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Best wireless microphone for singers 2018 – [Buyer’s Guide]Last Updated January 1, 2020
Best wireless microphone for singers of 2018
The best wireless microphone for singers will make your fairytale dreams come true! There are dozens of choices for an wireless microphone for singers these days. These are composed of modern styling with modern technology to match it. Here are some good examples.
I have a variety of material used in the construction of wireless microphone for singers including metal, plastic, and glass. Now, let’s get to the gist of the matter: which are the best wireless microphone for singers for the money?
Test Results and Ratings
|Ease of use||
Why did this wireless microphone for singers win the first place?
I really enjoy the design. It is compact, comfortable and reliable. And it looks amazing! The material is stylish, but it smells for the first couple of days. I am very happy with the purchase. It is definitely worth its money. The product is top-notch! I don’t know anything about other models from this brand, but I am fully satisfied with this product.
Why did this wireless microphone for singers come in second place?
I recommend you to consider buying this model, it definitely worth its money. I really liked it. It is amazing in every aspect. It did even exceed my expectations for a bit, considering the affordable price. Seems that the material is good. It has a very beautiful color but I don’t really like the texture. This is a pretty decent product that perfectly fitted the interior of our office.
Why did this wireless microphone for singers take third place?
This price is appropriate since the product is very well built. I liked the design. We’ve been using it for 2 months and it still looks like brand new. I hope that the good reputation of the manufacturer will guarantee a long-term work. It doesn’t squeaks nor bents. Looks great in my apartment.
wireless microphone for singers Buyer’s Guide
Special Projects AQUA 2020 Microphone System 16
Those were the simple reviews of reliable and worth buying wireless fitness microphones. Be sure that you read the first part of the article, because those features are really important when you want to buy this kind of microphone. Don’t encourage yourself to buy a cheap and low quality model, because in time you will invest the same amount of money, but with no satisfaction. Also, be sure that the microphone’s features are good enough for you and your type of work. Scan the market before buying anything and also make comparison between the products. Be really careful at the prices, too. Our advice is to buy a quality item, but some of them have only high prices, without any quality. So be really sure before you want to invest in something that is more expensive than usual. Don’t forget to make a pro and a cons list. This way will be easier for you to better see each item’s positive and negative features and the choosing will be simpler. Also, you can search for other reviews of the product and see other points of views. This will surely make you think about a product from different angles and it will really help you choose the right one for you.
With the GTD Audio G-380H VHF Wireless Microphone System, you are seriously getting a huge bang for your buck.
It’d also be a great addition to a new or “basement” band that is looking to grow their sound but isn’t quite ready to purchase high-end premium equipment. In addition to the four wireless microphones, this system comes with a receiver and each channel has its own volume controls.
Frequency, as you probably know, is the measurement of a sound wave that corresponds to the pitch it creates. Treble sounds are higher in frequency, and bass sounds are lower. All microphones have an upper and lower limit to the frequencies they can pick up, and this is referred to as the mic’s frequency response range. In general, a bigger range is better, but it also depends on the application. For instance, a range of 80Hz-15kHz would be solid for vocals, but for miking percussion instruments like snares and toms, a range starting around 50 Hz is a better choice – and even lower for a bass drum, as low as 40Hz or even 30Hz.
Total range is only half the story, though. To find out how well the mic performs across that range, keep your eyes peeled for a “frequency chart,” which you might find on the packaging or included in the microphone’s specifications. These charts plot the frequency response as a line and are usually scaled to the range of human hearing (about 20Hz to 20kHz), with the horizontal numbers representing frequencies and the vertical numbers representing how strongly the microphone “hears” them, in decibels. To use frequency charts effectively, you should start by researching the fundamental frequency range of the instrument you’re planning to record – or that of your voice, if you’re a vocalist. Then, look for microphones that have a smooth, level line across those frequencies on the chart.
A good example here would be the Shure SM57, which is a popular mic for snare drums because it has consistent, flat response along the 150Hz-250Hz range, where the snare’s fundamental frequency resides. There’s also a bit of a bump at the higher end, about the same frequency as the snare’s sharp “snapping” sound. And on the lower end, it tapers off just high enough to avoid picking up the nearby bass drum during recording. This is what to look for in a response curve: neutral response for the instrument’s typical sound, a bump for frequencies that could use accentuating and a range that helps filter out other instruments.
Another characteristic of some microphones is something called “proximity effect.” You won’t hear about this in technical specs, but pay attention for it in product descriptions. The proximity effect produces intensified bass frequencies when the sound source moves closer to the microphone, which can be used to your advantage. For instance, in studio recording, a mic with strong proximity effect will emphasize an instrument’s bass tones. On the stage, a vocalist can actually affect the way his or her voice sounds by working the mic at varying distances. If you like the idea of a strong proximity effect, consider using a condenser mic. To minimize it, choose a dynamic microphone instead.
Polar patterns describe the shape of the soundstage a microphone “listens” to, which allows you to set up your studio or stage to accept sounds from certain locations and ignore others. General types of polar patterns are omnidirectional (accepting sounds from all directions), bi-directional (accepting sounds from front and back while ignoring the sides) and the most common type, uni-directional (accepting sounds primarily from a single direction).
Common Polar Patterns
Cardioid – This polar pattern gets its name from being roughly heart-shaped. That ‘heart’ is positioned to the front of the mic, and it ignores most sound from the sides and behind the microphone. Cardioid microphones are popular onstage and in the studio, since their rejection of sound sources to the rear helps to limit audience and ambient noise. All cardioid microphones will exhibit proximity effect to some extent.
Supercardioid & Hypercardioid – These are variations on the cardioid response pattern, with supercardioid microphones being more focused in direction than cardioid models, and hypercardioid mics being even narrower still. A key difference between these two patterns and a cardioid mic is that supercardioid and hypercardioid microphones will also pick up some sound from behind. You could think of all three of these response patterns as different steps on a spectrum: as you move from cardioid to supercardioid to hypercardioid, response to the sides decreases while response to the rear increases.
Omnidirectional – In a class all their own, these microphones have no directional bias and will pick up sound from anywhere around them. This makes them well-suited to situations where you want to pick up all sound in a space, including ambient noise. Omnidirectional microphones are also the least susceptible to proximity effect.
Figure– A balanced type of bi-directional polar pattern, the figure-picks up sound equally from two opposing directions, while ignoring the perpendicular ones. Essentially, if the mic were positioned to pick up sound from North and South, it would ignore sound sources to the East and West.
In studio settings from hobby to professional, the condenser microphone is king. They come in different varieties, including multiple sizes for the diaphragm that vibrates to create the signal and even the choice between solid-state and vacuum tube electronics. This gives you a lot of options to find a condenser microphone perfectly customized for your recording situation. There are a few live sound applications for condenser microphones as well, including choirs, pianos, acoustic stringed instruments and some percussion instruments.
When it comes to the diaphragm in a condenser microphone, there’s a lot to be said for size. The diaphragm is a conductive membrane that works like the mic’s eardrum, and its width determines the characteristics of the microphone. Traditionally, mics have been grouped into large and small-diaphragm categories, and more recent times have seen the introduction of medium-diaphragm condenser mics positioned as a hybrid between the two extremes.
Large-diaphragm Condenser Microphones: These models are frequently used for vocals and voiceover recording, as well as strings, brass, percussion and more. Adding to their versatility is the fact that many of these mics are multiple-pattern models. Since their diaphragms alone can measure as much as an inch in diameter, they’re large microphones best-suited to diverse recording needs where compact size isn’t a priority. A large-diaphragm condenser mic is the workhorse of a typical studio. Specialty models are common as well, devoted to miking such instruments as kick drums and toms.
Small-diaphragm Condenser Microphones: Often found in professional recording environments, these mics may give up most of the spotlight to their larger cousins – but when they’re in their element, they can’t be beaten. Some of the strengths of small-diaphragm condensers include picking up the fast transients of cymbals and hand drums, as well as the percussive quality in the sound of an acoustic guitar. Plus, since they’re smaller than large-diaphragm mics, you can easily position small-diaphragm microphones and fit them into tight places such as the inside of an acoustic piano. For high frequencies and for sounds sources with sudden attack or rapidly-changing volume, small diaphragms have no equal.
Medium-diaphragm Condenser Microphones: There’s no strict definition for what qualifies as a medium-diaphragm since, historically, most microphones were classified as either large or small. A good ballpark, however, is around the 5/8″-3/4″ diameter range. These microphones deliver a good balance between large and small diaphragms, with the ability to accurately capture transients and high-frequency sound, like a small-diaphragm mic, as well as conveying a sense of fuller, better-rounded and warmer sound, like a large-diaphragm mic.
Roll-off & Bass Attenuation Switches
If you’re looking for a condenser microphone with maximum versatility, you might want to search for a model with roll-off and bass attenuation switches. A roll-off switch allows you to limit the frequency range, lowering or completely cutting off response below a certain level. This way, you can avoid feeding your recording hardware or speaker system a frequency range outside of what it can handle – and you can also use it to help reduce interference from low-ranged instruments during targeted recording of a high-frequency one, or simply to improve recording clarity. Attenuation switches are similar, but with regards to the microphone’s sensitivity: they’ll insulate the mic against high-volume sound sources, preventing it from becoming overloaded, and reducing distortion in turn.
Capable of taking high sound pressure levels in stride, dynamic microphones excel at live sound recording and amplification, as well as studio recording of loud sources such as percussion instruments and guitar amplifiers. Like condenser microphones, dynamic mics use a vibrating diaphragm to generate a signal. The difference is in the electronics that pick up the vibrations, and it’s that difference in design that makes dynamic models so rugged by comparison. One big advantage of dynamic microphones is that they tend to be very affordable, and a high-end dynamic mic can be a cost-effective choice even in a studio environment – especially if you’re recording vocals, drums, or electric guitars.
Handheld Vocal Dynamic Microphones
There’s no doubt that this style of mic is the image that pops into just about anyone’s head at the mention of the word “microphone.” The venerable Shure SM5is probably the best example of a handheld dynamic mic, though there are countless others if you’d like to try something different. These models often have internal shock-mounting systems built right in, so you can use them by hand or on a stand without the need for an external shockmount.
Instrument-specific Dynamic Microphones
It is possible to record audio in stereo simply by using two microphones, but in many cases it’s even more practical to simply use a stereo microphone. These models have two capsules built into a single mic casing, and they excel as room microphones: place one on a tall stand in the middle of a venue, and mix its stereo recording in with the soundboard feeds from your stage mics to give live recordings an enhanced sense of space.
Thought you were out of school, correct? Not so fast. Life is an ongoing educational process and every bit of background you possess on how wireless technology has come to be a driving force—specifically as it applies to combination microphones—is going to pay off.
These are deep roots grounded in 1940s and 1950s wireless radio history, thus if you’re big on vintage and longevity, you may wish to know that the Shure Brothers are credited with introducing the first performer-designed wireless mic, which boasted a 15-foot range.
Innovation and experimentation drove global companies forward. Some failed. Others thrived. Considered the break-out firm in 195was Germany’s Lab W, a company that later came to be known as Sennheiser. Under the purview of American electrical engineer Raymond A. Litke, wireless technology became a necessity at political convention venues, Olympic events and stage performances.
Under the purview of American electrical engineer Raymond A. Litke, wireless technology became a necessity at political convention venues, Olympic events and stage performances.
In 199Nady, Sennheiser and Vega all received Emmy Awards for their contributions to developing broadcast wireless mics.
How to Choose a Combination Microphone
But like all folks in the music industry, it’s incumbent upon you to do your homework so you become a quasi-expert on the topic yourself. Start out by asking pertinent questions like the following to begin your shopping journey.
How to Set Up and Use Your Wireless Combination
Give thanks for YouTube offering an endless menu of how-to guides so you don’t zone out reading text. This handy set-up tutorial can get you started, and this one can help you interface your speaker and your wireless mic.
Always provide a clear line of site between the receiver and transmitter. Sound like a no brainer? You wouldn’t believe how many newbies haven’t a clue. Audition, audition, audition after set-up to avoid last-minute confusion.
Become obsessive about checking battery life and always bring spares just in case. This is the sort of preparation that makes mom proud; especially moms obsessed with reminding you to always carry extra pencils and paper when you were in school.
If given a choice, pick a “diversity” receiver. Radio frequencies, like boomerangs, bounce off surfaces if not directed properly. With a diversity receiver, you get redundancy to cover this possibility: two antennas and two demodulators.
GTD Audio G-380H VHF Wireless Microphone
This is another VHF wireless microphone system that is very affordable and easy to set up. It comes with four hand held mics.
It can be a great addition to your existing home karaoke setup. With four microphones in this system, you can have your friends or families sing together. The mics have color buttons, which make them easy to identify. You can also assign which person will sing softly, or which one belt songs out, with this set-up.
This wireless microphone system isn’t just for home use. It will also work well in churches, auditoriums, and similar public places.
As you would expect from a VHF wireless audio system, the TD Audio G-380H VHF Wireless Microphone System with Hand held mics is very affordable. It is thus a great buy for people who love to sing karaoke at home. It’s also a great addition to any church or place of worship, where group singing usually occurs.
It is also highly recommended because it is easy to set up. Moreover, the range is very impressive for such a low-priced wireless microphone system.
XIAOKOA 2.4G Wireless Microphone
When both the transmitter and receiver are on and connected to each other, there’s a blue light on each end that indicates successful/automatic pairing of both devices.
It has an adjustable metal arm that lets users move the mic in and out of position.
It also gets positive reviews for its build quality and affordable price.
Sony ECMAWWireless Microphone
This wireless microphone, though, isn’t something you can use for karaoke parties. It’s also not ideal for performers or singers.
This is made for camcorders. It isthus designed more for pros like videographers, as it would let them record clips without having to use a wired microphone.
It comes with a Bluetooth receiver, which can only be paired with the receiver/transmitter. It is powered by AAA batteries.
With this Bluetooth capable wireless microphone system, a subject and device operator can communicate up to a range of 150 feet. It virtually eliminates the need for a separate intercom system.
With this microphone system, the camera operator will be able to give directions to the onscreen talent even if the latter is up to 150 feet away from him. There’s a 3.5mm headphone jack for both transmitter and receiver, allowing the camera operator and onscreen talent to communicate with each other.
Audiophiles may frown at the Bluetooth receiver, because Bluetooth is known to compress audio. However, this works perfectly fine for videographers who desire to make the best presentation/clips for their clients.
If you’re looking for a rugged microphone that can take the rigors of the road or daily use in a venue, a wireless dynamic mic is probably the best option for you. These mics are simple in design and built to take a beating, while also giving you access to the best in wireless microphone technology. Many brands have brought over classic mic capsules and packaged them with transmitters and receivers, including the Shure PG58, SM58, Beta 58, BeyerDynamic TG550 and Sennheiser XSW.
RF Venue CB Beam €57 £517.93
The Shure MV8iOS mic provides very high-quality audio sound in this price point and class. You have your choice of recording in of DSP modes, each one specifically designed for optimizing a different type of sound recording: singing, acoustic, talking, and instrumental. This mic not only handles a range of sounds and frequency at a surprising quality level, it also will handle sounds of 120 decibels. The MOTIV suite software and app have a huge range of features to play with on the production end as well, including a compression function for capturing live music recordings and other types of performances that might be prone to distortion. The mic also offers has a really cool auto-adjust EQ feature which allows you to adjust levels easily while recording.
This mic is a great choice for anyone looking for clean, professional sound when recording anything from live streams to podcasts. Maybe you have friends that are musicians, or you want to help another friend build his business using YouTube, you can count on the Shure MV8for top quality sound production. Physically, this mic is all-metal, and the sturdy construction means it can withstand some wear and tear if you are using it as a portable mic. And the MOTIV site software app makes for an intuitive and user-friendly interface. The Shure MV8is designed specifically to work with most newer Mac products and is compatible with OS and up. The Shure MV8could easily be purchased in lieu of a fully separate digital recorder since it has everything you need for basic level adjustments and production in one package. It’s very portable and easy to adjust when it’s attached to your phone.
For people who are looking for a mic but don’t need all the whistles and bells of a professional level device, the Movo PMLavalier mic is a solid choice that’s comparable to some of the others at a slightly higher price point. It’s not super fancy, but it works well to boost the quality of simple vocal recording activities like YouTube videos, group video or audio conferencing. This unit comes complete with a one year warranty too, so you don’t have to worry about breakage. It’s a tiny, lightweight unit that doesn’t use batteries, so it’s super easy to take out in the field.
This little mic offers surprisingly clear and precise sound quality considering its size and relatively low cost. It is compatible with all recent portable Mac devices as well as Android and Windows smartphones. Even in situations with a greater possibility of distortion, like wind outside or just a singer with a naturally loud voice, this will handle the excessive volume. You’ll want to be careful with position, but mostly it will hold its own with regards to levels and gain.
The Movo PMis an omnidirectional type mic, which means it’s going to have lower distortion that its directional counterpart. Omnidirectional mics are also less sensitive to background and random noise, generally, and are good for things like podcasts where they can be put in the center of a room or table. While this isn’t necessarily what people who are doing more high-end productions want, it’s perfect for single track, basic recording in small areas. With the special features that it offers, expect to never get caught in less-than-stellar sound recording situations again. You can expect a Signal to noise ratio of about 74dB SPL.
Rode VideoMic Shotgun Microphone
Rode VideoMic Pro Compact VMP Shotgun Microphone he RØDE VideoMic Pro Compact is a compact shotgun microphone which is ideal for use with HDSLR cameras. By using a shock mounting system and a lightweight premium cable RØDE was able to significantly reduce noise transference. The microphone uses a condenser capsule with a supercardioid pick up pattern to record sound from in front of the microphone while minimizing sound pickup from the sides and rear to prevent recording of unwanted sound from your surroundings. The foam windscreen and integrated shockmount minimize wind noise and handling noise to produce broadcast-quality recordings.
The History of Wireless Audio Systems
Several individuals and companies have made competing claims that they invented the first wireless system. The earliest wireless mic schematics and do-it-yourself kits appeared in hobbyist magazine such as Popular Science and Popular Mechanics in the mid-1940s. From the late ‘40s through the early ‘50s various tinkerers created “wireless radio microphones” that transmitted signals using radio frequencies. These systems showed up sporadically in theatrical and sporting events.
The Shure Brothers laid claim to having the first wireless microphone system for performers. Called the Vagabond, it had a very limited range of about 1feet. In 1957, a German company called Lab W, later to become Sennheiser, created a wireless system that had a range of about 300 feet.
An American electrical engineer, Raymond A. Litke, developed a wireless microphone system in 195that was used in various applications such as the Olympic trials in 195and the 1960 Democratic and Republican conventions. He was granted the first wireless system patent in 196A version of the system was introduced later that year by Vega Electronics and was marketed as the Vega Mike.
Sony introduced its first wireless microphone system, the CR-4, in 1958, and by 1960 it was the system of choice for many theatre performances and nightclub acts. German manufacturer, Beyerdynamic, was also successful during this era with its wireless technology that was used in 196to capture the soundtrack for the filmed version of the musical My Fair Lady.
In the mid 1970s companding technology developed by Nady Systems resulted in wireless systems with a wider dynamic range. This led to their adoption by stadium acts such as Todd Rundgren and The Rolling Stones.
Today, almost every large venue uses wireless systems, dramatically changing the dynamics of performance. In 199a joint Emmy Award for “pioneering the development of the broadcast wireless microphone” went to Nady, CBS, Sennheiser, and Vega.
Wireless Microphone System Components
All wireless mic systems, regardless of their applications, are made up of two basic components: transmitters and receivers. Transmitters convert the audio signal captured by the mic into a radio signal. These are then sent to a receiver that converts them back to an audio signal that is then sent to the sound system.
First, we’ll look at the various types of mic transmitters.
Handheld Microphone Transmitters
These wireless mics incorporate the transmitter into their handle so both functions are contained in a single unit. As with wired handheld mics, there are numerous wireless dynamic and condenser mic models to choose from that will match just about any performer’s needs. Some manufacturers offer separate transmitters that can be plugged into the XLR connector of any dynamic mic, making microphone options even more plentiful when going wireless.
The Shure BLX24/SM5Handheld Wireless System with SM5Capsule includes a BLXreceiver which is a lightweight, durable ABS polymer chassis. It has a smaller footprint than previous receivers, and features an enhanced group and channel scan. Equipped with true diversity and a rugged build quality, this easy to use wireless receiver brings unprecedented quality into this price range.
VHF vs. UHF
Virtually all pro wireless systems operate on either the VHF (very high frequency) or UHF (ultra high frequency) bands. VHF wireless systems generally operate within the 17to 216MHz range (the range of TV channels 7-13), while UHF uses the 470 to 805MHz range (the range for TV channels 14-69).
Traditionally, UHF has been used by higher-end wireless systems, and has the reputation for having more transmitter range and being less prone to TV interference. These are real advantages but need some qualification.
UHF-based systems are allowed more transmitter power by regulation, but that doesn’t mean that any given system actually has more power than a given VHF system. UHF also has more range than VHF, not because of power, but because the signals move through the atmosphere more easily. UHF also has up to eight times more frequencies available.
As for less interference, that situation is changing. As parts of the UHF range are being assigned to public safety communications and digital TV broadcasting, the band is becoming more crowded. Also, the highest end of the UHF spectrum (above 900MHz) is a general-purpose range used for cordless telephones, garage door openers, and ham radio, so it’s not advisable for wireless use as interference problems are very likely. Actually, both bands are becoming more crowded. As discussed in the next section, digital signal processing technology is playing an important role in dealing with interference.
Key Wireless Receiver Functions and Features
The true worth of a wireless system is determined by its overall sound quality, dynamic range, freedom from dropouts and interference, and its operating range. Essentially, you want a wireless system to sound like a wired system. You also want a system that has easy-to-use controls and easy-to-read displays. There are a number of other common features that are true for all wireless mic, instrument, and in-ear monitoring systems that are not so immediately obvious.
Automatic Frequency Selection
With this feature, a frequency-agile system selects the frequency automatically. It’s a nice feature to have if you need a system with frequency agility as described in the previous paragraphs, because you’ll be resetting your system fairly often. Some high-end systems offer automatic setup of your entire wireless system.
As with any piece of electronic music gear, how well a wireless system keeps you informed of its status is an important consideration. Having a display that’s highly legible and well-lit is a big help during setup and performance. It should indicate signal strength, identify the channel being used, and have low-battery level warning indicators or battery-level meters. Battery-status displays are usually located on the transmitter, but some high-end systems have them on the receiver too.
A USB mic worth its price should capture the whole range of the human voice—with all its pitches, tones, timbres, quirks, and flaws—and make it sound as good as it can be. Ideally, you could upload your recording without any fine-tuning as a podcast and have it sound good in someone else’s headphones.
Because a USB mic exists in the realm between built-in recording and the expandable, expensive world of studio-level microphones, the price point should be in that middle range, too. The same goes for its features: options for those who want to fiddle, but not a half-dozen switches and knobs that require adjustment for every single new recording situation. A crucial feature is a zero-latency headphone jack for hearing exactly what you sound like without any distracting delay. Also important is in-mic gain control, though our portable pick does a notably good job of that automatically. Read on in our pick to see why these are so important.
A crucial feature is a zero-latency headphone jack, for hearing exactly what the mic is sending to your computer without any distracting delay.
From interviews and narrowed-down lists, we tested the top-rated and most recommended microphones each year for three years. After recording samples and sending them with blind labels, Lauren Dragan and three or four other audio professionals did a blind listening of all the recordings and ranked them from to 10, best to worst. Included in the 201and 201panels: Brent Butterworth, a well-respected audio reviewer for SoundStage and Home Theater Review and a contributor to The Wirecutter; Phil Metzler, keyboardist and vocalist in the band Just Off Turner; John Higgins, professional pianist, guitarist, and educator in both vocal music and audio production at the prestigious Windward School in Los Angeles; and Geoff Morrison, freelance writer for Forbes, CNET, and Sound & Vision and a Wirecutter editor (working on the 201panel only). In 2016, five Wirecutter staffers also rated USB mic samples.
After placing these performance results alongside the microphones’ reviews, features, and price, we had our testing set. We tested seven microphones in 2016, including the two previous picks, the Yeti and the Samson Meteor.
Flaws but not dealbreakers
The same goes for pop filters; those that are made for general microphones often do not fit well on the Yeti’s basic stand. A universal clip-on version (like this filter) can do in a pinch, but the look and space taken up by a long wire can be irksome.
If you’re new to microphones and audio gear, you very well may speak into the Yeti the wrong way your first few times. The Yeti is a side-address microphone, meaning the mic should be positioned so the side of the microphone with the volume and mute buttons faces you. The Yeti’s curved, swiveling-stand design, however, can lead you to believe you should speak into the end of the mic, as you would with more a common end-address mic. But this is a mistake that listeners will definitely be able to hear.
Long-term test notes
Lauren used the Yeti for more than nine months after her 201tests without experiencing any problems. Kevin Purdy has used a Blue Yeti since 2012, has no complaints, and has received none from podcast editors he’s worked with.
The smaller but still great-sounding runner-up
If desk or storage space is at a premium, if you often move your mic between spaces, or if you want to save a few dollars and start small, the Shure MVscored well with our panelists in voice recording quality—some even ranked it better overall than the Yeti. The tradeoff is that the MVis not as sturdy, stable, or as tall as the Yeti, making you work to set it up at the proper height for recording. And it lacks for the Yeti’s multiple pickup patterns. But the MVhas just enough recording features—a direct-monitoring headphone jack and impressive automatic gain control, and really helpful travel tools, including micro-USB and MFi-certified Lightning connections—to make it a solid pick for people who value a smaller size and portability over future-friendly capabilities.
All four of the experts who rated our recordings put the MVin second place. Most of the other microphones we tested had a much wider range of scores from experts, but the experts all thought the MV5, used with its “voice”/speaking preset, was nearly the best they heard. In other words, the experts agree on nothing else, except that the MVcan make your voice sound good. Wirecutter staffers gave the MVan overall third place, with a wider range of ratings. Kevin’s voice was “very natural and perfectly balanced,” one expert said. While the voice sounded slightly thinner than other mics, it was “the most clear,” wrote one staffer.
The MVhas just enough features that it avoids the compromises you’d expect in a portable microphone. A physical mute button is easy to reach on the back of the mic, as are a headphone jack and slightly recessed volume knob. The “vocal” Digital Signal Processor (DSP) preset created a noticeably more clear reading, without any editing, than flat/neutral, while neutral would allow editing software more leeway in improving your voice. Shure provides an iOS app that allows for quick recording and sharing, with gain control, clip trimming, a live visual monitor, and more presets for equalizing your recordings. With the included micro USB and micro-USB-to-Lightning cables, you can record to pretty much any device you can find.
The MVweighs 5.ounces with its stand (the mic head is 3.ounces on its own), and very easily disassembles into a ball-shaped head and a C-shaped stand. The Yeti weighs 2.pounds with its stand, or 1.pounds on its own, six times as much as the MVA heavy mic in a metal stand is useful when it sits on a standard work desk, near a keyboard, because it transmits less motion to the recording. But the MVis far easier to stash after use, and it’s much more suitable to toss in a bag.
The MVhead’s light weight also lets it work with most desktop microphone stands without any tipping issues. The mic head has a ¼-inch thread, standard for camera tripods, but it also comes with an adapter to allow it to screw into more typical ⅝-inch microphone mounts.
Besides the trade-off of stability and portability, the MVis not without its flaws. Depending on your height and seating, the lights indicating the MV5’s mode and muting on the top-rear of the mic can be hard to see. We encountered a couple “oh, wait” moments while testing the MVbecause we couldn’t see the small blinking red lights. Five of the nine people who rated our voice samples said they noticed far more plosives (vocal pops) with the MV5, including three of our four audio experts. This could be corrected with an external pop filter, or perhaps by testing farther-out mouth positioning, but it’s present when recording close to the mic.
The Samson Meteor was our prior pick for a decent-enough portable USB microphone, but after we used and heard the MVand saw our panel’s feedback, the Meteor quickly fell. Experts ranked it last in 2016, and staffers found it to be mediocre. The sizable grill causes bounce-back that makes it sound unnatural, and both experts and staffers noticed a lot of mouth noise.
Blue, the maker of our Yeti pick, released a portable-minded Blue Raspberry in the fall of 201It sounds great, ranking second among our experts. It folds up into the size of two stacked candy bars, and it has a headphone jack, gain control, an intelligent level/clipping light, and direct iOS/Lightning recording. The main issue is that it costs significantly more than the Yeti and more than twice the price of the MV5, even though the MVsounded better to both experts and our staffers. And the mute function requires pressing in the mic volume dial, which almost always needs to be done delicately and always moved the mic on our desk.
Shure’s MV5comes from the same MOTIV family of Shure portable products as our MVportable pick. It has a larger diaphragm for capturing sound, more processing modes, and touch-bar buttons for input level and muting the mic or headphones. It’s a bit heavy to be portable, a bit small for the desktop, and didn’t sound better to either set of panelists than the MVIt may be better at capturing instruments or recordings in a larger room, but at nearly twice the price of the MV5, you’d be better off moving to a more semi-pro setup with a separate XLR mic and audio interface.
Wireless systems take on many different forms, depending on their intended application. At their most basic level, all wireless systems consist of two main components: a wireless transmitter and a wireless receiver, which send and receive audio, respectively.
FOR SINGERS AND PRESENTERS
Handheld vocal microphone sets are one of the most common wireless configurations. The vocal handheld transmitter looks like a traditional wired microphone, but with a small antenna at the bottom rather than an XLR socket. Sennheiser handheld transmitters traditionally have a distinctive “shark fin” antenna on the bottom. Like their wired counterparts, vocal sets are available in a range of capsule options to fit the performer’s needs.
In some applications, the microphone needs to be unobtrusive. Theaters, for example, often use miniature clip-on “lavalier” microphones which can be hidden out of sight to preserve a clean, traditional look. Lavaliers connect to a beltpack (or bodypack) transmitter, a small device which simply clips to a belt, slips into a pocket, or gets hidden in a costume. Sennheiser offers several different lavaliers (lapel mics) with both omnidirectional and cardioid pickup to serve different applications.
Videographers and field journalists capture video on the go, so their audio has to be portable. To serve camera-based application, ENG sets include a portable receiver, which attaches to the camera’s shoe mount. Sennheiser camera systems are available with a choice of handheld or belt pack transmitters, to suit a range of field applications.
The possibilities of wireless transmission are limitless.
To identify the right series for your application’s needs, consider a few simple questions.
First of all thanks for reading my article to the end! I hope you find my reviews listed here useful and that it allows you to make a proper comparison of what is best to fit your needs and budget. Don’t be afraid to try more than one product if your first pick doesn’t do the trick.
Most important, have fun and choose your wireless microphone for singers wisely! Good luck!
So, TOP3 of wireless microphone for singers
- №1 — Fifine Wireless Microphone System with Portable Receiver 1/4” Output
- №2 — Yooson Wireless Microphone System
- №3 — Soundmix Q7 Portable Microphone Karaoke -Wireless Vocal Microphone for Singing