Wireless systems have boomed in popularity for live performance in recent years. The convenience of transmitting performance without trailing cables on stage – as well as the improved stability, consistency, and sound quality of recent improvements in wireless technology – has made them great for installation in music venues.
They’re also used in theatres and for handling sound on busy stages with high turnover, as with festivals.
You’ll see vocalists all over the place using wireless microphones for their shows now. So, what systems are available, what do they offer, and what microphone is right for you? Let’s take a look at the best wireless microphones on the market today.
In a hurry?
Here are our top three wireless microphone systems for anyone looking for a quick rundown:
| Sennheiser XSW 1-835 Vocal Set | Full wireless system with stable performance and a high-quality handheld transmitter with the same capsule as Sennheiser’s popular e835 dynamic microphone. | Check the current price |
| Shure GLXD2+/SM58 Digital Wireless Microphone System | Shure’s next-generation digital wireless system with dual operating frequencies for easily finding clean channels, longer battery life and the famed SM58 capsule. | Check the current price |
| G4M True Diversity Wireless System | Full wireless system with digital modulation, stable True Diversity reception, and a high-quality dynamic microphone with excellent signal-to-noise ratio. | Check the current price |
Why we’ve chosen these wireless mics
We’ve chosen wireless mics that cover a wide range of budgets, use cases, connectivity, and system compatibility. Some of these microphones are tied to specific systems, and others can be used with anything.
We have various microphone capsules, from dynamic and condenser microphones to unique dual-diaphragm capsules, and different types of mics (handhelds for familiar live shows and headsets for hyperactive gigs). Headsets are particularly good for acts who like to do elaborate energetic dances, exercise classes, speeches, and conferences.
We’ve also tried to pick leading brands in microphone design, showcasing manufacturers like Sennheiser, Shure, and DPA Microphones as well as some pro audio companies like LD Systems, Trantec, and Alto Professional.
Whether these mics and brands have been long-established, like Shure and their world-renowned SM58, or are more for those in the know, you will get tried and true sound, premium features for the price, and the ability to integrate them with either a specific, high-quality wireless system or a system of your choice.
The best wireless microphones
1. Sennheiser SKM-835-XSW Vocal Set
Key features
- Dynamic handheld microphone with e835 capsule
- Integrated antennas with antenna-switching diversity reception
- Automatic frequency management
Pros
- Excellent vocal sound seen on Sennheiser’s e835 dynamic microphone
- Clear, punchy sound that works well for rock and metal
- Cardioid polar pattern prevents feedback and keeps sound focused
Cons
- Must be used with Sennheiser XSW-series receivers or systems
The Sennheiser SKM 835-XSW transmitter is designed for use with their XSW-series wireless receivers. Utilising one of Sennheiser’s most popular microphone capsules, the e835, this handheld dynamic microphone delivers a bright, clear, and powerful sound that’s found a lot of popularity with rock and metal singers especially.
Its cardioid polar pattern provides focus and reduces the risk of feedback, but the e835’s unique omnidirectional low-frequency characteristics help reduce proximity effect. This keeps your sound both clean and consistent for energetic gigs. There’s also a mute switch to cut the signal at a moment’s notice. With a pair of AA batteries, this transmitter can run for up to 10 hours.
The system this microphone is a part of, the XSW 1-835 Vocal Set, comes with a few extra benefits, like automatic frequency management which quickly and readily finds a clean channel, and will switch when interference is detected. The receiver’s integrated antennas prevent signal dropouts for reliable transmission, and its antenna-switching diversity reception helps further mitigate interference from other devices.
2. Shure GLXD2+/SM58 Digital Wireless Microphone System
Key features
- Unique dual-band technology
- Iconic SM58 sound
- 12-hour battery life
Pros
- 5.8 GHz channel offers simple digital operation with less risk of interference than 2.4 GHz bands
- SM58 sound is dynamic, powerful, and proven
- Signature presence boost helps cut through the mix for extra vocal clarity
Cons
- Only compatible with Shure GLXD+ systems
We all know the SM58, and if you don’t, you should! It’s one of the most famous and iconic vocal mics of the modern day, especially for live music.
This cardioid dynamic microphone has a consistent polar pattern, its defining characteristic, which in turn means it can take a lot more gain before causing feedback. Released in the mid-1960s, this historic microphone capsule has defined the sound of rock music, and its incredibly tough construction has only furthered its reputation.
It’s an ultra-reliable, distinctive-sounding, warm dynamic microphone with huge SPL handling and a presence boost in the upper mids that lets voices cut through even the loudest mixes.
Part of Shure’s all-new GLXD+ range and available as both standalone or as part of the GLXD24+/SM58 system, this wireless take on the SM58 uses dual frequency bands to easily avoid interference. Balancing between 2.4 GHz and 5.8 GHz operating frequencies, this system has twice the available channels and will automatically find clean backup frequencies in the event of unexpected noise.
The transmitter comes with a rechargeable lithium-ion battery with 12 hours of running time, as well as a quick-charge feature that gives 1.5 hours of battery from just 15 minutes of charging. The GLXD4+ receiver gives you two removable and adjustable dual antennas for a more stable signal and performance.
3. G4M True Diversity System
Key features
- Anti-interference system
- 50m range
- Infrared syncing
Pros
- Excellent value for money
- True diversity reception, VCO oscillation, and anti-interference technology for clean, stable performance at all times
- Handheld dynamic microphone delivers clear consistent sound that can keep up with powerful voices
Cons
- Not available standalone
Whilst our focus is on microphones, you can’t get this microphone without the system. That’s all well and good, though, as the G4M True Diversity System gives you some of the best value for money you could hope for and a great mic to go with it.
The microphone included is a handheld dynamic mic with a cardioid polar pattern that allows it to reject feedback and prevent any sound from entering from behind or to the sides of the mic. With a frequency response of 60 Hz to 17 kHz, less than 0.5% total harmonic distortion, and a dynamic range of over 100 dB, this wireless mic is great for speeches, conferences, interviews, and live music.
Running off two AA batteries, the microphone’s transmitter body can operate for up to 10 hours, giving you plenty of time for long shows.
The system offers 15 selectable frequencies for finding a clean channel with no interference. VCO oscillation ensures that the transmitted signal quality remains intact from transmitter to receiver.
However, its main feature is the True Diversity reception, which is key to its stability. Using two receivers and antennas simultaneously, this wireless system has fewer dropouts, better sound quality, and an extended range of up to 50 metres. Infrared syncing between transmitter and receiver makes setup fast and simple, too, letting you start the performance strongly and confidently.
4. LD Systems U508 Transmitter
Key features
- Handheld dynamic microphone for LD Systems’ U508 wireless systems
- Infrared synchronisation
- Pilot tone and squelch circuitry
Pros
- Clear, sharp signal with a broad dynamic range
- Built-in shock mount reduces handling noise
- Cardioid polar pattern prevents bleed and feedback
Cons
- Only compatible with LD Systems U508 systems
The LD Systems U508 systems are excellent starter wireless systems that offer some of the best performances for the prices available. LD Systems’ approach as a pro audio brand – rather than a microphone manufacturer – has resulted in a lean, focused microphone with a good frequency response and a lot of technical functionality in the wireless transmitter that ensures great signal quality.
This variant comes with a dynamic microphone capsule, letting you utilise the classic punchy vocal sound most performers favour in live performance settings, but there’s a condenser version available too, for those seeking a more delicate or detailed sound (we cover this more later).
The transmitter side of this mic utilises automatic channel scanning to find clear frequencies and easy infrared synchronisation to receivers. With a pilot tone and squelch circuit, the transmitter easily cuts out noise, even if it gets past its true diversity switching system.
It also offers switchable RF output, from 2 mW to 30 mW, making sure that the signal comes through as clearly as it needs to even under challenging conditions.
5. Trantec SJ22
Key features
- Ultra-small, lightweight headset
- Flexible nylon composite headband
- Maximum SPL of over 120 dB
Pros
- Excellent SPL handling
- Detailed condenser capsule with omnidirectional pickup
- Compatible with a range of wireless systems
Cons
- Omnidirectional pickup isn’t ideal for live music
Trantec are a premium pro audio company that produce a range of high-end wireless systems, such as their hand-wired custom-order Racked and Ready systems that are the result of a partnership between us and the brand, and a range of high-quality microphones and peripherals for these systems.
The first of their offerings, the SJ22, is a very versatile headset microphone with an electret condenser capsule. It’s great for speeches, conferences, exercise classes, plays, and musical theatre but isn’t quite as well-suited to traditional gigs due to its omnidirectional pickup. However, its excellent sound and universal compatibility with belt packs that use 3.5 mm jacks make it a great choice for a lot of other needs.
An omnidirectional pickup isn’t great for musical performances as it can be susceptible to bleed and feedback, but it’s a common pick for theatre, musicals, and other contexts where speakers or performers are moving around a lot.
Omnidirectional mics continue to perform no matter where the speaker is in relation to the capsule, so the jostles, bumps, and continuous movement of dancing, exercise, and energetic theatre don’t interfere with the pickup.
Extremely lightweight and flexible thanks to its nylon composite construction, the SJ22 is a great pick for comfort and a range of slightly more unconventional vocal applications.
6. DPA CORE 4288 Flex
Key features
- Headset microphone with DPA’s 4088 cardioid condenser capsule
- CORE technology
- Adjustable arm
Pros
- Cardioid polar pattern prevents feedback and unwanted instrument pickup
- Incredible sound quality for detailed, rich audio
- Compatible with a range of wireless systems with appropriate adapter
Cons
- High price can be restrictive for acquiring multiple units
The DPA CORE 4288 Flex is a powerful headset with remarkable sound fidelity. Utilising DPA’s CORE technology in combination with their 4088 condenser capsule, this headset’s dynamic range is expanded to prevent distortion, giving similar SPL handling to leading dynamic microphones whilst keeping the detail of a condenser.
Being a headset, the 4288 is an obvious choice for conferences and speeches, naturally, but DPA’s quality has proven itself in high-end theatre productions on and off Broadway, as well as for festivals, arena shows, and gigs for vocalists who prefer keeping their hands free.
With its dual-ear design, the 4288 is great at staying in place, making it perfect for high-energy performances that really leave an impression. Complete with a makeup cover to prevent interference with any theatrics, as well as both a pop screen and a set of four windscreens, the 4288 can handle outdoor or open-air venues as easily as it can controlled indoor venues.
7. Shure SM35
Key features
- Discrete headset with a flexible gooseneck arm
- Cardioid polar pattern
- Lightweight design with wire-form chassis
Pros
- Durable design for reliability under difficult conditions
- Quality cardioid condenser capsule captures depth and nuance in vocal performances
- Resists moisture and sweat damage
Cons
- Requires an adapter or variant with separate connector to work with some systems
The Shure SM35 is a cardioid condenser headset, which means it sounds excellent right out of the gate. Focused and detailed, whilst resisting background noise. This headset has an extended frequency response and can handle high SPLs as well as huge amounts of gain before reaching feedback – a hallmark of most Shure mics.
It’s also resilient and lightweight thanks to its wire-form chassis design. Great for performers who like to move around, the durable and moisture-resistant build of the SM35 keeps running smoothly no matter what you throw at it.
Utilising Shure’s miniaturised four-pin XLR connector, or a variant with full-size three-pin XLR, the SM35 may need an adapter to work with certain wireless systems, particularly non-Shure ones, but it is capable of working with any bodypack transmitter and receiver you like.
8. Sennheiser ME 3 II
Key features
- Cardoid condenser headset microphone
- Huge maximum SPL of up to 150 dB
- Sensitive and responsive capsule
Pros
- Highest SPL handling of condenser headsets
- Stable positioning stays in place under any scenario
- Neutral sound character is extremely adaptable
Cons
- Neutral sound may not stand out in musical contexts without additional mixing
The Sennheiser ME3 II is another headset microphone with some of the best SPL handling available of its type. Its cardioid polar pattern offers the same consistency and benefits we’ve seen on similar offerings, keeping its accurate and neutral sound profile unfettered by unwanted sounds. Great at resisting distortion, the ME3 is perfect for consistent speech as much as it is for powerful vocal belting.
We’d recommend pairing the ME3 with Sennheiser’s XSW 1 headmic system, with the same antenna-switching diversity, alongside one of their durable bodypack transmitters, but the ME3’s 3.5 mm audio output jack can just as easily integrate with other wireless systems too.
9. LD Systems U508 Condenser
Key features
- Wireless handheld transmitter with a condenser capsule
- Pilot tone and squelch circuitry
- One-touch synchronisation
Pros
- Classic condenser detail and fidelity in a handheld format
- Great at achieving a clean, noiseless signal
- Automatic channel scanning makes frequency management simple
Cons
- Only compatible with LD Systems U508 systems
A lot of our condenser representation on this list has come from headsets, but LD Systems’ U508 system also offers a handheld condenser, which is an uncommon combination even for wired microphones, let alone wireless mics!
Condensers haven’t quite found popularity as handheld microphones for live music, mainly due to their historical struggle with high SPLs. However, thanks to modern manufacturing, well-designed condenser capsules can easily handle loud vocal performances up close. This LD Systems U508 Condenser is designed to do just that, giving you the same high performance and fidelity of condenser microphones on stage.
Naturally, this capsule will handle speech very well, giving the extra clarity that’ll help the spoken word pop, but it can also manage full-tilt vocal performances.
Wirelessly, the performance of this transmitter will be the same as the previous U508 microphone, with the noise rejection offered by its pilot tone and squelch circuitry. True Diversity reception keeps things stable and interference-free, and the one-touch synchronisation makes setup quick and easy.
10. Trantec S4.1 Handheld Wireless Microphone
Key features
- Cardioid dynamic microphone
- 10 hours of battery life from a single AA battery
- 16 selectable frequencies
Pros
- Dynamic microphone with a good upfront sound
- SPL handling of up to 140 dB
- Cardioid polar pattern rejects noise
Cons
- Only usable with Trantec’s S4.1 system
The Trantec S4.1 Handheld Wireless Microphone is a cardioid dynamic microphone exclusively for use with the S4.1 systems. This microphone delivers excellent SPL handling, making it great for intensive music performances not distorting at signals up to 140 dB of volume. Its broad frequency response of 80 Hz up to 15 kHz cuts low-frequency rumble for a focused and full vocal sound.
Trantec’s S4.1 systems are great for larger-scale productions, conference halls with multiple speakers, and large music venues with four or more vocalists, and they’re extremely popular with theatres, and this microphone can keep up with any of these settings. Offering up to 10 hours of use from a single AA battery, this wireless transmitter gives you consistent usability for longer events.
11. Sennheiser HSP 4
Key features
- Modular and configurable headset
- 3.5 mm or 3-pin XLR jack options
- Extremely adjustable for comfort and convenience
Pros
- Unique modular design lets you adjust and shift your headset to your needs
- Cardioid polar pattern rejects unwanted noise
- Usable with any wireless belt pack transmitters with the right connectors
Cons
- Modular design can be complex and require other parts to get the fit you want
The Sennheiser HSP 4 is a pretty unique headset, owing to its modular design. A configurable and customisable cardioid condenser, this headset allows you to swap out connection cables, boom arms, and neckbands, and you can switch which side of the headset the microphone capsule’s on!
The HSP 4 has two variants: one with a locking 3-pin XLR connector and one with a 3.5mm mini-jack, letting you use it with any wireless system you choose.
Delivering an excellent, detailed condenser sound that rejects noise with its cardioid polar pattern, the HSP is clear and clean, while giving you the flexibility of choosing your own custom fit. The mic also comes with two frequency caps to choose either a neutral sound or an extra treble boost to really push your voice through any venue.
An excellent choice for those who use a headset mic extremely frequently and want it set up to their tastes, the HSP 4 can deliver for touring vocalists, travelling public speakers, entertainers, and DJs.
12. Shure QLXD2/KSM9
Key features
- Handheld condenser with switchable polar patterns
- Consistent frequency response reduces proximity effect
- Gold-layered dual-diaphragm design
Pros
- Dual diaphragm design offers rich, full sound
- Switchable polar patterns of cardioid and supercardioid for even better noise rejection
- Over 120 dB of dynamic range on wireless transmitter
Cons
- Price may be inaccessible to many
We’ve covered many different microphones in this list, but few are as premium as Shure’s KSM9. Whilst the wired version of this microphone is their flagship offering, paired with Shure’s top-of-the-line transmission technology, this is a handheld condenser that delivers on its promise of studio-quality vocals.
The KSM9 capsule is a dual-diaphragm capsule that offers incredible sound fidelity, for detailed and rich vocals that’ll fit right into any performance. Plus its switchable polar pattern offers not just cardioid but also supercardioid, which further cuts away background noise, making it great for smaller stages or larger performances with a lot of sound sources nearby!
On the wireless front, the QLXD2 transmitter delivers a complete recreation of the KSM9’s sound with its flat frequency response and a broad 120 dB of dynamic range. With 100 metres of operating range and nine hours of battery life with AA batteries, you get plenty of distance and use time, although Shure also sell an optional lithium-ion battery that can be used to get 10 hours of rechargeable battery life!
Compatible only with Shure’s QLXD wireless range, these systems are perfect for all kinds of vocal performance.
Honourable mention: Alto Professional Stealth 1
What better option than to use whatever microphone you already have to hand? With Alto Professional’s Stealth wireless system, you can simply plug in your preferred XLR-based vocal mic and make it wireless, making it a great choice for vocalists who already have a mic of choice.
Plug the transmitter into the base of your mic, and the receiver into a mixer channel, and you have over 100 feet of wireless UHF transmission. What’s more, the Alto Stealth can also work directly with speakers for performers with portable PA systems, or even wirelessly, receiving signals from outboard processors. USB power or four hours of battery life give you flexible powering options, too.
VHF, UHF, and 2.4 GHz
You’ll likely see “VHF”, “UHF”, and “2.4 GHz” crop up while searching for wireless systems, which refer to the operating frequencies of the system. These weren’t mentioned often in the discussion of wireless microphones as they typically come in multiple frequency variants.
Some frequencies are used by military or government agencies for communication and operation, which is why there are certain restrictions on frequencies.
The frequencies specific governments elect to use are chosen on a national level, and therefore, restrictions crop up based on the territory you’re in. For example, a frequency that is free to use in Germany may need to be licensed in the UK. Some frequencies are banned outright and completely illegal to use, some require licensing from the country’s government to be used, and some can be used freely.
Different frequencies will have different restrictions based on the territory you’re in, which is why it’s always important to check licensing laws!
You may not need a license to operate your wireless system in some countries, but other countries might require a license, so make sure you know what the rules are for the country you’re in and – if you travel a lot – any countries you’re going to.
We include a map on all of our wireless product pages that graphically displays current licensing laws for European territories, but rules change, sometimes very quickly, so make sure to check!
VHF (Very High Frequency) spans from 49 MHz to 216 MHz and contains broadcasts from DAB, FM radio, television, and mobile radio systems for a lot of government and private services, as well as amateur radio, marine communications, and air traffic control. VHF can be good for wireless audio systems, but a lot of these frequencies have been sold to private businesses.
This means that VHF can only really handle single systems as it’s hard to find multiple available channels near each other for interconnected use. Manufacturers have used VHF less in recent years, despite it being a solid choice.
UHF (Ultra High Frequency) goes from 300 MHz up to 3 GHz. These frequencies offer a better dynamic range, making them great for television, satellite phones, and walkie-talkies. They’re also frequently used for government bodies, emergency services, and private corporations, which makes them prone to restriction.
However, due to their wider range, there are far more UHF frequencies available than VHF, making them the more common choice for wireless system manufacturers to use now. Plus, you can chain wireless systems together in this range, as it’s easier to find multiple clear, legal frequencies near each other.
2.4 GHz is a UHF frequency that is generally accepted for worldwide use without the need for licensing, although there may be some exceptions. This is because it’s been agreed upon for international communication services, such as mobile phone signal and satellite communications like GPS, Wi-Fi, and Bluetooth.
Unfortunately, while this makes it a pretty safe bet for legal use a lot of the time, it means that it’s a very busy frequency with a huge amount of traffic. There’s a big risk of signal dropouts and noise from interference and suffers from reduced range to help mitigate this.
However, it’s a safe choice for touring bands and is very easy to operate on. Although finding multiple clear channels in this range can be a challenge, it’s definitely possible.
Digital or analog?
There are two main forms of wireless systems – digital and analog. The way this affects radio frequency transmission can be quite dramatic, so let’s break it down.
Analog wireless transmission requires compressing the signal down to a lower dynamic range so that it can be carried on a radio wave before being uncompressed back out to its full range through a process called companding.
This can result in some loss of fidelity and noticeable audio artifacts. However, analog systems have much lower latency, as the delay between signal and transmission is essentially the speed of a radio wave.
Digital systems offer a wider dynamic range, and more frequency information by breaking up the signal digitally, resulting in much less fidelity being lost, beyond that of digital to analog conversion, which is pretty accurate. However, this process does increase latency. Latency varies heavily from system to system but ideally should be below five milliseconds to not throw off performers or listeners.
As for RF stability, channel count, and interference, there is no precise distinction between them. Analog systems typically offer fewer channels in most UHF ranges than digital systems, except for the 2.4 GHz band, where they offer more than most digital systems.
Analog systems can be susceptible to interference, as they don’t offer some of the same more advanced reception technology and extra features that some higher-end digital systems do, but not all digital systems have these features either.
How to choose the best wireless microphone for you
When choosing a wireless microphone, one of the main considerations to make is the system that it’s a part of. Are there frequency variants that fit your needs? Does it have the features you want to ensure a stable signal? Does it receive signals from the number of mics you need to run at once? Does the manufacturer make other systems that work with the same mic that might be a better fit?
Especially in the case of handheld transmitters, they will tend to exclusively work with the series of wireless systems they’re built for, or maybe some other systems made by the manufacturer if they’re in the same frequency band.
Alternative mic types like headsets tend to be easier as they have some sort of universal connectivity with bodypack transmitters, even if the bodypack or headset of choice uses a proprietary connector type, there are plenty of adapters available to make connection possible.
So, we’d recommend looking at the system your mic’s a part of and whether that’s a good fit for you first because other systems that might fit you better might have similar or even identical capsule designs to what drew your eye in the first place!
The next thing to consider is, of course, the type of microphone. Do you want a handheld, headset, lavalier, or instrument mic? Only handheld and headsets are good for live vocal performances, but lavaliers are great for speeches, interviews, broadcasting, and film, and instrument mics obviously add flexibility for instruments like brass, woodwinds, and strings.
Then you have the choice between condenser and dynamic microphones. We’ve already done an in-depth comparison, so take a look if you want to know more and you’re not sure yet. To simplify, condensers are generally more sensitive and detailed and have more high-frequency information, but they’re more sensitive to ambient noise and often can’t handle high sound pressures as readily.
Dynamic microphones sound darker, and a little less detailed generally, but have much better sound pressure handling and are great at rejecting unwanted extra noise. As such, dynamics tend to be better for louder genres like rock, metal, and rap, whereas condensers can be great for quieter voices with pop, jazz, or soul stylings where that extra detail can really stand out.
Finally, there’s the question of polar patterns. Polar patterns dictate where the microphone picks sound up and where it doesn’t, relative to its capsule. For most musical applications, you’ll want at least a cardioid polar pattern, as cardioid picks up from the front and rejects the back and sides. Most wireless mics will be cardioid, as this helps prevent feedback, ambient noise, and bleed from other instruments on stage.
Omnidirectional picks up equally from all directions. It isn’t great for most musical applications – with one exception: musical theatre. This is because the performers move around the stage and each other a lot and omnidirectional headsets tend to be the least intrusive and keep their voice at a consistent volume no matter where they are relative to their mic through elaborate dances.
Omnidirectional is generally better for speech and interviews.
Supercardioid is a more exaggerated take on cardioid that rejects even more sound from the sides of the capsule, making it great for small or very busy stages. For more information, take a look at our polar pattern guide.
FAQs
What wireless microphones do professional singers use?
Professional singers typically use wireless microphones from brands like Shure, Sennheiser, and LD Systems. These brands are renowned for their superior sound quality, reliability, and durability. Specific models such as the Shure SM58, Sennheiser e965, are popular choices.
How do I know a good wireless microphone?
A good wireless microphone is identified by its sound quality, reliability, and frequency range. Look for features like low latency, a stable signal, and a wide dynamic range. Reviews and professional recommendations are also useful in evaluating a microphone’s performance.
Are wireless mics worth it?
Wireless mics are worth it for their mobility and convenience. They eliminate cable clutter and allow performers to move freely on stage. For many users, especially professionals, the investment in wireless technology enhances performance and offers significant advantages over wired options.
Final thoughts
While wireless systems can be a lot of ground cover, it’s certainly not as intimidating as it might seem at first, and choosing the best wireless microphone that gives you the great sound you want doesn’t have to be difficult.
We’ve covered handheld dynamics, condensers, headsets, frequencies and licensing, digital vs. analogue wireless systems, and the features you can expect to get not just from the microphones themselves, but from some of the best wireless systems on the market, too.
Looking for more microphone guides? Check out other articles:
The 13 Best Microphones for Rappers
The 10 Best Microphones Under £100
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