Wired or Wireless Microphones. Which Kind to Use?

There's a longstanding debate on this topic, so this article will present both the advantages and disadvantages of stage microphones, wired or wireless. Wired microphones have been around since the turn of the 20th century, whereas wireless ones were first used starting around 1949.



Simply because the wired version has been around longer, those will be explored first. Some people prefer using a hand held microphone that's directly connected into the sound system. They feel that it's more reliable and provides a stronger more solid signal than wireless ones. Wired mics don't need batteries (condensers do need phantom power, but that's another issue) so they are not dependent on battery life.



One of the main disadvantages of wired mics is that they restrict the performer's freedom of movement unless you have an exceptionally long-distance cable. And with that long cord comes the probability of it being tripped over, as well as the movement of the performer constantly putting stress on the cables and potentially creating other sound problems. Also with a very lengthy cord there is a compromised signal, primarily in the higher frequencies. Some performers also think that wired microphones are prone to more feedback noise than the wireless ones. As a matter of course, that's definitely linked to the caliber of the wireless system.



Wireless mics have been the preference of a large number of speakers, singers and other performers since arriving on the scene. They are considered superior by many for a wide variety of reasons. Specifically, you can move around as much as you desire, so for those who are on the more energetic side, they are greatly advantageous on that basis alone.



Of course, there's no pesky cable to worry about getting tangled or tripping over. With so many motivational speakers and trainers using a variety of projected visual software to enhance their presentation, this freedom of movement is highly preferable. When it comes to wild rockers/singers, they can obviously move and dance all over the stage with greater ease.



Nevertheless, the frequency range has limitations, so the performer has to take care with those concerns or risk losing signal. There is a chance of crossed signals from radio sources or other mics; this problem has been reduced by the creation of several switch-selectable channels that are synthesized to certain frequencies. Because of the liability of interference as well as the number of frequency channels available, the number of microphones used in a club or venue may be somewhat limited.



The higher priced wireless microphones will have increased range, so the risk of poor signal during a performance or speech is lessened. The body pack (power source) for the wireless transmitter can be clipped onto the belt of the performer, or in many instances to the instrument being amplified. For instance, it might be affixed to a guitar strap or in several cases, to the instrument itself, such as a sax or trumpet. Some vocal models have the transmitter as part of the body of the microphone for those singing or speaking.



Essentially, once all these factors are taken into consideration, it does amount to the user's preference and convenience. There are some folks who are still tried and true loyal users of the wired microphone, but for the past couple of decades the vast majority of performers are under the wireless tent. So the use of stage microphones wired or wireless boils down to the user's choice and available budget. As a rule superior wireless mics are rather expensive, however mics like the time tested Shure SM58 are available for about $100.00.





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Bruce Hathaway knows a lot but his expertise is in the realm of microphones and how to use them. For over 25 years he's performed and recorded in various studios and venues.