As the unsung heroes of live media production, intercoms provide the vital link to ensuring a smooth running production. With the move to cloud and IP, today's intercom systems provide more flexibility, scalability and reliability than ever before. And as sports fans ask for more immersive experiences, wireless mics are becoming ever more ubiquitous on the playing field. In our latest guide, we examine the latest trends, gear and people involved in connecting media production and providing an increasing array of audio options.

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With more than 60 members, the Wireless Microphone Spectrum Alliance said it is actively advocating for its RF spectrum through meetings and filings in the Federal Communications Commission’s “Delete, Delete, Delete” open comments.

Its members are end users, content creators, live production service providers and equipment manufacturers, according to Shure, which founded the coalition in February.

The alliance held a kickoff call on March 24, outlining upcoming goals and plans.

Members filed comments during the FCC’s recent deregulation initiative, which included specific concerns regarding rules for Part 74 licenses and special temporary authorities. We detail them further below.

Part 74 and STA Proposals
An FCC Part 74 license allows a wireless microphone operator the use of power of up to 250 mW and the ability to reserve channels, along with access to additional portions of the UHF spectrum.

In its Part 74 filing, the WMSA argued that the current stipulation that requires applicants to certify routine use of 50 or more Low Power Auxiliary Station (LPAS) devices to qualify for a Part 74 license was “unnecessarily burdensome.”

The stipulation dates back to 2012, which the commission said was to balance other growth in the UHF TV bands, such as from operation of white space devices.

The WMSA contends that white space growth has not approached levels the commission anticipated, while wireless microphone usage continues to gain steadily. The alliance believes that the threshold should be removed altogether.

In its STA filing, the WMSA noted it is frequently used to access spectrum bands not assigned for LPAS, which require detailed applications and FCC approval.

“A process intended only for exceptional circumstances is now relied upon routinely to accommodate spectrum demand for wireless microphones,” the WMSA wrote.

Currently, applications for STAs for use of wireless microphones in spectrum bands not assigned for LPAS can be requested upon demonstration that their operation will not cause interference to established stations.

In response, the WMSA proposes to change the “shall obtain consent” requirement with a “shall notify” obligation for applicants, which it says will streamline the process.

It also advocated for STA requirements to be limited to within a 15-kilometer radius of the service to be protected and for low-power indoor use of currently restricted bands, such as 608–614 MHz and 1240–1300 MHz.

Discussions with the FCC and other Washington officials

Executives from Shure met with officials in Washington D.C., March 31–April 1 to advocate for the wireless microphone spectrum protection. The WMSA met with FCC Chairman Brendan Carr and Commissioner Nathan Simington.

Members from the White House’s FIFA Task Force, in advance of the FIFA World Cup 2026, were also present. A WMSA representative attended an FCC OET meeting to assist with an analysis of spectrum coordination of wireless devices that were used at the 2025 Super Bowl.

The alliance also hosted its first in-person meeting member event at NAB Show.

“The goal of this alliance is to advocate for access to the RF spectrum that allows those events to operate using wireless microphones,” a release said.

Interested members of the WMSA can fill out a form to join the coalition at Shure’s website.

WASHINGTON—The FCC is diving into Wireless Multi-Channel Audio Systems (WMAS), an emerging wireless microphone technology designed to enable more microphones per megahertz of spectrum.

The commission has officially adopted a Notice of Proposed Rulemaking that is seeking public comment on whether WMAS technology should be granted a licensed basis in frequency bands where wireless mics are already authorized. This includes TV bands, the 600 MHz duplex gap and in portions of the 900 MHz, 1.4 GHz and 7 GHz bands. The NPRM also looks at using WMAS on an unlicensed basis.

WMAS allows microphones to operate using wider bandwidth channels than FCC rules currently allow by digitally combining multiple mic signals. It also uses a more efficient operating protocol, resulting in a larger number of wireless mics being able to operate in the available spectrum.

Europe has already permitted the use of WMAS technology under the European Telecommunications Standards Institute standards.

The proposals are designed to amend the FCC’s Part 74 licensed radio device rules—known as low-power auxiliary station (LPAS) devices—to support efficient use of spectrum and implement interference protection standards. The proposal also seeks comment on whether the commission should permit WMAS to operate on an unlicensed basis under the FCC’s Part 15 rule.

Any changes are not intended to impact incumbent spectrum operations, the FCC claims.

"These [WMAS] systems have the potential to significantly improve the efficiency of wireless microphone operations," said FCC Acting Chairwoman Jessica Rosenworcel. "So much so, that under the rules we propose here, three times as many microphones may be able to operate while putting the same amount of power over the air as a single wireless microphone does under our rules today."

The NPRM was approved unanimously by the FCC during its April Open Commission Meeting.

WASHINGTON—The FCC has set the table for its upcoming April Open Meeting, with Acting Chairwoman Jessica Rosenworcel sharing the tentative agenda in a new blog post, with multiple elements relevant to broadcasters.

Wireless microphones will be part of the discussion, specifically their use of spectrum. The commission is set to vote on a proposal that will allow the new Wireless Multichannel Audio System (WMAS) to operate on a licensed basis, while also exploring the use of the technology on an unlicensed basis. The potential interference from unlicensed devices, particular in the 6 GHz spectrum band, has been a point of emphasis for NAB in recent months.

Another spectrum issue on the docket is the re-banding process of Sprint’s commercial services to the upper range of the 800 MHz band. This effort began in 2004, with public safety services that had previously occupied the spectrum moving to the lower end of the band. The FCC says that more than 2,100 licensees have been successfully relocated to new channels in the band with no interruption to public safety communications. The commission will vote on an Order to close out the re-banding and terminate the proceeding.

The FCC has also been recently working on new rules regarding foreign government sponsored-programming, and the April meeting will see a vote to adopt new sponsorship identification requirements, which will force foreign governments to disclose when they, or their representatives, have leased time to broadcast on U.S. airwaves.

For information on the full agenda, visit the FCC website.

The FCC’s April Open Meeting will take place on April 22.

CHICAGO—Shure Inc. has filed a petition with the Federal Communications Commission asking the agency to reverse its decision and guarantee at least one 6 MHz UHF channel in each market is reserved for wireless mic use.

The FCC recently terminated its Vacant Channels rulemaking initiated during the TV spectrum incentive auction. The rulemaking considered dedicating a UHF TV channel for wireless mic use.

The company told the FCC that now more than ever wireless mic users need clear spectrum. On one hand, reallocation of 600 MHz spectrum for mobile phones and the repack of stations into 500 MHz spectrum has reduced available spectrum. On the other, continued growth of broadcast, performance and sports production is requiring more wireless mic channels than ever, Shure said.

While the FCC identified 900 MHz, 1.4 GHz and 7 GHz as alternatives in 2017, Shure says these bands fall short of addressing the needs of wireless mic users because they don’t offer the same characteristics and flexibility as UHF frequencies.

Use by other industries licensed to operate in these bands means their use for wireless mics is conditioned on requests to share, which may or may not be granted, it said.

The 600 MHz duplex gap and VHF frequencies are helpful but are not alternatives to a dedicated UHF channel and the certainty that offers, Shure said, adding that a designated channel is also important for other applications, such as intercom, IFB and other wireless uses.

Without clear spectrum for wireless mic use, the integrity of a variety of productions, ranging from professional sports and concerts to live TV and theater, will suffer, Shure said.

“The amount of available UHF spectrum for wireless microphone use continues to shrink,” said Ahren Hartman, Shure vice president, Corporate Quality. “With the loss of 700 MHz, 600 MHz, and the DTV repack into 500 MHz, we are at an all-time low for access to UHF spectrum. However, the need for open and clear wireless microphone spectrum is higher than ever before.”

More information is available on the Shure website. 

WASHINGTON—Ever since the use of wireless microphone technology exploded several decades ago, virtually all TV broadcasters—large and small—“cut the cable,” deploying wireless mics both in the field and in the studio. Ditto with live music, Broadway and Hollywood adopting wireless mics for sound reinforcement and motion picture production.

Paradoxically, as the popularity and use of these devices has risen, the amount of permissible spectrum for their deployment continues to shrink, beginning with the TV channel repack 10 years ago, which made the 800 MHz spectrum “off-limits,” and continuing today with the cap being lowered to 608 MHz.

The FCC issued a “heads-up” notice addressing this as the most recent TV spectrum auctions were ending, advising that wireless mics could still be used in 600 MHz spectrum as long as there was no interference to TV broadcasters or wireless broadband operations. The commission also established a firm “line in the sand” deadline of July 13, 2020, for a complete cessation of wireless mic operations in the 600 MHz spectrum deeded over to the telecoms.

WILL THERE BE ANY ‘WHITE SPACES’ LEFT?

With the deadline less than a year away, like broadcasters, wireless mic users face the loss of more than 80 MHz in the region between 608 and 692 MHz where mics had been allowed to operate (minus, of course, spectrum occupied by TV stations that were operating in that range). This lost chunk of spectrum is in addition to the 100 MHz or so that was reallocated for wireless broadband use when TV channels 52 to 69 “went away” in the aftermath of the 2009 transition to DTV.

The FCC is still allowing unlicensed wireless mic operation on any unoccupied UHF (or VHF) TV channel, but the gotcha is that with the current consolidation of stations into an even smaller neighborhood, there are fewer and fewer unoccupied channels anymore, especially in metropolitan areas—where the great majority of wireless mic users are found.

Admittedly, a wireless mic requires a lot less operational spectrum than a TV station, but users are feeling the pinch nonetheless.

“The reallocation of the UHF Band for mobile and other services is the single largest regulatory challenge that has faced the wireless microphone industry globally,” said Mark Brunner, vice president of corporate and government relations at Shure. “Reduction of TV band spectrum has occurred while demand by productions for wireless microphones and related pro audio equipment has steadily increased. The TV spectrum has been the primary home for wireless microphones since the beginning, and this spectrum is ideally suited to the RF performance characteristics desired by technical crews.”

Karl Winkler, vice president of sales and marketing at Lectrosonics, echoed Brunner’s observations.

“The popularity and utility of wireless microphones has not waned at all despite the loss of a significant portion of the spectrum,” he said. “The convenience, freedom of set design and movement, and the ability to rapidly respond to evolving news situations have all contributed to this popularity. Thus, the loss of spectrum has forced the industry to respond with newer technologies and features, along with the need to offer assistance to customers who have been displaced.”

Winkler noted that this assistance has been in the form of rebates, trade-ins, special pricing and other incentives being offered by wireless mic manufacturers, and observed that while broadcasters were being compensated for the changes forced by the reduction in spectrum, this was not the case with mic users.

“The government has not offered any compensation for wireless users the way they have for broadcasters to repack or go off the air,” he said.

Joe Ciaudelli, director of spectrum affairs within Sennheiser’s Research and Innovation division, also weighed in on the issue.

“The repurposing of spectrum from traditional over-the-air broadcast to mobile broadband is an issue of distribution of content,” said Ciaudelli. “It slices the distribution ‘pie’ into smaller slices. Conversely, the content creation ‘pie,’ which requires wireless microphones and similar devices, continues to experience exponential growth. Furthermore, productions continue to advance in technical sophistication.”

This has put engineers in a very difficult position, according to Ciaudelli.

“Many producers and directors don’t know the details of the spectrum crunch and regulatory changes,” he said. “They understandably are focused on nontechnical aspects of the production. They just expect the engineers to make it work, without realizing the magnitude of the challenge the engineers face.”

JUST HOW BAD IS THE PROBLEM?

While an exact headcount of wireless microphones, IFB systems and beltpack intercoms in the United States isn’t available, James Stoffo, the chief technology officer at wireless intercom manufacturer Radio Active Designs, offered what he believes to be a good working estimate of the number of such systems that are now competing for spectrum.

“My partner Geoff Shearing and I went to the FCC on multiple occasions on behalf of the broadcast and production communities, and tried to enlighten them as to how many wireless microphones and intercoms were out in the United States,” said Stoffo. “When we first went, the FCC thought there were less than 1,000 wireless in the entire country. Actually, at that time there were closer to 2.5 million devices, and that caused a couple of jaws to drop.”

Stoffo, who has been in the wireless business since the 1980s, and has served as RF coordinator for numerous large events for years, noted that even three decades ago the number of wireless systems in use was close to 2 million and has been growing steadily.

“At the NBC studios in New York, in one building there are probably 500 devices,” he said. “In Broadway theaters—in just a three-block radius—there are probably 1,500 wireless devices. And in Disney World alone there are almost 2,000 devices.”

Obviously, the diminishing spectrum for these devices is a huge issue and one that is not going to go away. So, with the loss of the 600 MHz TV channels, can there still be a “business as usual” attitude among users?

THE SHOW MAY STILL GO ON, BUT NOT WITHOUT CAREFUL PLANNING

Jim Dugan, president of wireless microphone company Wisycom USA and Jetwave Wireless, a firm that specializes in wireless technology deployment, has been involved in many large-scale wireless system deployments during his three decades in the business. These include ABC’s “Dick Clark’s New Year’s Rocking Eve” Times Square broadcast, along with many other big-ticket sporting and music events, Presidential inaugurals and more. He was asked about the prospects of being able to “go wireless” at future events, given the contracting spectrum situation.

“It’s all about coordination,” said Dugan, pointing out that he acts, on a volunteer basis in conjunction with the local Society of Broadcast Engineers, as frequency coordinator for special events in Washington, D.C., and also works to coordinate wireless device use for many of the really big events just mentioned.

Dugan cites the most recent NHL All-Star game as a good example of the challenges of frequency coordination.

“There were 500 frequencies in coordination—really a lot of stuff going on,” he said. “We’re in the process of revisiting this whole usage and coordination model right now. I’m also involved in coordinating the New Year’s Eve Time Square broadcast origination. This is really big—ABC does a show, NBC does a show, Fox does a show, CNN does a show. Then there are the international broadcasters who will be there, plus all the musical acts that play at 45th Street—this will be a separate remote for ABC.

“During the past several years we’ve been looking at six TV networks with probably 500 wireless mics,” Dugan added. “There have also been maybe 10 wireless cameras in use too, along with the thousands of people with their cell phones generating RF noise. This is a really good test of the technology.”

Dugan starts notifying the networks in October, but adds that once the coordination plan was established it has pretty much stayed the same over the years.

“This year may be different,” Dugan said. “Due to the repack, we are going to be re-evaluating what’s doable and what’s not within the remaining spectrum.”

EDUCATION IS KEY

Loss of spectrum because of the repack is not the biggest problem facing the wireless mic arena, however, according to Dugan.

“I think it’s spectral efficiency and spectrum management [band planning],” he said. “This problem shows up differently for different verticals. If you’re an ENG operator you want to have 20 or 30 MHz between transmit and receive frequencies for talent. In broadcasting bigger installations, band planning is very important. A lot of people turn these things on and don’t realize that they interact.

“I tend to look at everything in terms of inbound and outbound frequencies,” he added. “People seem to understand this the least. There’s really a big gap in the understanding of ‘best practices’ by a lot of operators t there. It can’t be a situation anymore where ‘planning’ is accomplished by just issuing a purchase order for wireless mic equipment.”

While it appears that post-repack wireless mic usage can continue—along with over-the-air TV broadcasting—there will be fewer and fewer parking slots. This just might be a good time to check out your old tried-and-true corded microphones and cable sets to make sure they’re serviceable, just in case the wireless broadband folks start eyeing some of those remaining parking places.

So, What Exactly Is Left Spectrum-Wise?

With the UHF spectrum above Ch. 36 (602-608 MHz) fast becoming “verboten,” just where can wireless mics, wireless IFB systems and beltpack intercoms operate?

According to the FCC, this depends. Rules allow such unlicensed devices to freely navigate both the VHF and (remaining) UHF spectrum, provided there is no licensed entity operating there. With the repack forcing some very close channel adjacencies, and even movement from UHF down to low VHF slots (there will even be 11 stations operating on Ch. 2 when the dust settles, according to www.rabbitears.info), broadcast spectrum that might be used for wireless mics and similar devices seems to be in short supply, especially in larger markets.

The FCC, in a recently-issued bulletin (“Operation of Wireless Microphones”) rather optimistically states:

“Many frequencies in the TV bands that had been available for wireless microphone use prior to the auction will continue to be available after the transition period.”

Notwithstanding the reality of the highly-compacted post-repack spectrum, there is a glimmer of hope that operation of these devices will still be permitted above 608 MHz within “certain frequencies” in both the wireless broadband’s 614–616 MHz “guard band” (just above TV Ch. 37) and in its “duplex gap” (657–663 MHz for unlicensed mics) and (653–657 MHz) for licensed devices. However, the commission’s memorandum does not specify what the “certain frequencies” may be. (Definitely off-limits are the 617–652 MHz and 663–698 MHz regions.)

The Commission also requires that anyone selling or leasing wireless mic gear capable of operation in these latter two spectrum blocks must inform customers that they “must cease operating on these frequencies no later than July 13, 2020.” It goes on to say that this “sunsetting” may even take place sooner if interference to licensed services (those of wireless broadband providers) occurs.

The FCC memorandum also recognizes some “bands outside the TV bands for wireless microphone use.” Specifically, these are the 169–172 MHz region, some 900 MHz spectrum, as well as 1,435–1,525 MHz in the UHF band, and 6,875–7,125 MHz in the SHF (super high frequency) microwave region. A license is required to “fire up” a wireless device operating on any of the frequencies in these ranges, however, this may not be the easiest thing to get unless you belong to a certain group.

This is spelled out clearly in FCC rules dealing with low-power auxiliary stations (LPAS) licensing and operation, with only large entities such as TV and motion picture production companies, cable TV operators, performance venues or professional sound reinforcement companies that “routinely use 50 or more” such low power devices eligible for a license.

If you don’t fall into this group of “super users,” the commission also sanctions wireless mic operation in some other spectrum blocks, but these are shared, and are not always the best neighborhoods. They include 902–928 MHz (also referred to as the 33-centimeter band), and 1,920–1,930 MHz, along with some additional territory in the microwave region (portions of the 2.4 gHz and 5 gHz spectrum bands.)

If you opt for 33-centimeter spectrum, you’ll be sharing it with industrial, scientific and medical (ISM) RF equipment users, as well as radio amateurs. The 1,920–1,930 MHz block is shared with licensed “Fixed and Mobile” users, as well as some cordless telephones. Also, the commission forbids the plunking down of conventional FM wireless mics (or other communication devices) in this region. As it’s shared, any unlicensed device must perform continuous monitoring and only produce RF where no other signal is detected, which requires a specialized class of wireless mics. You’re also going to have some company in the 2.4 gHz and 5 gHz regions too, with such things as ISM devices, cordless phones, Wi-Fi and Bluetooth transmitters, and even garage door openers and microwave ovens vying for spectrum.

(Note: The spectrum usage information is only a summary of applicable FCC rules and regulations, and is not intended to replace careful reading and observance of the complete rule set. For detailed information on wireless mic operation, refer to the FCC’s 15-100 “Report And Order,” which was released Aug. 11, 2015.)

For more information on the repack, visit TV Technology's repack silo.

The UWP-D21 wireless microphones are now available, with the UWP-D22 and UWP-D26 expected to ship in December.

In addition to superior audio quality, the UWP-D series wireless systems offer support for Multi-Interface Shoe™ (MI shoe) and a new Digital Audio Interface. The UWP-D series enables direct digital audio interface and delivers high sound quality with low noise by skipping the D/A and A/D process in combination with a new SMAD-P5 MI shoe adaptor and compatible camcorders including Sony’s PXW-Z280 and PXW-Z190 XDCAM models, using firmware version 3.0, as well as the α7R IV (ILCE-7RM4) 35mm full-frame camera.

It shares audio information such as RF level meter, audio mute status and low battery alerts for the transmitters and displays them on the viewfinder. Utilizing the SMAD-P5 MI shoe, audio signals are transmitted from the wireless receiver to a connected camera without a cable connection.

The new “NFC SYNC” feature is designed for easy frequency setting. By simply holding the NFC SYNC button on the receiver for a few seconds, it automatically scans for the appropriate frequency, and allows this channel to be sent to the transmitter via ‘Near Field Communication’ (NFC).

The wireless systems’ reduced size and weight enable the mobility required for a wide range of applications, including news, remote, documentary, sports and wedding production.

The new UWP-D series includes the following range of audio components:

· UWP-D21: URX-P40 Portable Receiver and UTX-B40 Bodypack Transmitter (available now)

· UWP-D22: URX-P40 Portable Receiver and UTX-M40 Handheld Wireless Microphone (planned to ship in December)

· UWP-D26: URX-P40 Portable Receiver, UTX-B40 Bodypack Transmitter, & UTX-P40 Plug-on Transmitter (planned to ship in December)

For more information on this series, please visit pro.sony/products/wireless-audio/uwp-series.

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NEW YORK—Sony is beginning to launch its next generation of UWP-D series wireless microphones, starting with the UWP-D21 that is now available. Other new models, including the UWP-D22 and UWP-D26, will begin shipping in December.

The UWP-D wireless mics offer support for Multi-Interface Shoe and a new digital audio interface. The series enables direct digital audio interface and delivers high sound quality with low noise by skipping the D/A and A/D process in combination with a new SMAD-P5 MI shoe adapter and compatible camcorders with firmware version 3.0.

The mics also share audio information such as RF level meter, audio mute status and low battery alerts for the transmitters and displays them on the viewfinder. Audio signals can be transmitted from the wireless received to a connected camera sans cable connection by using the SMAD-P5.

In addition, there is an NFC Sync feature designed for frequency setting. Users can hold the NFC Sync button for a few seconds to automatically scan for the appropriate frequency and allow the channel to be sent to the transmitter through Near Field Communication.

The UWP-D21 comes with a URX-P40 portable receiver and UTX-B40 bodypack transmitter; the UWP-D22 also features the URX-P40 and UTX-M40 handheld wireless microphone; and the UWP-D26 has all the accessories of the UWP-D21 and a UTX-P40 plug-on transmitter.

London, UK— The decision to standardize on Point Source Audio (PSA) was led by Dave Cowell, lead sound designer and programmer for Carnival UK. Point Source Audio’s body-worn microphones will support the fleets’ performance venues which are in use a standard 15-hours a day, 365 days a year.

Carnival UK (which incorporates Cunard Cruise Line and P&O Cruises UK) are part of Carnival Corporation & plc, the world’s largest leisure travel company, with a cruise fleet of 102 ships operating in North America, England, Europe and Australia.

“The cruising industry is one of the harshest environments for product delivery I have worked in. When microphones fail due to sweat, cable failure or breakages, it significantly affects our product delivery to the thousands of guests we cater to on a daily basis,” described Cowell.

Having used microphones from different manufacturers over the years, Cowell experienced increasing costs but saw no major benefit change to the products. The variation of microphones from ship to ship—including a mixture of omni and directional units—made the shows sound different, as well as life more difficult for the engineers who had to come to grips with new sound challenges on a routine basis.

“There weren’t many available solutions to consider. First and foremost, I was looking for quality, followed very closely by sweat resistance and longevity,” said Cowell. “While the quality aspect was matched from our previous supplier, there were continued issues with sweat ingress and breakages as well as the aforementioned cost implications.”

Autograph supplied demo units of PSA’s CO-8WD omni headsets for Cunard’s Queen Elizabeth which led to Cowell’s ultimate recommendation to move ahead with Point Source: “From the moment the microphones were plugged in, I could hear the quality. Crystal clear mid and high frequencies made vocal mixing easy. The low end was also great for our male cast members. The gain before feedback was impressive and there was very little EQ applied to any of the performers as the response was so flat out of the box.”

The ability of the headsets to be bent and configured to any conceivable shape without breaking was incredibly important to Cowell. He described the wear and tear the mics typically face: “The production casts are on board between five to seven months and perform two or three shows a night, on average every two days. We have costume changes that run under 8 seconds, so having a unit which dealt with the day to day environment was paramount. The sturdy frame of the headset was also an important factor for the same reasons.”

Cowell summed up his experience by expressing that “our Point Source Audio microphones are delivering monetary benefits as well as continued quality across our delivered product.” He credited the marked improvements by saying, “Thankfully, our relationship with Autograph and the fact we were provided demo units to trial during the aforementioned installation meant that they could be properly tested by myself on board, allowing me to gather an informed opinion on their suitability, both from a product delivery standpoint as well as a cost benefit one.”

Visitors to PLASA 2019 from September 15-17 will be able to demo Point Source Audio’s collection of microphones at Autograph Sales & Installations’ stand H10 in Olympia, London.

To learn more about Point Source Audio products, visit www.point-sourceaudio.com or its UK distributor, Autograph Sales & Installations at http://www.autographsales.co.uk.

About Carnival United Kingdom Carnival UK (which incorporates Cunard Cruise Line and P&O Cruises UK) are part of Carnival Corporation & plc, the world’s largest leisure travel company, whose portfolio of global cruise line brands includes operations in North America, England, Europe and Australia. Their cruise fleet of 102 ships is the most extensive globally, visiting more than 700 ports around the world, employing over 120,000 people worldwide and attracting 11.5 million guests annually.

About Autograph Sales & Installation Autograph Sales & Installations was established in 1982 by Autograph Sound, a global pioneer in audio for theatre and one of Europe’s leading sound rental companies. Then, as now, Sales & Installations’ activities complement those of the hire division by bringing the same design principles, system engineering, technical expertise, and leading-edge technologies to a much broader spectrum of clients in education, worship, industry and retail. They are also acknowledged leaders in providing installed audio solutions for contemporary theatre and dedicated performance spaces.

About Point Source Audio Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones—a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, Calif. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Petaluma, Calif.— Point Source Audio (PSA), manufacturer of specialty sub-miniature body-worn style microphones, has launched Mic Finder, an interactive web-based tool designed to help sound teams—from TV to theatre—pinpoint specific mic elements and mic styles to suit applications from corporate presenters to rock n’ roll musicals to violin mic’ing.

Expanding beyond traditional lavalier and headset style microphones, recent advances in the company’s approach to body-worn mics include the patent-pending Confidence™Collection microphones highlighting built-in redundancy, and the EMBRACE™Collection of concealable microphones that are twice patented. The company emphasizes that these additions present a world of fresh possibilities when sound teams are challenged with unique requisites—from facial hair to drop hoop earrings—when fitting mics on actors or speakers.

The Mic Finder web tool is accessible online via desktop, tablet, and mobile devices. The tool presents a series of questions to narrow microphone choice and shares successful experiences from real-world examples that best match the users’ needs.

“What we’ve learned in working closely with our customers is that no two mic’ing situations are the same; the smallest variable can make one mic selection perfect in one situation, and a disaster in another,” said Yvonne Ho, sales and marketing VP for Point Source Audio.

Users looking for the right microphone simply select the relevant application with various considerations from Mic Finder’s menu settings. Product recommendations are then presented along with customer use cases including:

• Mics that hide
• Mics that survive heavy water/sweat
• Mics for fast-moving musical theatre
• Mics for preaching
• Mics that fight feedback
• Mics that shape and bend
• Mics that accept custom color
• Mics for bearded performers
• Mics that backup themselves

Besides finding the right microphone performance features, sound teams must also battle variables such as costuming, concealment, venue size, loudspeaker placement, vocal projection, and more. Ho explained with examples: “We get questions routinely on how to head mic an actor with no hair, or one who sweats heavily, or sometimes both at the same time.”

The novice sound person can learn about mic choice with consideration for speaking or singing, whereas those new to Point Source Audio mics can discover unconventional mic’ing possibilities including how EMBRACE microphones can be used for violinists or boom headsets for flutists doubling on several instruments in one performance.

The company expects to continue expanding the tool with new products and technology solutions alongside noteworthy applications in real-world environments. To access Mic Finder, visit www.point-sourceaudio.com/mic-finder

About Point Source Audio

Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones—a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, Calif. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Manteo, N.C.— Through wind and rain, stage fights, environmental acoustics and more, Point Source Audio mics have weathered all the challenges in The Lost Colony, the outdoor theatre production located on the Outer Banks of North Carolina. The audio team, confident in their PSA investment since 2013, recently added the new patent-pending CO2 Confidence Collectiondual-element headset mic to their collection of 24 active on set mics.

“We were excited to see a product that made the application of the dual elements simpler by combining those wire runs and keeping things as tidy as possible. That mic has been a great benefit to the production,” says Sound Designer/composer Michael Rasbury. “The [lead] character is most likely to have a mic issue due to the activity required by this role; stage combat; perspiration.”

Since 1937, The Lost Colony has been telling the story of the first English colonies in North America and their mysterious disappearance. Over the past few years, the audio systems have been overhauled, upgraded and redesigned, including the ever-important microphones.

Robust equipment to withstand elements including water—in the form of rain and perspiration— as well as wind and heat is invaluable for theatre, but especially for outdoor theatre. The associate producer Lance Culpepper explains: “To provide our audience the experience that they’re expecting, we really have to put a lot of our resources into ensuring that the audio equipment can sustain itself through all of these dynamic changes. That’s one of the reasons why microphones are so important to us. Prior to the Point Source mics, we saw a much shorter lifespan with the previous microphones and we had to send them out for servicing more frequently. We don’t see those problems with the Point Source mics.”

“I am beyond pleased with the addition of Point Source microphones to our production,” states A1 Joseph Reynolds. “The waterproof elements are paramount to an outdoor period drama, where the perspiration of the talent could compromise mic functionality. I especially enjoy the dual behind the ear headsets. It helps to have consistent placement and keeps the mic off the talent’s face.”

Placement is an important consideration as noted by Rasbury. “From a design perspective, the low profile of these microphones is key for getting the mic near the voice without detracting from the 16th-century costume design. Our show is also very physical in nature. We have a large company and large-scale fight choreography. Given the way these mics attach to both ears, they stay on the actor and in the correct place throughout the show.”

The other feature of the PSA mics that the team wants to highlight is that “the frequency response of these elements is excellent (20Hz to 20kHz),” says Rasbury. “Our show also includes gunshots, explosions, and loud actor responses; these do not distort at high SPL.” Reynolds adds, “The frequency response is tailored nicely to the full range of human speech and I don’t have to slice up every channel with a parametric scalpel.”

The CO2 Confidence Collection has two waterproof and frequency-matched elements, each measuring a tiny 3mm. Both elements offer built-in redundancy and integrate PSA’s first-to-market features including IP 57 waterproof rating and the “unbreakable” headset boom. Point Source Audio mics are engineered for durability and to endure challenging mic applications.

Culpepper appreciates the support from Point Source Audio. “They’ve been great to work with,” he says. “The communication has been excellent as well as customer service-wise. Knowing that we’re not just another account number with them means a lot to our organization.”

The audio team at The Lost Colony includes sound designer Michael Rasbury, A1 Joe Reynolds, and A2 Josiah Rodgers. Microphones supplied by Wake Forest, NC-based Provision Audio Video Solutions.

For more information about Point Source Audio and its products, visit www.point-sourceaudio.com.

AboutThe Lost Colony

First staged in 1937, The Lost Colony is the nation’s premier and longest-running outdoor symphonic drama. Written by Pulitzer Prize-winning playwright Paul Green and produced by the Roanoke Island Historical Association, a 501 (c)(3) nonprofit, The Lost Colony’s 2019 season runs May 31-Aug. 23, 2019 at Roanoke Island’s Waterside Theatre, located within the Fort Raleigh National Historic Site on the Outer Banks. For information, go to www.thelostcolony.org

About Point Source Audio

Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones—a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, California. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

CHICAGO—ABC’s May 22 live performance of Norman Lear’s classic “All in the Family” and “The Jeffersons” sitcoms may have harkened back to a bygone era of television, but at least as far as the technology—especially the audio gear—is concerned the production of “Live in Front of a Studio Audience: Norman Lear’s ‘All in the Family’ and ‘The Jeffersons’” was as modern as it gets.

Jimmy Kimmel and Norman Lear, producers of the special, opened the broadcast to viewers nationwide using Shure’s TwinPlex performance microphone.

Paul Wittman, production mixer for the Kimmel and Lear portions of the ABC special, selected the TwinPlex lavalier microphones and Shure’s Axient Digital wireless system for the show because of their “very clean, dynamic sound” and “absolute reliability,” he said.

Jennifer Hudson, who performed a live version of “Movin’ On Up,” the theme song of “The Jeffersons,” relied on the Axient Digital wireless system, which frequently is used during award shows, halftime performances, music festivals and Broadway productions, as did Kimmel and Lear.

The wireless systems for the Kimmel and Lear portions were provided by ATK, with Andres Arango handling monitors and Ian Gutierrez as the RF tech.

“TwinPlex is a very natural sounding mic to me,” said Wittman. “It has a rich warmth to it that doesn’t sound muddy and doesn’t require much equalization no matter where it is located on the actor.”

“I knew that I would only get one chance to hear both Jimmy and Norman, and that would be at dress rehearsal, so I didn’t have time to mess around to find a solution, I had to know it would work no matter where the mic was pinned. Jimmy and Norman couldn’t have more different sounding voices and, as I suspected, I didn’t need to make many adjustments to make them sound how I would like.”

TwinPlex is Shure’s new line of subminiature (5 mm) omnidirectional lavalier and headset microphones.

More information is available on the Shure website.

Petaluma, Calif. — Point Source Audio (PSA) announced that it has appointed China’s EAD and South Korea’s Capstone Pro to be distribution partners for its SERIES8 and EMBRACE™ microphones as well as its CM-i series of patented in-ear headsets. The appointments come on the back of an expansion effort in response to increased sales and product awareness outside of the USA for Point Source Audio. These partnerships further expand the company’s worldwide reach, which now includes international partners in the United Kingdom, Australia, Japan Italy, Norway, Finland and France, among others.

“We’re excited to be working with both Capstone Pro and EAD,” said James Lamb, President of Point Source Audio. “The creative community in these regions is massive and our products fit their needs. Our goal is to continuously improve our customers’ experience around the world in every aspect and we are confident that our new partners will help achieve that.”

Integral to achieving this growth trajectory in the Asia Pacific region is also the appointment of AS Audio APAC Pte. Ltd. as the manufacturer’s representative in the territory. Based in Singapore, the company, led by Alex Schloesser, will support the Asia Pacific business and develop its distribution network. AS Audio will also handle all technical and sales support for Point Source Audio throughout the APAC region.

Schloesser comments, “Developing and growing the PSA business is a rewarding and enjoyable task. Wherever we take the products, they shine and stand their ground with the competition. I very much look forward to be taking PSA into APAC.”

Point Source Audio is a manufacturer of specialty sub-miniature body-worn style microphones and patented lavalier mounting systems specifically designed for theatre applications. The company creates value-added solutions through intelligent designs, driven by market demand — examples include their IP 57 rated waterproof models and unique headsets which retain the position of the microphone capsule regardless of performer activity.

About EAD
Established in 1997, Guangzhou Donghui Digital Technology Development Co, Ltd is a professional audio and video integrator and distribution company. The company is headquartered in Hong Kong with branches in Guangzhou and Beijing. For more information, visit their website at www.ead.cn.

About Capstone Pro
CAPSTONE PRO, led by founders Kevin Kim and Jesse Park, both veterans of the professional audio industry, was established in 2018. The company distributes pro audio brands including Point Source Audio throughout Korea. For more information visit their website at www.capstonepro.co.kr.

About Point Source Audio
Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones—a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, Calif. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Washington, D.C.. — Point Source Audio’s CO2 Confidence headsets played a large primary—and a critical secondary—role for double mic’ing at the 2019 AIPAC Policy Conference held at the Walter E. Washington Convention Center in Washington DC. Over 18,000 people attended the three-day conference and included members of Congress, students, and synagogue delegations. The guest speaker roster was massive (the AIPAC website lists over 400) and the audio needs were equally large with 120 channels of wireless mics being used. And, as typical, the expectations for fail safe reliability and sonic excellence with microphones were high.

AIPAC live interviews got “backup” from 40 redundancy headsets

To that end, audio supplier, Maryland Sound Industries (MSI) provided their client, Viva Creative, 40 of Point Source Audio’s CO2 Confidence headset mics for use with the Shure and Sennheiser RF systems that were utilized for the event. Given the amount of RF which, in addition to microphones, included IEMs, broadcast and security channels, the chance of being “stepped” on was very real and made frequency coordination and backup or redundancy options vital.

Robert Jones is the account manager for MSI and first tried the PSA mics at a demo and was impressed both with the sonic capability and the fact that he now had two identical microphones in one package. “In the past we’ve used two transmitters with a headset and with a lavalier mic as backup. If we lost a particular frequency, which can happen in an event this large, and needed to switch transmitters during the speech, the sound difference between the lav and headset is audible. With the Point Source Audio mics, the sound never changes and, on those occasions, where we do need to switch to the backup transmitter, the audience doesn’t notice. There is a sonic consistency we like.”

Jones also noted the increased speed and ease of mic’ing the talent with the PSA mics saying, “Once this thing gets rolling, it’s a constant process of removing the mic as the speaker leaves the stage, putting one on for the new speaker, and on and on. Anything that helps our techs with that process is much appreciated.”

Yvonne Ho, VP of sales & marketing at Point Source Audio, appreciates and understands the challenges of large-scale productions such as AIPAC and commented, “Beyond the audio quality aspect, our goal is to assist our customers in solving problems. If the tech crew can double mic speakers in half the time and ensure the live mic is fail-safe, then we are making real progress.”

The patent-pending CO2 Confidence Collection, a new class of wireless microphones, all have dual elements, each measuring a tiny 3mm that offers built-in redundancy. The CO2 mics also integrate two of the company’s important first-to-market features in miniature microphones: IP 57 waterproof rating, and the “unbreakable” headset boom bendable to 360° to bolster durability.

Point Source Audio will be showcasing the CO2 Confidence microphones for audio professionals at the upcoming InfoComm in Orlando, June 12 – 14, booth 5443. To learn more about Point Source Audio products, please visit www.point-sourceaudio.com

###

About Maryland Sound
Founded in 1967 as a touring sound company, Maryland Sound has been an industry leader for over 40 years. While still maintaining a presence in the touring industry with artists such as Slash, Yanni, Seal, and other international artists, the company is now known as a leader in broadcast, sporting, and corporate events such as the Dew Action Sports Tour, multiple Presidential Inauguration Swearing In Ceremonies, as well as Inaugural Balls and, for 28 years, New Year’s Eve in Times Square. www.marylandsound.com

About Point Source Audio
Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones — a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, California. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

RIO RANCHO, NM--Lectrosonics has introduced its new Digital Hybrid Wireless microphone products designed to operate in the recently expanded 941-960 MHz U.S. frequency band. The products meet the FCC’s new spectral mask regulations, in effect since October 2018.

Intended for ENG, field/production sound, and other remote applications, the Lectrosonics product line includes: the SRc-941 dual-channel modular portable receiver, SMV-941 and SMQV-941 miniature belt pack transmitters, the HMa-941 plug-on transmitter, and HHa-941 handheld transmitter.

“We’ve received outstanding reports about rock-solid operation and excellent range in the 941 band from key beta testers who have used these products in a number of large metro areas,” said Karl Winkler, Vice President of Sales and Service at Lectrosonics, a developer of wireless microphone systems and audio processing products..

[Read: FCC Tweaks Wireless Mic Rules]

The specific tuning ranges for these products are 941.525 – 951.975 MHz, 952.875 – 955.225 MHz, and 956.475 – 959.825 MHz. Parts of these bands are shared with MAS (Multiple Access Systems) and some fixed microwave devices.

Lectrosonics’ new “941” transmitter models are functionally identical to the corresponding models in the UHF frequency blocks and bands except that they offer 50 and 100 mW RF power settings. The new transmitters also have a circular isolator in the output stage for additional intermodulation prevention, allowing closer spacing of RF carriers. And, all of the “941” units are compatible with accessories for the same models in different frequency ranges, including external powering, audio connectors, microphones, belt clips and mounting options.

While the 944-952 MHz band was previously reserved for use by licensed broadcasters for their Studio Transmission Links (STLs), some wireless microphones, and IFB systems, the FCC recently expanded the use of specific ranges between 941-960 MHz, as well as opening up this spectrum to Part 74 licensed wireless microphone operators.

ENG and mobile production crews can now access clean spectrum in this 941-960 band wherever they go in the U.S. Before doing so, operators should coordinate their frequencies with the local SBE (Society of Broadcast Engineers) office and select frequencies that are least likely to interfere with other licensees operating in the area.

Winkler added, “The availability of this newly expanded frequency band, along with increased eligibility, should really help those licensed wireless mic users who are feeling the spectrum crunch.”

WASHINGTON—Wireless mic makers got the technical clarifications they were seeking from the Federal Communications Commission today, which approved two actions further defining operational parameters for the devices.

“We sincerely applaud the FCC staff for their work and due consideration on this order and proposed rulemaking,” Joe Ciaudelli, director of U.S. Spectrum Affairs for Sennheiser, said in a statement “This represents a very positive outcome for our customers and all professional wireless microphone users.”

The commissioners unanimously approved an Order on Reconsideration that addresses petitions filed by Audio-Technica, Sennheiser, Lectrosonics and Shure to reconsider two, 2015 commission orders. The Reconsideration addresses emissions as well as coordination and access to spectrum in certain bands. (See, “FCC to Hone Wireless Mic Rules,” June 29, 2017, for details).

A separate Further Notice of Proposed Rulemaking would give unlicensed wireless mic operations, e.g., “professional theater, music, performing arts and similar organizations“ the opportunity to obtain licensed access for smaller venue productions, in certain circumstances.

Neither the Order on Reconsideration nor the FNPFM were published as of press time, but TV Technology’s previous report on the issue was based on the draft proposal circulated among the commissioners before Thursday vote.

Here’s more from Sennheiser: “Having considered the thorough and relentless input of wireless microphone specialist Sennheiser and many others in the audio community, the FCC ruling modifies initial guidelines that may have negatively impacted manufacturers, owners and operators of wireless microphone equipment in their original form.

“The Order on Reconsideration is wide-ranging and affects several key provisions of the guidelines passed in August of 2015. ...The commission had initially created an out-of-band emission standard that might have resulted in unintended consequences. With the ratification, the FCC has now adopted the established European Telecommunications Standards Institute OOBE standard, which achieves the intended goal of protecting the use of adjacent frequency bands and harmonizes with international standards—allowing users to operate the same equipment in multiple countries in many cases.

“Additionally, the Order will enable legacy equipment that operates within the 600 MHz band to be modified to comply with the new regulations, saving a significant amount of still operational wireless gear from costly pre-mature obsolescence following the transition period.”

WASHINGTON—Wireless microphones are teed up for a regulatory update by the Federal Communications Commission at its July open meeting. The document circulated for consideration mainly addresses technical clarifications and post-incentive auction operations for licensed and unlicensed wireless mics across multiple spectrum bands.

“At a high level—what’s important—the items in this order are universally important for the manufacturers and the industry. The manufacturers were united in their request for clarification,” said Mark Brunner, vice president of corporate and government relations for Shure.

The draft Order on Reconsideration would eliminate a problematic out-of-band emission standard for wireless mics, according to Catherine Wang of Morgan, Lewis & Bockius LLP, who filed comments with the FCC on behalf of Shure.

OUT-OF-BAND EMISSION MASK
“First, the draft order will eliminate the -90 dBc out-of-band emission level,” she told TV Technology. “This promises to be a big win for wireless mics as that technical requirement, if retained, would have been difficult for anyone to meet!”

The -90 dBc OOBE would be replaced by the standard established by the European Telecommunications StandardsInstitute. Joe Ciaudelli, director of Spectrum Affairs for Sennheiser, parsed the wherefore of these OOBE metrics. The -90 dBc is a relative measurement based on transmitter power output, he said. This makes it more difficult for a low-power transmitter to comply even if it posed less danger of causing interference than a higher powered one. The ETSI OOBE, which is used across Europe, is an “absolute measurement” that will subject all wireless mics to the same limit, ultimately making it easier for microphone manufacturers to manufacture microphones.

“Bottom line, the new licensees actually get better protection and wireless mics can be built in the real world,” Ciaudelli said.

POWER LEVELS
The draft also addresses wireless mic power output levels for the 600 MHz TV and guard bands, and the duplex gap between wireless up- and downlink transmissions. The draft would allow power to be measured as effective isotropic radiating power—EIRP—or conducted, i.e., output at the antenna terminal, Ciaudelli said.

“This provides design flexibility, especially for equipment with internal antennas and/or in lower frequencies such as VHF that require larger antennas,” he said.

ANTENNA CONNECTORS
A 2015 rulemaking (p. 3) limited the type of antenna allowed on unlicensed wireless mics to those allowed under Part 15 rules. Specifically, Part 15 prohibits antenna swapping to avert potential interference. (Part 15 rules apply to unlicensed wireless mics, while Part 74 rules apply to licensed wireless mic operations that regularly use at least 50 microphones.)

Audio-Technica, Sennheiser and Shure requested that the general restriction on standard antenna connectors implied by Part 15 “do not apply to wireless microphones that are authorized to operate on an unlicensed basis under… Part 15 rules.” The draft would allow standard antenna connectors on unlicensed wireless mics, which Ciaudelli called “a vital feature for engineers in the field.”

LEGACY EQUIPMENT
“The FCC also has some helpful discussion of how legacy equipment can be transitioned to compliance with the new technical rules after the transition period,” Wang said.

The draft clarifies that unlicensed wireless mics can continue operating in the 600 MHz band under Part 74 rules until the end of the 39-month repack deadline in mid-2020. Afterward, they must abide by Part 15 rules, which set forth a lower allowable power level and don’t provide the same interference protections as Part 74. Nonetheless, this means legacy equipment can be modified for continued use.

“This will avoid pre-mature obsolescence of many existing wireless systems,” Ciaudelli said.

Unlicensed wireless mic users will still have to check the white-space databases for open TV frequencies during the repack, the draft rules said.

WIRELESS MIC FREQUENCIES
The draft further refines wireless microphone operation across several spectrum bands. First off, the draft denies petitions to allow Part 15 unlicensed mics to reserve TV channels—something Part 74 licensed mic operations are allowed to do. However, the commission recognized the need for flexibility on this rule and proposed allowing Part 15 operations to apply for vacant TV channels on a case-by-base, venue-specific basis. (Update: 07-05-17: Mr. Ciaudelli writes that the commission “will initiate a rulemaking that will expand license eligibility,” and that this was the issue that “is vitally important for many regional performing arts organizations who stage highly professional productions but don’t qualify for a FCC Part 74 license under current rules.”)

Operational rules also were refined for three other spectrum bands: 169-172 MHz; 1,435-1,525 MHz and 941.5-944 MHz.

Currently, 169-172 MHz is a public service band used historically by state and local governments—e.g., forest fire-fighting channels—commercial entities, hospitals and the like. The commission previously opened it up for licensed wireless mics to operate on a secondary basis to incumbents. The draft adopts a revised band plan that “eliminates intermodulation effects and thereby enables full use of the 54 and 200 kHz—narrowband and broadband—channels throughout the band.”

“The specified frequencies for mic use are now optimally coordinated to allow more mics to operate in this band,” Ciaudelli said.

According to Mark Brunner of Shure, the commission recognized less UHF spectrum would be available for wireless mics after the repack and opened up 90 MHz in the 1,435-1,525 MHz band, now used for Aeronautical Mobile Telemetry. Although 90 MHz total was made available, individual users would be capped at 30 MHz, to be coordinated through the Aerospace & Flight Test Radio Coordinating Council.

Finally, Part 74 wireless mics have “long” been allowed to operate at941.5-944 MHz, secondary to incumbents—primarily fixed microwave and aural broadcast auxiliary services. The draft lays out specific procedures for coordination through local Society of Broadcast Engineers designees, and licensing through the FCC for coordination with incumbent federal primary users, e.g., the National Telecommunications and Information Administration.

“This band can be useful for fixed venues, as a casinos, who need ‘house mics’ on distinct frequencies from travel acts.” Ciaudelli said. “Broadway theaters are another example.”

The commission will vote on the draft July 13.

“The issues addressed this Order On Reconsideration may seem like minor details to many but they have significant impact,” Ciaudelli said.

WASHINGTON—Both wireless mic and Microsoft folks are staking out claims in the shrinking TV band. Sennheiser’s director of Spectrum Affairs, Joe Ciaudelli, visited the Federal Communications Commission on April 11, urging each of the commissioner’s to “finalize its intent to reserve at least one UHF white-space channel in each market, post-auction repacking.”

Not to be out-lobbied, the Microsoft legal and regulatory team “spoke telephonically with Chairman [Ajit] Pai and Rachel Bender, his acting wireless advisor,” three days later, to chat about its support for network neutrality, its 4,100-miles trans-Atlantic undersea cable project with Facebook, and “allocating sufficient spectrum for unlicensed broadband use in the 600 MHz and TV bands.”

To be clear, white spaces are unoccupied frequencies, while unlicensed spectrum is exactly that—it requires no hefty licensing fees such as the $19.8 billion paid by wireless providers for TV channels 38-51 in the recently completed incentive auction. Neither does unlicensed spectrum have build-out conditions or specific operational requirements outside of non-interference with licensed operators.

Brad Smith, Microsoft’s president and chief legal officer, “discussed the importance of designating at least three unlicensed channels in each market in the 600 MHz and television bands,” for rural broadband as well as ongoing development of white-space technology, which has been commercialized for approximately seven years but has not reached wide deployment. (According to a May 1, 2015 filing submitted by the National Association of Broadcasters, only 600 such devices were operating nationwide five years after FCC authorization.)

Smith said Microsoft and its partners were providing white-space broadband “to the homes of previously unconnected students in rural Southern Virginia. This single project will serve 7,500 primary and secondary school students when the system is fully deployed.”

Before the incentive auction was held, two 6 MHz channels were designated for wireless microphones, which are used in everything from school plays to the Super Bowl, in houses of worship and on Broadway. Auction rules relegated wireless mics to shared buffer zones between wireless up- and downlink bands, as well as vacant TV channels in a given market. The commission subsequently proposed to reserve at least one channel in each market for wireless mics, but no such rule has been finalized.

Generally, advocates of unlicensed spectrum—Microsoft and Google among others—claim there is no need to reserve channels and that white-space technology can play nice with other devices. Wireless mic makers disagree, and the NAB has urged the FCCto clean up the database system devised to prevent interference from white-space devices.

In the ex parte filing describing his meeting with the commissioners, Ciaudelli said, “The duplex gap and the guard band are not reliable enough to operate mission critical microphones. Licensed (FCC Part 74) professional production engineers require clean UHF in their spectrum ‘toolbox’ for their hyper-critical wireless microphones. The reserved white-space channel will be a vital tool, provided it can be reliably reserved by professionals in the database system for interference protection from unlicensed devices.”

Ciaudelli also filed a fact sheet for owners and operators of wireless mics, who will have to retool and/or replace microphones tuned to the repurposed frequencies between 614 and 698 MHz.

“About half of existing UHF wireless microphone equipment will likely be rendered obsolete, or will require modification—if allowed; a decision from the FCC is pending,” it stated.

Also see…
Feb. 22, 2017
“FCC OK’s First Unlicensed LTE in 5 GHz”
The FCC this morning announced that it had “just authorized the first LTE-U—LTE for unlicensed—devices in the 5 GHz band.” This was according to a tweet from @FCC on Twitter, and soon after, a rare blog post from Julius Knapp, chief of the FCC Office of Engineering & Technology.

Nov. 21, 2016
“NAB Urges FCC to Act on White Space Geolocation”
The problem, according to the NAB, is that the FCC’s database system for keeping track of white-space devices doesn’t work, so in the event these devices cause interference to TV signals, broadcasters won’t be able to track them down.

Aug. 12, 2015
“Where Wireless Mics Go Next”
The move leaves wireless mics without dedicated spectrum for the first time. The FCC tried to mitigate the impact by loosening up the rules for operations.

July 22, 2015
“NAB and White Space Device Makers Agree on Geolocation”
“NAB and the TV band device manufacturers recommend that all TV band devices incorporate automatic geolocation capability or be under the control of a device that includes that capability,” the parties wrote in a joint letter to Julius Knapp, chief of the Federal Communications Commission’s Office of Engineering and Technology.

June 24, 2015
“Wireless Mic Squeeze: Q&A With Sennheiser’s Joe Ciaudelli”
White-space device deployment to date has been limited to a few hundred fixed devices. No personal portable white-space devices have been introduced. If they are, it is unrealistic to believe that consumers using them would proactively prevent interference in the same manner as wireless microphone operators do with their gear.

June 15, 2015
“Unlicensed 3.5 GHz LTE Explored”
Regulators are trying to circumvent potential problems with LTE-U, a version of the cellular transmission standard intended for unlicensed use.

May 29, 2015
“FCC Proposal Creates White-Space Divide”

May 4, 2015
“NAB to FCC: TV Licensees Should Trump White Space Devices”

March 19, 2015
“NAB Petitions FCC to Shut Down White Space Database”

March 19, 2015
“Google White Space Database Registered Fixed Devices”

January 15, 2014
“FCC Certifies Carlson Wireless TV White Space Radio”

November 14, 2013
“FCC Certifies Adaptrum Technology With Google TV White Space Database”

September 16, 2013
“FCC Grants Adjacent-Channel Waiver for Meld White Space Device”

March 4, 2013
“White Space Databases Go Live Nationwide”

January 23, 2013
“Tokyo Group Unveils Regional TV White Space Prototype”

December 6, 2012
“White Space Databases to Go Live Next Month”

October 18, 2012
“White Space Wi-Fi Draft Standard Prototype Developed”

June 4, 2012
“Theater and Sports Groups Drop Request for White Space Rules Review”

May 3, 2012
“NAB Drops Court Challenge of White Spaces”

March 27, 2012
“Telcordia Gets Cleared to Manage White Spaces”

February 29, 2012
“Key Bridge Launches Preliminary White Space Portal”

November 24, 2008
“White Spaces Deal is Done”

January 31, 2012
“White Spaces: Telcordia Says It Can Find Them”

December 5, 2011
“FCC To Commence Second White Space Database Trial Wednesday”

November 10, 2011
“FCC Seeks Comment on Spectrum Bridge White Space Trial”

September 14, 2011
“Spectrum Bridge Is First of 10 To Test White Space Database”

July 27, 2011
“IEEE Publishes White Space Standard for Broadband”

June 29, 2011
“Microsoft White Space Partner Neul Raises $12.8 Million”

June 27, 2011
“Microsoft Angles for Lighter U.S. White Space Rules with U.K. Trial”

June 22, 2011
“Microsoft Nudges FCC to Wrap White Spaces”

May 2, 2011
“Microsoft Wants to Manage TV White Spaces”

January 27, 2011
“TV White Space Database Managers Named”

December 6, 2010
“White Space Rules Go Into Effect Jan. 5, 2011”

September 27, 2010
“SPECIAL REPORT: FCC White Space Rules”

September 27, 2010
“Nine Vie to Manage White Space Database”

September 23, 2010
“FCC Eliminates Spectrum Sensing for White Space Devices”

September 16, 2010
“Carlin Could Curse in TV White Spaces”

September 15, 2010
“Ohio Hospital Launches White Space Broadband Trial”

September 8, 2010
“FCC to Issue Second White Spaces Order”

August 18, 2010
“Broadcasters Urge FCC to Retain White Space Spectrum-Sensing Requirement”

August 2, 2010
“FCC Denies MSTV’s Request for White Spaces Documents”

June 23, 2010
“Google Supports White Space Smart Grid Trial”

April 22, 2010
“Wireless Group Asks FCC to Relax White Space Rules”

April 21, 2010
“Input Sought for White Spaces Book”

March 26, 2010
“TV White Space Experimental Licenses Granted”

February 24, 2010
“Wilmington Tests WiFi in White Spaces”

January 4, 2010
“White Space Database Manager Proposals Due”

November 18, 2009
“British Regulator Open White Spaces”

October 22, 2009
“Virginia Town Exemplifies White Space Usage”

October 12, 2009
“FCC Grants Microsoft White Space Licenses”

March 3, 2009
“Broadcasters Asks Court to Nix FCC White Space Order”

February 23, 2009
“White Space Locater Launched”

Michael Pettersen

ALEXANDRIA, VA.—Anyone who has been in the television industry for more than a few months knows that getting good audio is much harder than getting good video. And poor audio will make even the best-looking video seem like the overall production is amateurish.

So it’s time to take a look at audio and examine the state-of-the-art in microphones. Good audio begins with a quality mic and the right technique, but there are always technical advances that can mean new mic designs and operating procedures.

Broadcast Engineering Extra talked with Michael Pettersen, the director of product technical support for Shure. Shure is one of the oldest and most-trusted names in the microphone business—for example, Shure supplies the two SM57 microphones used by the U.S. president at press conferences.

In addition to being Shure’s director of product technical support, Pettersen is also the company’s corporate historian. Throughout his 38 years of service with Shure, Pettersen has held multiple positions within sales, marketing and engineering. He created the Shure Consultant Liaison Program and co-authored the two-volume, 400-page Shure history book published in 2000.

BE Extra: Are there any new active technologies for improving the directionality of microphones? How do these work?

Pettersen: Yes. An array of multiple mics controlled by digital signal processing can produce different pick up patterns. These pickup patterns can be electronically aimed at desired sound sources and away from noise sources. Typical applications that could benefit from array mics are video conferences and talk shows.

BE Extra: Lavalier mics are available in both directional and omnidirectional varieties. When and why should one be chosen over another?

Pettersen: It is true that a directional lavalier will pick up less background noise than a similar-quality omnidirectional lavalier. However, an omni lavalier has these advantages over the directional lavalier: Less wind noise, no bass build up due to proximity effect, reduced handling and vibration noise, works no matter how it is oriented toward the talker’s mouth, impossible to talk outside of the polar pattern, and less P-popping from plosive sounds.

BE Extra: Often when listening to a news story on television, the reporter’s voice differs dramatically between when speaking on camera and off camera—clearly two different mics are used. What do you advise a broadcaster regarding this situation? Always use the best mic for the application? Or simply use the same quality mic to get both the on-camera and off-camera audio?

Pettersen: These differences are primarily a result of the acoustical conditions. Voice-overs are created in an acoustically treated (“dead”) room by using a mic optimized for an announcer. Meanwhile, the live broadcast is “on location,” with a mic optimized to minimize wind noise and handling noise; and the “location” is not acoustically treated. Place the location microphone in the acoustically treated room, and it will sound quite different because of the room acoustics. Choose the best mic for the job and accept the acoustical results.

The Shure QLXD124 is a digital wireless mic system.

BE Extra: There are a lot of unanswered questions regarding the upcoming spectrum auction, including its effect on wireless microphone systems. If a video producer needs to buy a wireless system today, are there any features/specs that will future-proof the product? What should the producer look for?

Pettersen: Unfortunately, no wireless system can be 100-percent future-proof, as the FCC is in control of the spectrum situation, not wireless mic manufacturers. However, some good advice for purchasing wireless systems in 2015 is to procure a digital UHF system that operates in the range of 470 MHz to 600 MHz band. And, a wireless system that offers battery rechargeability is a plus. A digital wireless system in this band should be useable for many years.

BE Extra: How many wireless systems can be running in one location at one time? How might this be affected by the spectrum auction?

Pettersen: The number of systems that can be used at one time is dependent on the wireless series selected. Shure offers many different systems at different price points, which results in a variance of this capability. As an example, the Shure ULX-D Series, in High Density mode, can support up to 100 systems in one venue. At this time, it is impossible to predict the impact the spectrum auction will have on this aspect of wireless use, but reduced available wireless spectrum may indeed reduce the number of systems that can operate simultaneously.

BE Extra: What else should we know about either wired or wireless mics? Is there new technology coming that promises to improve the quality/performance of microphones?

Pettersen: The audio quality of wired mics has been excellent dating back to the 1930s. I would say that the audio quality of microphones has been evolutionary, not revolutionary! Dynamic, condenser and ribbon transducer technologies are well established and will continue to be in use for many decades. In the wireless realm, the shift from analog to digital has been a major innovation, allowing for better audio quality, more simultaneous systems in operation and precise control of wireless parameters using computer networks.

WASHINGTON—A group of industry associations representing broadcasters and advocates for users of unlicensed wireless (“white space”) devices, is asking the FCC to reconsider its proposal to prevent the relocation of TV stations to areas of the broadcast spectrum used by such unlicensed devices and wireless microphones (so-called “duplex gaps”).

Last year, the commission—in its Framework Order outlining its rules for conducting the spectrum auction, noted the “public interest benefits” of developing a spectrum allocation strategy that would allow the use of unlicensed devices in the 6 MHz portion of the duplex gap nationwide, while also acknowledging that eliminating reserved spectrum for wireless microphones in the same band could jeopardize the ability of ENG crews to deliver breaking news.

Last month, the commission issued an NPRM that would prevent TV stations from being placed in a UHF channel reserved for wireless microphones or unlicensed devices. Such a proposal would upset the “balance” between broadcasters’ ability to deliver breaking news and the use of wireless microphones and unlicensed devices, the groups said.

“This balance would provide unlicensed users with a common channel that would be available in every market nationwide, which is vital to facilitating promised private investment in the WiFi chips and devices that require national markets,” the group--which includes the NAB, Microsoft, Consumers Union and Common Cause--told the commission. “It would also provide wireless microphones with a small amount of exclusive use of spectrum that could be used to cover breaking news and emergencies.”

The group urged the FCC not to “walk away” from its commitment to preserve the duplex gap for sharing between wireless microphones and TV white space devices in every market nationwide.

“Relocating television stations in the duplex gap in certain markets will render the gap in those markets unusable by either unlicensed devices or wireless microphones in those areas where the penetration characteristics of low-band spectrum are most needed,” the group wrote. “The proposal would hamper reporting of breaking news in the most populous cities.”

The groups recommended that the commission stick with its earlier policy.

“We ask the commission to reconsider the earlier proposal to repack broadcasters that do not have a home in the reduced broadcast band in either the uplink or downlink section of the wireless portion of the 600MHz band,” the group said. “This approach provides the commission with the flexibility it needs to execute its variable band plan, and preserves the balance it originally achieved for the duplex gap by reserving it for unlicensed use and licensed wireless microphones.