In the not-so-distant past, the typical working musician considered wireless systems to be an extravagance. The price and hassle of maintaining a reliable system just so you could do a tangle-free 360 turn onstage, crowd-surf without dropping a lyric, or stroll offstage during a drum solo and still contribute stop-time accents from a barstool, was prohibitive. Sure, wireless was great for the added mobility it provided, but unless you spent a really hefty chunk of change for a good system, it wasn't worth it.

However, wireless technology has advanced so rapidly that higher-quality systems are not only getting cheaper but are forcing budget systems to meet and surpass the two nagging criteria that made most musicians avoid them in the first place: reliability and sound quality. In the past, the fear of buying a budget system was that it would be, well, junk. Even if it was really inexpensive, a system wouldn't be worth buying it if all it did was snap, crackle, pop, wheeze, and hiccup.

Sometimes, though, a technology landscape changes seemingly overnight — like when $20 watches could keep time as well as $2,000 ones, or when mobile telephony became commonplace, or when always-on and speedy Internet access came into the home. And that's how it was when Onstage tested six manufacturers' budget wireless systems for vocal mics and for instrument pickups (for guitar and bass, primarily). We were pleasantly surprised to find that all of these systems performed nearly flawlessly with regard to resisting dropouts and rejecting interference. Additionally, each maintained a clear and full-sounding signal, free from the compansion (the process of compressing a signal before transmission and expanding it after reception) artifacts that have dogged so many budget systems in the past. Performing musicians of the world, it's time to reconsider the wireless option and to start practicing your pirouettes!

We set out on our budget search with a list-price range of roughly $200 to $650, looking at the entry-level UHF systems offered by the major wireless systems manufacturers. The systems that we tested were the AKG WMS 40 MicroTools, the Audio-Technica Freeway 600 series, the Azden UHF Performance series, the Nady UHF-10 Diversity Wireless Microphone, the Samson Airline series, and the Shure Performance Gear Wireless, UHF.

Of course, you get what you pay for. Even though four of the six systems we tested have diversity (which ensures smooth transmissions), a budget system still won't have the solid signal-transmission integrity and reliability that the more expensive systems provide. Two of our systems, however, the Audio-Technica Freeway 600 series and the Azden UHF Performance series, are able to operate on separate, user-switchable channels, meaning that they can be easily changed to another frequency should a conflict arise with an existing frequency. (That typically happens when you tour and take a wireless system that's tuned for one region into another.) That those systems have frequency agility (the ability to switch channels) was a nice surprise, because that feature is most often found on higher-end systems and was not a criteria for inclusion in this roundup.

Finally, the housing, display, and power-supply components on the mics reviewed here are not as robust or sleek as the more expensive models offered in the same manufacturers' product lines. But for single-end users in predictable circumstances, all of these systems performed well up to professional expectations — at least well enough to be considered for use in stationary and small-venue locations.

Several well-known makers (among them Electro-Voice/Telex, Lectrosonic, Peavey, Sennheiser, and Sony) did not have models in our price range at the time of this writing, and so were not included in this roundup. But keep your eyes out for entries from those and other manufacturers. It's an exciting time for wireless technology, and budget systems will always benefit from the trickle-down effect.

I tested these systems at two venues that I consider to be useful for evaluating single-user budget systems. In one place, my guitar and vocal transmitters were close to the receiver, in a very small performing area located in the local bistro where I play and sing as a solo act. Even in those relatively small confines, I appreciated the benefits of being wireless. At one point, I had a friend “sit in,” which meant that I just brought my guitar, plugged through one of the wireless rigs, to his table, rather than having him vault over several diners to wedge in beside me in my inaccessible aerie.

The other testing ground was an auditorium where the receiver and transmitters were separated by about 50 feet. I coach a singer-songwriter workshop at a local high school, where the performers are up on a proscenium stage surrounded by steel girders, concrete cinderblocks, and a high-voltage stage-lighting system. The soundboard is out in the house (connected to the wired mics with a snake), about 20 rows back with metal folding chairs in between, but with a line of sight from the receivers' antennas to the onstage transmitters. Both venues are in the heart of a metropolitan area that has train tracks, radio-dispatched vehicles, and other RF trappings of modern life.

Here are some general observations about the wireless systems that are reviewed in this roundup. (For detailed descriptions of each system, read the individual write-ups later in this article.)

First, a caveat: evaluating wireless systems can be tricky because there are no standardized, accepted criteria for how features should be presented, or even for agreement on which pieces should make up a system. For example, some manufacturers list their models as complete systems, with a catalog number designating both the receiver and the transmitter, while others list all of the components separately — including, in the case of Shure, the cable that goes from the guitar to the body-pack transmitter.

Sometimes it makes sense to list components individually, because that allows you to mix and match. For example, Shure offers two systems, UT24/58 ($675, list) and the UT24/PG58 (reviewed here), in which the only difference is in the mic (the former has an SM58, and the latter a PG58); the receiver is common to both systems. So you should know the prices (and the model numbers) of the various systems' individual components, even if that system is sold as a unit. Interestingly, Shure is the only company in our group whose body-pack transmitter is more expensive than the handheld.

As much as we tried to compare apples to apples in this budget roundup, a couple of oranges got thrown in. AKG's WMS 40 MicroTools and Samson's Airline dispense with the body-pack paradigm altogether in their instrument systems, using instead a transmitter that plugs directly in to the guitar. For vocal mics, the MicroTools and Airline use a snap-on capsule that attaches to any standard mic. (Note that Samson and AKG also make standard body-pack and handheld systems that use the same receivers as the systems we reviewed here.) The other four in our collection build the transmitter into the mic's housing, and so custom-design the entire mic to fit the receiver.

There are pros and cons to both those approaches. With a snap-on transmitter, you can use any normal, wired mic. You can, for example, keep your trusty SM58 connected to its XLR cable for your stage singing, and then when it's time to go sashaying into the audience, attach the snap-on and go. If you drop your mic into a pitcher of beer, you can simply grab another mic from the road case (or steal the bass player's). You can't do that with a dedicated wireless handheld transmitter. Furthermore, the custom handhelds are thicker than normal mics and so require a special clip. I realized the perils of that only after one of my workshop protégés tried too zealously to seat the mic securely in its clip and then broke it.

However, a handheld transmitter that is custom designed to talk to a specific receiver is more reliable than and sonically superior to a snap-on. I noticed higher sensitivity and better frequency response with the four handheld transmitters than with their snap-on counterparts, configured with microphones of a similar quality. In addition, the power switches on wireless handhelds are conveniently located on the housing, rather than on the capsules, where it's more difficult to operate them. It's a small point, but you'll notice it right away in a stage performance, because you can't feel your way through the switch positions with the snap-on capsules, unlike the handhelds. Another point to consider is that the price of a snap-on system does not include the mic, so make sure that you're factoring that in to your buying decision.

As far as instrument systems go, the biggest advantage of using a plug-in transmitter, or Guitar Bug as AKG calls it (a minitransmitter that plugs into the guitar's jack), is that you avoid having to strap on the body pack and have a cord dangling about. That is nice if your stage costume doesn't accommodate a black rectangle the size of a deck of playing cards. It also means that the wireless guitar or bass can be shared quickly and easily among other musicians, which is not true of a body-pack system.

AKG and Samson have slightly different approaches for their plug-in transmitters. Samson has two different models, varying only in how they connect to the guitar. The AF1, for Fenders, has an oblique angle between the transmitter itself and the ¼-inch plug, allowing a more aerodynamic connection with the recessed jack of a Strat. The AG1, for Gibsons or any standard right-angle guitar jack, has the plug at a right angle, so that the transmitter is flush with the body of a sidemounted-jack guitar. You can use the AF1 on sidemounted jacks, but it's not as elegant. You can't, however, use an AG1 on a Fender-style jack, so make sure that you know which guitar will have the wireless duties before you buy.

AKG's MicroTools Guitar Bug, released after Samson's Airline, improved on the Airline's physical design by having a spring-loaded, hinged connection between the plug and the bug. That allows you to conform the bug to any angle on any guitar. The AKG includes a mute setting on the power switch and a screwdriver-adjustable — 15 dB pad, while the Samson has a — 15 dB pad switch. Both units are powered by AAA batteries.

Of the standard wireless configurations we tested (which include body packs and handheld mics with built-in transmitters), the Azden UHF Performance is the most expensive but leads the pack with regard to features and construction. Housed in a solid, all-metal casing, it has 63 user-selectable channels, allowing greater flexibility in multi-user setups. The Audio-Technica Freeway 600 also has user-selectable channels, but its housing is plastic and lightweight, more like the construction of the other four. As mentioned, all but two of the systems have diversity, the technology that captures signals from two antennas and then processes whichever is stronger at that instant, ensuring against dropouts and interference. The AKG WMS 40 MicroTools doesn't have diversity but seems to do fine without it, as does the Audio-Technica Freeway 600, which uses a dual-antenna “dipole” system.

All the units except for the Audio-Technica use a wall-wart for a power supply, and AKG and Nady don't even label theirs with their own brand name (forcing me to break out the masking tape and Sharpie to avoid confusing them with other power adapters I have around). Audio-Technica uses a real-live power cord and would get an A+ for this, except for the curious practice of making you plug in another 5-foot cord from the back panel to a jack about three inches away. All mic and instrument transmitters except for the Samson have muting technology. Of those five, only Azden lacks a separate muting switch — their muting technology is activated when you power on and off (which I found wasn't as reliable as having a separate, switchable stage).

Whenever you're operating a wireless system, it's always good to have a visual bead on what's going on with regard to reception and signal level. A user-friendly display is a great thing to have for quick problem solving, telling when the noises you're hearing are dropouts, interference, or signal overload. All units have a power-on LED for the receiver, but beyond that, their displays vary. AKG has the simplest (one LED indicating RF presence), while the Samson was the most full-featured, with a peak LED (to indicate overload), three LEDs of different colors to indicate signal strength, and LEDs for antenna status (which of the two antennas is receiving the signal). Samson also gets points for putting the power switch and volume knob on the front panel.

Now let's meet our six contestants so that you can see their individual features and strengths.

SO 40 snap-on mic transmitter with
SR 40 receiver: $358
GB 40 guitar transmitter with
SR 40 receiver: $358

AKG's WMS 40 MicroTools system takes a no-frills approach in the housing and display departments but delivers solid and reliable performance with its snap-on capsule and guitar transmitter. I tested the snap-on transmitter with one of AKG's Emotion D 880 dynamic microphones and was delighted with the vocals' full tones and crisp transients.

The Guitar Bug transmitter's plug has a hinged shank, allowing it to switch effortlessly from a Fender-style to a Gibson-style guitar. The mute switch on the capsule and the Guitar Bug is a sliding plate, seated flush with the transmitter's surface. It is therefore a little difficult to manipulate, especially with a sweaty thumb trying to nail that in-between mute position.

Despite the SR 40 receiver's lack of diversity technology, it holds its own with the others when it comes to maintaining a signal connection. (At press time, AKG introduced a new diversity receiver that's available for its snap-on and Guitar Bug transmitters. It will sell in system configurations similar to the ones reviewed here at a retail price of $428 for both the snap-on and Guitar Bug systems.)

The display is the most bare-bones of the six we tested, having just a power-on LED for the receiver and a one-stage RF-present LED. Because there's only one antenna, the WMS 40 doesn't need an antenna indicator, but an overload LED would be useful.

Pros: Excellent microphone sound; compact ergonomic design in Guitar Bug.

Cons: No peak indicator; no diversity reception.

ATW-T602 handheld mic with ATW-R600 receiver: $379.95
ATW-T601 body pack with ATW-R600 receiver: $349.95

The Audio-Technica Freeway 600 is a ten-channel system with a price tag that most manufacturers could offer only for a single-channel system. The handheld mic produces clear, transparent results, befitting a company that specializes in microphone technology. The location of the power/mute switch at the bottom of the capsule is slightly inconvenient, because it forces you to turn the mic upside down to manipulate the switch. The tiny trim-adjust screwdriver is cradled right inside the mic housing, which is good; what isn't so good is that the trim control has no pointer to indicate its absolute position. Still, the mic is well balanced, light, and feels great during performance.

The power supply is interesting in that while it uses a normal three-prong power cord to connect from the wall to the back panel, a lightweight, wall-wart-type cord sticking out of the back must then be connected to a jack about three inches away. A-T calls that a docking system in the manual (because the power module detaches from the back of the unit) but doesn't explain why this is useful. Still, A-T gets points over all the others for eschewing the dreaded wall wart. Despite the company's savvy approach to a power supply, the A-T Freeway 600 is the only unit in this roundup that lacks a balanced XLR output and has a sole ¼-inch audio output that is unbalanced only.

The receiver is one of the most well designed of those in our test group and has clear, readable LEDs for antenna status, RF presence, and overload. Its front-panel rotary volume and channel knobs are quite handy, too. The antennas are substantially built, something that is appreciated by one who has sheared off more than his share. The body pack's black-on-black labeling makes it hard to tell at a glance what the on/off/mute status is, but otherwise the instrument interface functions terrifically. The reversible belt clip is a nice touch.

Pros: Excellent mic sound, user-selectable channels, well-designed display. Frequency-agile, multichannel operation.

Cons: No balanced XLR out.

41HT handheld mic ($257) with 411UDR receiver ($385): $642
41BT body-pack transmitter ($200) with 411UDR receiver ($385): $585

The Azden UHF Performance system offers 63 channels in a group/channel matrix scheme — an impressive feature for a unit in this price range. Also, the all-metal housing has a rugged, durable feel, unlike the plastic assemblies of the other five. The channel, power, and volume controls are located on the back panel, which I found a bit inconvenient. But the LEDs are well designed and easy to read from a distance.

The handheld yields a lively sound, and the sleek taper of the shank makes it an especially facile stage instrument. However, the absence of a separate mute switch (or mute setting on the power switch) is problematic. Although though there is muting circuitry that's active when the mic is powered up or down, I heard clicks and pops at various times when turning the microphone on and off.

The body pack works quite well and its switches are the most easily maneuverable. Like the Audio-Technica, it has a reversible belt clip.

Pros: Rugged construction. Frequency-agile, multichannel operation.

Cons: Some back-panel controls should be out front. Unreliable muting circuitry.

UH-10 handheld mic with URR-10 receiver: $189.95
UB-10 body pack with
URR-10 receiver: $189.95

The Nady UHF-10 Diversity system gives its more expensive brethren quite a run for their money in terms of features and quality. The handheld transmitter produces a decent, uncolored vocal response, and its construction makes it comfortable to handle. You can operate the power/on/mute switch with the thumb of one hand — a definite advantage over some of the handhelds and both of the snap-on capsules in our roundup.

The receiver has LEDs for antenna status and overload, but the antennas are rear mounted, making it difficult to install the unit in a rack or rack drawer. (Nady also puts out the URR-10 [$249.95], a rackmount version of the same system.) There are brackets for securing the antenna poles (and a manual that tells you to extend them); curiously, though, these existing antennas do not extend or reach the brackets. Like the Azden, some of the Nady controls should be brought to the front. Still, the receiver's solid feel, the transmitters' very good quality, and the unit's low price make it a worthy contender.

Pros: Good sound and solid construction for a low price.

Cons: Rear-mounted antennas. Rear-placed controls.

AX1 snap-on mic transmitter with UR1 receiver: $599.99
AF1 guitar transmitter with UR1 receiver: $599.99

The Samson Airline receiver is small and lightweight yet boasts a generous display of LEDs showing antenna status, three stages of RF strength, and overload. Though its black-on-black lettering makes the volume control unreadable from a distance of more than an eyelash's length away, at least the lettering is on the front panel (as is the power switch) for easy manipulation.

Neither the snap-on capsule nor the guitar transmitter nodule have mute circuitry, which results in nasty popping when the units are powered up or down. Additionally, both transmitters have just a “battery-low” light rather than power-on status LEDs, meaning that (if your battery's healthy) you have to eyeball the receiver's RF LED to know whether your handheld or guitar nodule is on or off.

The plug-in guitar transmitter has no hinged plug like the AKG, and Samson therefore sells two versions — one for the Fender style and one for the Gibson. (Samson also offers the Airline Bass [$599.99], a dedicated wireless system for bass guitar.) But the Airline does have a — 15 dB pad switch, which could come in handy when trying to get a consistent response between, say, a guitar with active electronics and a guitar with passive pickups. The diminutive size of the Airline's receiver doesn't mean it's flimsy, and it cops a definite guitar 'tude, with its curved plastic front, splashy visual feedback, and compact housing. Of particular note: during my acid test to determine signal strength, the Samson prevailed. It went through walls and the floors of my house, displaying “industrial-strength” transmission capabilities.

Pros: Compact size with generous display. Robust, go-through-walls signal strength.

Cons: No muting circuitry.

UT2/PG58 handheld mic with UT4A receiver: $600
UT1 body pack (WA303 cable) with UT4A receiver: $625

The Shure UT4A receiver will accommodate either a wireless SM58 or the budget version, the PG58. The receiver is quite easy to read, with simply a power-on LED, an antenna status LED, and an overload LED on the front panel. The large, well-marked volume knob is also on the front panel, where it should be. Still, the system's design could be improved. The receiver has no power switch, and the screwdriver for the handheld's trim control cannot be stowed inside the unit the way it can with the Audio-Technica.

As for the sound, though, the response of the PG58 is excellent for a mic in its price range and is certainly worthy of the Shure name. It is particularly flattering on female vocals. Having the mute and power switches on two separate buttons is the best design for easy flicking from mute to live status — the most critical move in a wireless vocalist's repertoire. The feel of the handheld is substantial yet comfortable and well balanced.

The design of the Shure body pack stands out, featuring the best control layout of the six body-pack transmitters reviewed here. The status LEDs are easy to read, and the two-button solution to mute and power is served well here too, as are the green and red LEDs for power-on and low-battery status. There's also a — 20 dB pad, which has a spring-loaded locking button for the cable (preventing its accidental disconnection) and a reversible belt clip.

Pros: Excellent sound. Good body-pack design.

Cons: No power switch on receiver. Handheld's adjustment screwdriver can't be stored inside the unit.

Your decision as to which wireless system is right for you should be based primarily on a product's quality and features. If, however, one of your principal criteria is price, as it would be when shopping for a budget system, then cutting expenses can sometimes supersede either or both of the other factors. Beyond price, there's the matter of valuing one feature or quality above all others. Each of the wireless solutions in our roundup has at least one standout aspect to it, and the following are descriptions of those highlights.

The AKG WMS 40 MicroTools provided the best-engineered plug-in instrument transmitter, with both a mute switch and a swivel-plug shank. The Audio-Technica Freeway 600 is the best performer in the all-around category, with high marks for sound quality, build quality, and interface design. The Azden UHF Performance wins the kryptonite and satellite-dish awards for its roadworthy construction and multichannel operation. The Nady UHF-10 Diversity system — because it's the least expensive of the bunch and maintained a consistent, high-quality connection — gets the nod for best bargain. The Samson Airline garners kudos for the portability of its receiver, its full-featured but compact display presentation, and its rock-solid signal strength. And the Shure Performance Gear Wireless, UHF, captures the bilingual award for most closely translating its well-known excellence in wired-microphone sound and performer experience to the wireless world.

The quality of the systems that we tested determined no clear losers or winners. Each has its strengths, and though “budget” is in the title of this roundup, price should be only one guideline when making your final decision. Like choosing between a Strat and a Les Paul, it's more about personal taste than price. And there is enough diversity — in the classic sense of the word — to keep you wailing, both instrumentally and vocally, on any of these systems.