone else, Robin ALWAYS has the SM-7 to this day.
Since the Howard Stern Show has moved to Sirrius Sattelite, the show had to buy new microphones, (couldn't take them with from CBS) and everyone seems to be using the same mics they did before. Robin has another SM-7 so she really likes this mic! It looks different now, because she has the larger windscreen that now comes with the SM-7.


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The Shure SM7B Dynamic Vocal Microphone is a cardioid studio mic with a smooth, flat, wide-range frequency response appropriate for music and speech in all professional audio applications.The SM7B features excellent shielding against electromagnetic hum generated by computer monitors, neon lights, and other electrical devices. The SM7B has been updated from earlier models with an improved bracket design that offers greater stability. In addition to its standard windscreen, it also includes the A7WS windscreen for close-talk applications. The SM7B Includes a foam winscreen, close-talk windscreen, and a locking yoke mount.Shure SM7B Features:Flat, wide-range frequency response for exceptionally clean and natural reproduction of both music and speechBass rolloff and mid-range emphasis (presence boost) controls with graphic display of response settingImproved rejection of electromagnetic hum, optimized for shielding against broadband interference emitted by computer monitorsInternalair suspensionshock isolation virtually eliminates mechanical noise transmissionHighly effective pop filter eliminates need for any add-on protection against explosive breath sounds, even for close-up vocals or narrationNow shipping with the A7WS detachable windscreen, designed to reduce plosive sounds and gives a warmer tone for close-talk vocalsYoke mounting with captive stand nut for easy mounting and dismounting provides precise control of microphone positionClassic cardioid polar pattern, uniform with frequency and symmetrical about axis, to provide maximum rejection and minimum coloration of off-axis soundRugged construction and excellent cartridge protection for outstanding reliabilityReplacement cartridge:RPM106

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Neumann TLM-103 Microphone Review

Neumann TLM-103 Microphone
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If your looking for a pristine mic and require vocals that are clear and transparent, then this mic is worthy of your consideration. This mic has a wonderful clear and warm quality which can help make recording vocals a pleasure and can really help you shine.

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Ideal for all professional and semi-professional applications requiring high sound quality on a limited budget. The TLM-103 uses the transformerless circuitry found in numerous Neumann mics and a capsule derived from that used in the U87. Cardioid pattern, acoustically well-balanced, and provides extraordinary attenuation of signals from the rear. Frequency range: 20Hz-20kHz. Impedance: 50 ohms.ApplicationsDue to the universal cardioid pattern, straightforward handling, extremely low self-noise level, and finally, the price, the TLM 103 is predestined for all demanding applications from home recording to professional broadcasting and commercial recording studios.Acoustic featuresThe TLM 103 is addressed from the front, marked with the red Neumann logo on the microphone body. The K 103 large diaphragm capsule is based on the K 87, well known from the U 67/U 87 microphones. The capsule has a flat frequency response up to about 5 kHz, and above that, a wide flat 4 dB presence boost. The large wire mesh headgrille protects the capsule from explosive sounds and effectively prevents pop noises. These characteristics are achieved without resorting to corrective resonance effects. Therefore, the microphone maintains an excellent impulse response and reproduces the finest details of music and speech without coloration.Electrical featuresWith just 7 dB-A / 17.5 dB CCIR the self-noise level of the TLM 103 is so reduced that even the smallest signals are reproduced basically noise-free. As it is capable of handling sound pressure levels up to 138 dB without distortion, the TLM 103 provides a dynamic range of 131 dB, according to DIN/IEC 651. The letters TLM stand for "transformerless microphone." With TLM technology the usual output transformer is replaced by an electronic circuit. As with traditional transformers, it ensures good common mode rejection, and prevents RF interference that may influence the balanced audio signal.Operational safetyThe entire internal construction i

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MXL USB 009 24BIT/96KHZ USB Condenser Mic Review

MXL USB 009 24BIT/96KHZ  USB Condenser Mic
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For years I've been working with traditional XLR cardioid condenser mics (love my Neumann TLM) but I've had to travel a lot lately, and humping the XLR cables, pre-amp, and heavy mics through airports and hotels has gotten to be a real bother, so I started The Hunt for a Great USB Mic.
Now, there are good USB mics out there for under $100, and Blue's Snowball is adequate. At ~$70 you get what you pay for. It is ok for podcasting, if you aren't too picky about sound quality. I had one shipped to me, didn't like that background hum, sent it back thinking it was a problem with the mic, and got another one that sounded exactly the same. (And yes, I read all the instructions and advice and made all the adjustments. I even tried it on Mac, Laptop, and PC--so spare me the "oh did you try this, and you're an idiot because you didn't try that" Snowball fanboy snarkiness ;).
So, when I returned the Snowball, I considered getting Blue's Yeti, but it's sheer size disqualified it -- the mic is way too big and heavy to be considered remotely portable, and since I like to record standing-up instead of sitting down, I worried that it would be too heavy for my boom.
Having eliminated Blue's mics, I tried the Samson G Track at ~$120 and the AudioTechnica AT2020 at ~$110. I like that the Samson has the headphone output and the gain controls (which the AT does not) and better recording quality versus the AT2020 at 48kHz versus 44.1kHz. However, the Sampson weighs a half-pound more. For both mics the sound quality is great for podcasting, and while vastly superior to the Blue Snowball, and certainly adequate for most vocals that will be supported with background music, neither mic produces recordings clean enough and of high enough quality (limited to 16bit) for pure narration (IMHO).
So I upped my price-point again. And found THE perfect USB mic for voice-overs at ~$275. The MXL USB.009. It records at 24Bit/96kHz -- a huge improvement over the 16Bit/44.1kHz of all the other mics. It has the benefits of a mic jack and knobs for gain control like the Samson G Track, and is Plug and Play. I don't have to tweak anything on my Mac or my PC. It is lightweight, so I'm not worried about my boom tipping, and there is no background hum. I like the steel carrying case -- it weighs about 6 pounds with the mic and USB cable -- and makes it easy to carry through airport security.
Yes, the MXL USB.009 is 4x the cost of the Blue Snowball and 2.5x the cost of the Samson G Track and the AT2020, but for me, it is worth it. I not only do podcasting, but I do professional voice-over work, and I need something that will give me the convenience of direct USB recording with near-studio quality.

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Producing a 24-bit/96 kHz feature-rich USB microphone for the professional broadcast and music industry meant no compromises on quality. The MXL® USB.009 features a large diaphragm, 32mm capsule, similar to what\'s found on the world\'s best analog microphones. With zero latency monitoring, hand selected components and analog rotary knobs to dial in the perfect mix, the MXL® USB.009 replaces an entire studio. When it\'s time to listen back to the tracks you\'ve recorded, it will impress with its amazing detail and punch. The MXL® USB.009 is a simple, feature-rich, elegantall-in-one recording solution that is nothing short of professional!
24-bit A/D and D/A 96 kHzrecording
114 dB dynamic range
Large gold sputtered diaphragm
USB 1.1 and 2.0 compatible
Zero latency monitoring
Analog gain control before A/D
Hand selected components
USB powered - no externalpower needed
Plug and play with no preamps, mixers or any other externaldevices required
Includes: • Mic • Aluminum flight case • Desktop Stand • Mic stand adapter • 10\' USB cable • Cleaning cloth • Manual

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Rode NT1A Anniversary Vocal Condenser Microphone (Includes NT1A, Premium Shock Mount, Pop Filter, 20 Review

Rode NT1A Anniversary Vocal Condenser Microphone (Includes NT1A, Premium Shock Mount, Pop Filter, 20
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I'm a musician who is starting to move more into a producer role as well, and I needed a good vocal mic for the studio. Previously I was doing all of my vocals with a Shure SM57, which is a great mic but it is very directional and necessitates a lot of preamping, which tended to make it pretty noisy for picking up softer vocals.
I'd heard a lot of positive hype about the NT1A and claims of it being the "quietest mic in the market". I was very much surprised by the low-cost and comparisons to microphones in a much higher price range, so I picked one up figuring that if it didn't live up to the claims, I'd return it and buy a more expensive mic.
I didn't return it. And I don't ever see myself selling it either.
Quite simply, this mic is amazing. I plugged it in direct to Roland 24-track digital workstation and cranked the gain all the way to 10. Not even a touch of hiss. This never happened with my SM57, and I always attributed the hiss to weak preamps in the Roland. Guess not. The pickup on the NT1A is incredible, to the extent that I had to remove a small clock on the far wall because I could hear the second hand ticking. This wasn't audible to the naked human ear until you literally put your ear on the clock. I even had to add a couple throw rugs in the studio under the mic area because I could hear the carpet pad connecting with the cement floor. Amazing.
The mic sounds nice direct, but I typically run it through a good tube preamp and the sound is warm and pristine, with the only noise coming from the preamp. I've recorded everything from dreampop to industrial screaming and this mic handles it all.
Only complaint--with the exception of the XLR cable that came with it, I've had issues getting other cables to connect to the NT1A. The cables don't lock into the mic like they do on my other mics, and only a couple of occasions I lost connection briefly during a take. I'm guessing this is probably just a freak design flaw with mine, because I haven't heard this complaint from anyone else.
Regardless, incredible mic that that is worth every penny, and probably actually worth many tens of thousands of pennies more.

Click Here to see more reviews about: Rode NT1A Anniversary Vocal Condenser Microphone (Includes NT1A, Premium Shock Mount, Pop Filter, 20

The RODE NT1A raises the bar for value-priced mics! The NT1A Anniversary Model is a complete redesign of the now legendary NT1 classic studio microphone. From the new nickel plated body to the state of the art surface mount electronic circuitry, the NT1A will leave you asking 'how can RODE offer a microphone that sounds this good, for so little money'? The RØDE NT1A, Winner of the Electronic Musician 2004 Editor's Choice Award and the world's quietest studio condenser microphone. This redesigned version of RØDE's classic NT1 has only 5 dBA of self-noise.

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DT290-80 Dual Headset w/ Microphone Review

DT290-80 Dual Headset w/ Microphone
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Excellent microphone noise isolation and very comfortable headphones - a perfect combination (be sure to get the XLR and 1/4" TRS connectors)

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Pyle PDWM8300 Professional Conference Desktop VHF Wireless Microphone System Review

Pyle PDWM8300 Professional Conference Desktop VHF Wireless Microphone System
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This item does fit in the pro category. In comparison to what's out there, this cost effective system made my install easy breezy, and there is absolutely no feed back or cross talk in the mics. The pick up doesn't seem to be as good as the wired version for some reason but wired always better.

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This 8-channel wireless microphone system is the kit you need to hold large teleconferences. It includes 8 tabletop microphones and a receiver with 8 inputs and dual telescoping antennas. Each antenna has its own corresponding volume control on the receiver. Outputs over ¼" individual line outputs and mixes ¼" outputs. Operates within 50-180 meters. Runs on 110 and 220 V AC.

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Shure PGX14/93 Lavalier Wireless System, L5 Review

Shure PGX14/93 Lavalier Wireless System, L5
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I got this at a local Guitar Center in Pasadena, CA. the label sign said $648 and they realized it was mispriced. In stores it's actually $399.99 and he gave me 10% off because I really wanted the lower model PG14 which they don't carry in stores.
At our church, we rent out a school auditorium where there's no sound padding. We currently have a Shure wireless handheld (looks like a Pg14 + handheld but I think it's some older model) and a Sennheiser wireless lapel system that's been giving us a lot of interference/feedback.
First I tried the new AKG wireless presenter set and it had a lot of pops and feedback even though we adjusted the squelch and other areas.
So we tried this PGX14/WL93 system and this past Sunday there was no feedback, pops, in interference. We only experienced the clean and clear interference-free sound that comes from Shure.
On the base unit, I mounted it on top of our other Shure (which was set to channel) 1 and pressed channel and it seems like channel 9 was the only available option (7, 8, 9 at first, but now just 9). I think this is fine as we won't be adding more wireless systems, as of yet.
Once we popped in the 2 AA batteries into the transmitter unit I brought the unit over to the wireless base and hit "auto-sync". I wasn't sure if it was 1 tap or hold so I held it and it synced. After that, everything worked beautifully.
I appreciated that the body transmitter was easy to use. Hold the top button for power (green), push once for mute (orange), and again for unmute (green). On the side there's a gain switch for mic (high), 0 (medium), -10db (low). the "0" level was the best because mic was too loud and pitchy.
The lavaliere mic was great. I originally thought it would pick up too many other ambient sounds since it's a condenser mic but even with the band playing in the back the speaker was the only voice captured in the mic. there were no pops from "p" sounds and it did not have ruffling sounds on the shirt/jacket (I did not put on the wind screen which is quite big and odd looking). All we received was clear sound.
The other good thing about this model (transmitter) is that you can use 3 different lavaliere mics: WL93 (which it came with), the higher end WL185, or the lower end PG185 which comes with the PG14/PG185.
WL93: $80, WL185: $100. PG185:$40.
Having loved the countryman, I am now completely fine with the above options. Countrymans break and cost $400+ just to replace the mic (yes just the mic!). I don't know how the lower end PG185 is, but I assume it's Shure clear. So for $40-$100 to replace a lavaliere mic, I would gladly choose this over and over again! And Shure will be the brand of choice over and over again.

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Includes WL93 Omnidirectional Micro-Lavalier Condenser Microphone, PGX1 Bodypack Transmitter, and PGX4 Diversity Receiver.Reliable system for spoken word applications

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