Ready to ship
55,000 Products
UK Team in London
Mega Store in Cologne
Money Back
30 Day Return Policy
You have placed the following items into your shopping cart
Ready to ship
55,000 Products
UK Team in London
Mega Store in Cologne
Money Back
30 Day Return Policy
On stage, a convincing performance almost always depends on freedom of movement. Nobody wants to sing, dance or play a solo while being “tied to a cable” – especially on a large arena stage in the middle of the crowd. To transmit the signal wirelessly, you need a wireless system or radio link. Below you’ll find an overview of the most common types and practical tips on what really matters when choosing a system.
Wireless microphones are used far beyond big live stages. At presentations, interviews, family celebrations or hosted events, there are no annoying cables in the way – especially when the mic is passed around the audience. Like other radio systems, a handheld system consists of a transmitter and receiver that carry the signal wirelessly.
Key factors are a stable radio link, appropriate frequency selection and a reliable battery/charging status indicator to avoid unexpected drop-outs. Modern systems can scan licence-free bands for the cleanest available channels. If the microphone is not in use, it’s good practice to switch the transmitter off to extend battery life. Where several wireless channels are used, receivers are often mounted in a 19" rack; the connections to the mixing desk are usually located on the rear panel.
Compact handheld set for speech and vocals: AKG WMS 40 Mini Vocal / ISM 1.
Licence-free and licence-required frequencies in Germany
In Germany it is regulated which frequency bands may be used licence-free and which require registration and a frequency assignment. Even if manufacturers design their systems accordingly, a quick check in advance is worthwhile – especially with older systems (pre-2016), as parts of their bands have since been reserved for LTE or DVB-T services. On licence-free frequencies the risk of interference is generally higher than in coordinated, assigned bands. A system that supports both options can therefore be a sensible investment. Registration is handled by the Bundesnetzagentur and involves a fee plus annual costs per transmitter. Details are available on the Bundesnetzagentur website.
With headset systems, the transmitter is not a handheld microphone but a bodypack connected to a small microphone mounted on a headband. When buying, make sure the headband fits your head size and stays comfortable during longer sessions. The bodypack transmitter is usually worn on a belt or placed in a pocket.
Headset systems are used wherever maximum freedom of movement is required – for example in fitness classes, lectures, theatre productions or musicals.
Headset wireless system for full freedom of movement: AKG WMS 40 Mini Earmic Set.
Lavalier systems (clip-on microphones) are used when the main focus is speech, but handheld mics or headsets are not desired for visual reasons. Here too, an external bodypack transmitter is linked to the lavalier mic via a cable.
Lavalier microphones are popular in TV and stage applications because they barely restrict gestures and movement and can be worn very discreetly.
For presentations and hosting: AKG PW 45 Presenter Set (bodypack + receiver + lavalier).
What benefits singers also helps instrumentalists: on larger stages many musicians like to step forward for a solo or move freely. For this there are instrument systems that emulate the feel of a traditional instrument cable or whose receivers can be built into a pedalboard – sometimes with a tuner included. For instruments with a jack socket there are also compact plug-on transmitters that connect directly.
In-ear monitoring
Wireless links are also used for in-ear monitoring – but in the opposite direction: the signal is sent from the mixing desk to the performer. Instead of a transmitter, the musician wears a bodypack receiver. In practice, it’s very common for musicians to have both a transmitter (for their instrument/mic) and a receiver (for in-ear) on their belt at the same time.
Alongside the form factor, the most important question is which frequency range the wireless system uses. In hobby use, licence-free bands are often chosen, while professional touring productions normally rely on coordinated, assigned frequencies – especially when many channels are running in parallel. If you are working internationally, you should always check local regulations in advance.
Other key criteria are range (depending on the system, up to around 100 metres) and battery performance: besides run time, charging time is also crucial so that every transmitter is ready to go when the show starts.
A frequency band is a defined portion of the radio spectrum. Each band has an upper and lower limit and may be licence-free, shared or licensed depending on national regulations.
In the UK, wireless audio equipment is regulated by Ofcom. The available bands include licence-free ranges, shared access spectrum and coordinated channels for professional users. Exact allocations can vary and must be checked against current Ofcom guidance.
Common practice is to use licence-free bands for smaller setups and apply for a PMSE licence when reliability and channel density are crucial.
Yes. Some ranges are exclusively used for mobile networks or public services and cannot be used for wireless microphones. The usable spectrum changes over time as bands are re-assigned. Always verify current Ofcom documentation before purchasing or deploying equipment.
VHF (Very High Frequency) offers good range and penetration but provides fewer usable channels.
UHF (Ultra High Frequency) supports higher channel counts and is typically preferred for professional productions, though availability depends on the national spectrum plan.
The UK provides specific licence-free bands suitable for simple wireless applications. These are ideal for small setups, rehearsals or presentations. For more demanding multichannel use, a licensed PMSE allocation is recommended.
Always check the current Ofcom list, as licence-free availability may evolve with future spectrum changes.
If you need high reliability, operate many channels in parallel or work in RF-dense environments (festivals, theatres, broadcast), licensed PMSE frequencies provide far better coordination and reduced risk of interference.
Consider the local RF environment, building structure, existing Wi-Fi/4G usage, antenna placement and the system’s scanning and synchronisation tools. Venues with heavy RF activity often benefit from professional coordinated channels.
This depends on the frequency band, channel spacing, the system’s bandwidth and the venue’s RF noise floor. Professional UHF systems can support a significantly higher number of simultaneous channels under proper coordination.
Live setups typically rely on XLR and jack outputs. Look for switchable mic/line levels, robust rack-mounting and clear status indicators (RF/AF, battery, channel information).
Reliable run time and accurate status reporting help avoid unexpected drop-outs. Charging time matters just as much: all transmitters must be fully ready before doors open. For longer events, spare rechargeable packs and a rotation plan are highly advisable.
