"Your Satisfaction Is 
Our Only Gratification"

 













Frequently Asked Questions


1. Will any wireless microphone system work with my existing system?

  Any wireless microphone system can be connected to any sound
  system mixing console as long as there are microphone input     
  connections available regardless of other types of microphones 
  being used. 

2. What is the difference between VHF and UHFwireless microphone
    systems?

    Initially, most wireless microphone systems for sound and PA 
    use VHF frequencies. Over time, new wireless VHF applications
    emerged such as CB radio's and radio and television stations. 
    Eventually, available VHF frequencies began to shrink causing more
    interference. UHF began to be used as an alternative to VHF 
    because of its higher bandwidth with less chance for interference 
    from existing frequencies.  Both VHF and UHF systems provide  
    excellent sound quality.

3. When I walk around with my wireless microphone the signal drops 
    out, or sometimes I hear wishing sound.  What causes this to   
    happen? 

   All wireless microphone systems are not created equal. Wireless
   microphone systems can have a coverage area of a few feet to
   several hundred feet. Different wireless systems have different
   designs and applications. True diversity wireless systems generally
   provide greater range with fewer drop-outs. True diversity means
   that the wireless receiver has two separate receivers in one receiver.
   Each receiver connects to an individual antenna which provides   
   better overall coverage with less chance for drop-outs.  It can be
   difficult to determine whether a wireless system is true diversity 
   because several manufacturers offer non-diversity wireless systems
   with a single receiver that has two mounted antenna's.

4. What kind of wireless microphone system should I purchase?
  
    There are three things to consider when purchasing a wireless 
    microphone system. They are defined as what, where, and how.
    What is the application of the wireless system. This determines the 
    quality of sound needed for the system.  For example, Shure
    wireless microphone systems have different model head 
    configurations like the SM58, BETA58  or BETA87.  Each element
    has its own sound characteristics. This applies to wireless lapel
    microphone systems as well.  Whether to go with a lapel microphone
    with an omni-directional pick-up pattern or a uni-directional 
    microphone with a cardiod pattern. Omni-directional microphones 
    are more prone to feedback when in close proximity to other 
    instrument or speaker systems. Uni-directional lapel microphones 
    have a tighter pattern and provides greater signal level before  
    feedback.

   The second consideration before choosing a wireless 
    microphone is where the system is going to be located. True 
    diversity wireless systems generally offer greater range which 
    means the systems receiver can be located farther from the 
    transmitter. Single receiver wireless systems are more prone to 
    drop-outs and generally provide less coverage than diversity   
    systems.

    The third thing to consider when  purchasing a wireless system is   
    how
 many wireless sytems am I going to use.  If you are going to be  
    using at least two wireless systems, you should select a frequency 
    agile wireless microphone system. Initally, wireless mcirophone 
    systems were manufactured one a single frequency for the   
    transmitter and the receiver. This meant that when you wanted to 
    add another wireless system, you had to remember the frequency of 
    each existing microphone system so that you pick a new  
    wireless system where the frequencies do not conflict.  

    Today, many wireless microphone systems are frequency-agile
    systems which means that each system has multiple frequencies
    for the transmitter and receiver and can be changed in an effort to 
    eliminate conflict with any other system being used.

5. I want to start a tape ministry, should I use cassette tape's
    or CD's for this ministry?

   For may years, houses of worship used cassette tape format as
   the recording medium of choice.  This was the most economical 
   route because of the low cost of cassette recording equipment 
   and duplication. However, today more and more churches
   have turned to CD's for broadcast and music ministries. The main
   advantage of CD's is superior sound qualiity, ease of use and   
   storage shelf life. Cd use for houses of worship has greatly
   increased over the past (5) years because cd recording
   and duplication equipment has become more affordable and the
   cost of cd duplication rivals that of cassette tape. Most churches
   with an active broadcast and tape ministry still use use both formats,
   however cd's are becoming the medium of choice because they can
   be duplicated in large quanities with any drop-of in sound quality. 
   For churches wishing to record using both tape and cd formats,
   equipment is available to record a cassette tape and cd at the 
   same time with one recording unit. This will allow recording and
   playback of of both formats. Though recording a cd is similar
   to recording  a cassette, cd recording requires more hands on
   participation to ensure that approriate musical and vocal segments
   can be recorded  for playback on selected tracks. Cd duplicating
   towers can make produce12 copies in a little over 2 minutes.

6. I want to start videotaping my services but don't know what 
    equipment I need, can you give me some advice?

     Many churches have now added video applications to their
     broadcast ministry. Proper video recording requires certain
     criteria before beginning. Proper lighting is essential for good
     video recording. In older church sanctuaries additional lighting
     may have to be installed for proper recording. Next, its important
     to determine the the type of video camera to use. The right
     camera to use is determined by location, lighting and application.
     If only a certain area is to be recorded, then a fixed camera with
     the proper lens can be utilized. If your application requires 
     video recording throughout the entire sanctuary, then different
     camera's which have the ability to pan, tilt and zoom in and out 
     will be needed. When using these type cameras it requires
     equipment and personel to be able to switch camera's and
     control the pan, tilt and zoom functions. 

7. How can I stop the squeals that come throught the sound system
    evey time a microphone is turned on?

     M icrophone squeals are normally a result of  several different
     sound situations. Microphones located too close to a speaker
     system can cause feedback which causes squeals.Other causes
     could be to many open microphones. Inappropriate microphone
     and speaker placement is the most common cause of squeals
     in sound systems. An on-site visit can determine the specific cause.

8.  I have elderly  members in the church that say that the message 
     or the music is either too loud or too soft. What can I do to solve
     this problem?

     This is a common problem especially with older members or
     members with a hearing impairment, fortunately there are systems
     available which allow members to hear the entire service  using
     their own  individual  handheld receiver and headphones. They can
     adjust the volume to their comfort level. Additional receivers can
     be added as needed. This system also works well when the church
     service needs to be transmitted to members in different languages. 

9.  The sermon sounds fine but I cannot hear the singers beccause the 
      music for the organ and keyboard is so loud, What can be done?

      This is a common problem in churches and may require several
      solutions. The keyboard or piano player may not know how loud
      they are playing in relationship to other instruments or singers.    
      Ideally, the piano or keyboardist should have  an individual monitor
      so that they can hear all of the musicians and vocalist and adjust 
      their volume accordingly. If the sound in the sanctuarty is being
      controlled by a sound technician, then it might be advisable to
      control your instruments such as keyboard, piano, guitars and organ
      from the sound board. In order for this method to work, there must
      be available connections to send the approriate signals to the 
      mixing console and the mixing console should have the available
      inputs to receive the additional signals. It should be noted that
      when miking instruments like keyboards, bass guitars, and organs,
      the speaker system in the church must be able to handle the
      low  frequencies that these instruments can produce. Organs
     can be overpowering in a church and controlling the volume can be
     a challange, especially with some of the older models like the
     Hammond B-3 or C-3. These organs were connected to a leslie or 
     another type speaker cabinet and had it's own volume control. By
     placing an instrument microphone near the leslie speaker and 
     transmiiting the signal from that microphone to the mixing console, 
     a fixed level  can be set at the organ and any further volume changes
     can be controlled by the sound technician at the mixing console. 


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