Motiv can be used with any Mac or PC. Additionally, all iDevices that come with a lightning port can be connected to the Motiv products.
The PGA58 is designed for speech and vocal applications whereas the PGA57 is specifically designed to meet instrument applications.
There are several differences between the two mics. Here are the most relevant ones: Polar pattern: Beta 58A = supercardioid; SM58 = cardioid Output level: Beta 58A is 4dB hotter than SM58 Handling noise: Beta 58A has less handling noise than the SM58 Grille: Beta 58A has a hardened grille that is very difficult to dent Frequency response: Beta 58A has extended low and high end compared to SM58
The SM58 wireless capsule RPW112 is available for and compatible with all Shure wireless series allowing interchangeable capsules.
Please note that BLX and GLX-D wireless series do not feature interchangeable microphone capsules. For these series the SM58 is available as an integrated microphone capsule design.
SE112: Uses one dynamic driver and does not feature detachable cable
SE215: Uses one dynamic driver and comes with detachable cable and ergonomic earphones housing SE315: Uses one balanced armature driver and comes with detachable cable and ergonomic earphones housing
SE425: Uses two balanced armature drivers and comes with detachable cable and ergonomic earphones housing
SE535: Uses three balanced armature drivers and comes with detachable cable and ergonomic earphones housing
SE846: Uses four balanced armature drivers including subwoofer performance, detachable cable, ergonomic earphones housing and detachable nozzle
The SE215, SE315, SE425, SE535 and SE846 earphones use a cable which is resistant against sweat. These earphones have been designed to resist conditions on stage, which includes a lot of sweat.
Wireless System FAQ
Wireless System FAQ
Wireless Microphone Lines
Two words; spectral efficiency. Demand for wireless microphones increases year on year, while at the same time, the amount of clear spectrum available is shrinking. More mics in less space means it's going to get crowded pretty quickly, and the amount of radio 'space' each channel takes up needs to be reduced to keep up with demand. Wireless spectrum, after all, is a finite resource; there is only so much to go around. If the demand for wireless products across the board continues to increase at the current pace, all users will need to be more spectrally efficient (including consumer goods).
It's a bit like lanes on a motorway. Previously we had, say 8 lanes, and only 3 big-ass trucks needed to run simultaneously; not much traffic and plenty of space. Now we have 4 lanes and we're trying to run 20 trucks side by side; there's not a lot of space. Using efficient digital systems, it'd be like running 20 super-narrow trucks in the same 4 lanes; a solution that will actually work.
Radio microphones are used at a large number of events where sensitive information is shared. Without encryption, it's possible to receive the signal from a radio microphone on a separate receiver tuned to the same frequency and with a similar modulation scheme (digital or analogue as appropriate).
As unlikely as it many may be that anyone would spy and try to steal sensitive information, it unfortunately does happen in the interests of gaining a competitive advantage.
Analogue radio microphones cannot be encrypted. Digital data can be encrypted using the AES-256 standard so that the transmitter sends the encrypted data rather than the unencrypted source data. Now, if a digital receiver is tuned to the same frequency, but doesn't know the encryption key, no audio will be recovered; your sensitive information remains safe.
A digital radio microphone system refers specifically to the RF modulation scheme. In the receiver this is converted into an analogue audio signal for connection to an analogue desk or a guitar amplifier.
There are an increasing number of applications where keeping the audio in the digital domain has advantages. Shure have teamed with Audinate to use the Dante Digital Audio Network Protocol. Only our ULX-D dual and quad receiver systems have this capability. The audio from these receivers can be streamed via a network to other Dante receivers. (While confusing at first, the ULX-D wireless receiver becomes a Dante transmitter…). Remember that there are specific network requirements in order to do this; primarily a low-latency gigabit network with Quality of Service features engaged. Learn more at the following link: https://www.audinate.com/resources/networks-switches
Yes. As well as being green and good for the environment, the lithium ion rechargeable cells will save you money and simplify your inventory – cutting out last-minute trips to purchase AA batteries just before your gig (yep, we've all been there. Why are batteries SOOO expensive?!).
Here's a cost comparison of one transmitter that uses fresh batteries once a day, and is used 4 times per week. Prices of AA batteries were from the website.
It's clear that although the upfront cost for the rechargeable cell is greater, the cost savings kick in around the 1 year mark.
Ah, the age-old analogue vs digital question that is always laced with subjectivity. For wireless mics though, it's more objective.
On the whole, digital radio microphones will have more low end, top end and arguably sound more clear than analogue. This is due to a couple of reasons. Analogue systems are bound by the constraints of FM modulation which extends to highs around 15,000 Hz. Audio above this frequency is considered hard to hear at best, but it is noticeably missed when not present. This is especially true on bodypacks used for electric guitar where there will be more high-frequency content. The frequency response of digital systems such as ULX-D and QLX-D is 20Hz-20kHz, which results in a very full sound.
The other thing is, digital systems are not subject to noise picked up while being transmitted. In a digital transmitter, the first process applied to the incoming audio is the Analogue to Digital conversion. Now that the audio is represented in 0's and 1's, the transmitter will use what is typically a proprietary form of digital modulation to send this data. As the data being transmitted is digital, the receiver can perfectly recover the digital ones and zeros, thus recreating a perfect reconstruction of the original analogue sound – as well as avoiding picking up noise. This process also allows the frequency response to be much wider than analogue as we are no longer bound by the limitations of FM modulation.
Digital wireless doesn't mean that it's WiFi. It refers only to the type of data being transmitted by radio.
As an example, Shure's QLX-D and ULX-D systems both use UHF spectrum in the 470-790 MHz band, whereas the GLX-D system uses 2.4 GHz (2,400 MHz) WiFi. Don't worry, though, you're not going to start picking up other peoples' facetime calls on your receiver; while coexisting with WiFi, intelligent 2.4GHz systems consider this traffic as interference and avoid it automatically.
Interference is always a concern when multiple services are sharing spectrum. Just like in our motorway example earlier, if there's more than on car on a road then a collision is possible. Our GLX-D system uses the same spectrum as WiFi (2.4 GHz), and so there is a chance of interference. To counteract this we need specialist technology that continually scans the 2.4GHz landscape to hunt out and avoid interference, leaving you with perfectly clean, interference-free audio.
For 2.4GHz based digital systems, please see above.
For UHF based digital wireless systems, you need to coordinate your system to avoid external sources or interference in the same way you would an analogue system. The factor that swings in your favour, though, is the spectral efficiency of the system; so in the instance of getting interference, you are more likely to be able to avoid it. It's because the 'footprint' of digital wireless is way smaller than analogue, giving it more space in which to operate.
Some, more advanced digital systems (such as Shure ULX-D) have frequency diversity built-in. This permits two bodypacks to be used on two channels as a pair, to mic up one presenter for example. The audio from both packs is assessed by the receiver, and at any one moment, the best quality audio is routed to the receiver's XLR and Dante outputs, so if pack one goes bad, then the good pack's audio remains on. Admittedly, as soon as there is a break in the event, you need to replace the bad frequency with a clean frequency for pack one, but as far as the audience is concerned, you had no interference.
The amount of systems you can run at any given time depends on the system you're using and the spectrum it operates in. To give you an example, a Shure GLX-D system allows you to use up to 8 systems together, but this requires the 2.4 GHz spectrum to be super clean. In normal circumstances, I would recommend using up to 4 systems together. If you need to regularly use more at once, then I'd (carefully) recommend using BLX or taking the jump to QLX-D.
Higher-end UHF based systems (such as QLX-D and ULX-D) can use up to 67 channels per frequency band. ULX-D also offers a High Density mode where up to 500 channels can be made to work together.
GLX-D has fixed antennas and so does not need Antenna Distribution. That said, please still pay attention to antenna placement;
- Try to ensure line of sight
- Minimise transmission distance
QLX-D and ULX-D both use UHF spectrum and providing that your distros cover the RF range that your kit operates on, you'll be fine.
The digital UHF systems have a similar range as other analogue UHF wireless microphone systems. There's no difference in the carrier frequency; the only difference is it's carrying digital information rather than analogue.
Systems operating in the 2.4 GHz band use a higher frequency to transmit audio and so will have a lower, or smaller operating range. Physics is physics.
The 2.4 GHz band is a license free part of spectrum and is available globally. It's limitations are the number of wireless microphones it can host; about 8 maximum. It's also relatively susceptible to interference as there are many other devices that use this band (mainly phones, tablets and laptops using WiFi). For this reason, we must build in features to avoid being caught out by interference (Interference Detection and Avoidance) as described in point #4.
Wireless systems operating in the UHF bands (QLX-D and ULX-D) require licencing just like any analogue radio microphone would; either a channel 38 license or a site-specific license.
The GLX-D Advanced receiver is rack-mountable and features detachable antennas. This allows users to use directional antennas, helping to increase system stability in environments with other WiFi sources.
The GLX-D Advanced Frequency Manager creates a shared group of frequencies for all receivers to use and automatically assigns frequencies to each receiver. If interference occurs, the frequency manager assigns new frequencies without audible dropouts.
No. When running two channels we recommend using the UA221-RSMA antenna splitter to split the incoming antenna signal to the two receivers
No. There is only one series of transmitters. These can be used with GLX-D receivers (GLXD4 and GLXD6) as well as with GLX-D Advanced receivers (GLXD4R).
In an environment with no other WiFi devices you can run up to 11 channels. Under typical conditions (one WiFi channel is active) you can run up to 9 channels. The more WiFi channels active in an environment, the lower the max. amount of channels. Please be sure to use frequency manager.
Group A is optimized for low latency (4 ms), ideal for a channel count of 6 systems, maximum 9.
Group B has a higher stability and a higher latency (7,3 ms), ideal if you experience interference or need to run 9 to 11 systems.
If you are not using the Frequency Manager, then the GLXD4R receiver operates similar to a GLXD4 receiver. In that case, follow the guidelines and best-practices for GLX-D.
If you are using the Frequency Manager, we recommend only one GLX-D standard system.