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Frequently Asked Questions

• How can I estimate decibel loss over distance?
• How do I properly set the Wireless “Gain”?
• How do I provide feedback about this website?
• How do I set up my subwoofers for the best performance and avoid “power alleys”?
• How does Electro-Voice remain on the cutting edge of installed sound technology?
• How does loudspeaker damage occur, and how can I protect my system?
• How long has Electro-Voice been a leader in acoustical engineering?
• How many DC-Ones can I control from a single PC?
• What are some guidelines for general microphone use?
• What are some guidelines for microphone techniques for musical instruments?
• What are some guidelines for remote mounting an antenna?
• What are some guidlines for antenna distribution?
• What are the attributes of wireless microphone antennas?
• What are the minimum system requirements for a PC running the DC-One Editor software?
• What are Wireless Gain settings?
• What considerations should I think about when selecting a wireless system?
• What is Combination Squelch Circuit?
• What is Diversity?
• What is FIR-Drive?
• What is patented Posi-Phase Diversity?
• What is Phase Cancellation?
• What is some important wireless terminology?
• What is Squelch Circuit?
• What is Variable-D?
• What is VOB?
• Where can I download the IRIS-Net software?
• Where can I find information on discontinued products?
• Which antenna types are available for EV wireless microphones?
• Who can I contact if I have additional questions?
• Why are Electro-Voice broadcast microphones the number-one choice for radio and television voiceover and interview work?
• Why choose EV wireless?
• Why have so many top-name performers chosen Electro-Voice microphones over the years?

How can I estimate decibel loss over distance?
You can use the EV Air Loss Estimator app.

How do I properly set the Wireless “Gain”?
 

1. Before the audio connections are even made or with the PA system muted, simply sing or scream into the microphone as loudly as it will ever be used in performance in this application. (For guitar systems, turn the gains on the guitar to maximum and hit the hardest note that will be used in concert)
2. Then adjust the gain on the transmitter until the audio meter peaks in the usable range.
3. Make the audio connections and use the mixing board or amplifier to set the appropriate audio levels for the PA. For a guitar/instrument wireless system, use the receiver output level adjustment to match the “wired” instrument output level.

How do I provide feedback about this website?
Your feedback is a valuable tool for helping improve the user experience on this website. You can submit questions, comments, and suggestions to the webmasters.

How do I set up my subwoofers for the best performance and avoid “power alleys”?
There are several techniques that can be used for setting up and configuring subwoofers, depending on which model and how many you are using. This article explains some of these techniques and demonstrates some of the tools available from EV to get the most out of your rig in any venue.

How does Electro-Voice remain on the cutting edge of installed sound technology?
Electro-Voice remains on the cutting edge of installed sound technology through innovative adaptation of our legendary RE and PolarChoice condenser capsules. These premium-grade elements are world renowned for their superb sonic performance.
Electro-Voice’s breakthrough PolarChoice technology sets new standards in Installed Sound convenience, reliability and performance. Shortening the long list of products, polar pattern selections and margin for error, each PolarChoice model incorporates four switchable polar patterns strategically designed for these specific applications. Selection and deployment is as easy as choosing the best physical design for the installation, and setting the polar pattern switch for the best coverage performance. Should installation conditions change, the polar pattern can always be changed to meet the new requirements.

How does loudspeaker damage occur, and how can I protect my system?
Loudspeaker damage generally falls into two categories-thermal failure and mechanical failure. Protecting you system is a matter of choosing the proper equipment, setting it up correctly and operating it within its capabilities. This article from EV Engineering explains the intricate relationships between loudspeakers, amplifiers and DSP and provides insight into the causes of loudspeaker damage and how to keep your system running faithfully.

How long has Electro-Voice been a leader in acoustical engineering?
In 1934, just six years into its existence as a pioneer in electro-acoustical solutions, Electro-Voice invented the hum-bucking coil for microphones – still an industry standard almost 80 years later. This invention marked the start of EV’s success in building microphones, and the company continued to drive audio technology ahead, rising to the challenges of rapidly changing times. During World War Two, EV worked with the U.S. Military on the development of the T-45 noise-cancelling microphone, a helmet-attached device that raised the success rate of combat communications from 20% to 90%, saving many lives in the process. With reliability and performance proven in the most critical environments, EV microphones later accompanied U.S. astronauts on the earliest space missions and many thereafter. And all this, of course, occurred while EV mics were performing at the highest level on live stages around the world, during the heyday of Jazz and the birth of Rock ‘N’ Roll.
EV continues to set new standards for microphone design today, adding to this long list of historic achievements in audio design. We were the first manufacturer to use neodymium-based magnet structures (N/DYM®) in microphones, thus achieving higher output and condenserlike qualities such as substantially-faster transient response, crystal clarity and reliable performance. Our goals in developing microphone technologies have always been the same: providing the highest sound quality, achieving better and more comfortable handling for the user and extending our tradition of legendary reliability and warranty support.

How many DC-Ones can I control from a single PC?
The DC-One Editor software allows a user to control 1 (one) DC-One directly from a PC. However, the DC-One features Master/Slave mode, which will allow you to connect a second, slaved DC-One to the master unit that is controlled by the PC. In this way, the settings and adjustments made to the first unit are reflected in the slave unit as well. Please refer to the DC-One User Manual for more information on Master/Slave mode and settings.

What are some guidelines for general microphone use?

• Always point the microphone at the desired source and away from sources of unwanted sound.
• The microphone should be located close to the sound source to minimize interference from other potential sound sources.
• Use the three-to-one rule when using multiple microphones: place each microphone three times farther away from other microphones as it is from the desired sound source. (If the microphone is 1‘ away from a sound source, it should be 3’ away from the next closest microphone).
• Minimize over-handling of the microphone to reduce unwanted mechanical noise.
• Positioning the microphone close to the sound source will increase gain-before-feedback and will also increase the bass tone of the signal.

What are some guidelines for microphone techniques for musical instruments?
Miking techniques are a matter of personal preference. Choosing the right microphone for your application is a good place to start, and the suggested mic notes in each application below indicate EV mics that are either designed for the application or have been recommended by experienced professionals for their performance as described. These are merely guidelines to assist in the choice and placement of the microphone to achieve optimal performance.

What are some guidelines for remote mounting an antenna?
Antennas should be mounted with a direct line-of-sight to the performance area. Whenever possible, that also means above the cast and crew, so mounting antennas ten feet in the air at the side of the stage is one of the best places for them. All coaxial cable has signal loss, so keep the cable runs to minimum and use low loss cables to keep the maximum performance range. The CXU cables from EV use very low loss cables that will help maintain range.

What are some guidlines for antenna distribution?
When racking multiple receivers together, it is best to use an antenna distribution system like the APD4+. The APD4+ provides power and antenna connectors for 4 ½ rack receivers and can be cascaded to run antennas for up to 16 systems from 2 antennas (using 5 APD4+ units). With the REV-D receiver’s antenna pass through feature, one APD4+ can supply antennas for 24 channels of REV wireless. One important thing to keep in mind is to connect the input of each additional splitter to the output of the original APD4+ (the one connected directly to the antennas) to prevent a loss of range.

What are the attributes of wireless microphone antennas?
Antenna Types
Most products ship with 1/4-inch wave antennas to be mounted directly on the receiver or the rack mount hardware. These 1/4-inch wave antennas are not ground independent, meaning that they cannot be mounted remotely at the end of a run of coaxial cable. For remote mounting, use 1/4-inch wave or directional Log Periodic antennas such as the FA-GW, CLA series or the LPA500.
Remote Mounting
Antennas should be mounted with a direct line-of-sight to the performance area. Whenever possible, that also means above the cast and crew, so mounting antennas ten feet in the air at the side of the stage is one of the best places for them. All coaxial cable has signal loss, so keep the cable runs to minimum and use low loss cables to keep the maximum performance range. The CXU cables from EV use very low loss cables that will help maintain range.
Antenna Distribution
When racking multiple receivers together, it is best to use an antenna distribution system like the APD4+. The APD4+ provides power and antenna connectors for 4 ½ rack receivers and can be cascaded to run antennas for up to 16 systems from 2 antennas (using 5 APD4+ units). With the REV-D receiver’s antenna pass through feature, one APD4+ can supply antennas for 24 channels of REV wireless. One important thing to keep in mind is to connect the input of each additional splitter to the output of the original APD4+ (the one connected directly to the antennas) to prevent a loss of range.

What are the minimum system requirements for a PC running the DC-One Editor software?
The Minimum System Requirements for the DC-One Editor software are:

• PC* with Pentium IV 1.2GHz or equivalent processor (1.6GHz or better is recommended)
• Microsoft Windows XP Service Pack 2 or Vista (32-bit Only)
• Microsoft .Net 2.0 Framework
• 256 MB RAM
• Hard disk with 250 MB of storage available
• VGA Monitor (1024x768)
• Graphics card, High Color (16-bit)
• Mouse
• Keyboard
• One USB port

*PC refers to Personal Computers running the specified Windows Operating Systems. Intel-based Apple computers are only supported when running the specified Windows OS natively under Boot Camp. Virtualization, such as that offered by VMware or Parallels, is not officially supported.

What are Wireless Gain settings?
Almost every wireless microphone system has an adjustment on the transmitter that is called a “Gain” adjustment, which often confuses users. This setting should really be called a “Deviation Control”, but that would more than likely confuse users even more. The problem with calling it a gain setting, however, is that the end user attempts to use it to set their overall audio level – not what the control is designed to do. After all, wired microphones do not have a gain control and the mixing board or amplifier must be used to control the audio levels.
The gain setting is unique to wireless microphones and is used to maximize the signal-to-noise ratio and dynamic range whether it is used as a podium microphone, close talking vocal mic, lapel, headworn, or even guitar or instrument. Frequency Modulated (FM) radios transmit audio information as changes in the carrier frequency. So, in the operation of a wireless microphone system, the greater the changes in frequency (deviation), the better the signal-to-noise ratio will be. So, if the system’s maximum deviation is ±40kHz, we want the loudest level input into the microphone to generate 40kHz deviation. With the gain set above that, we would be clipping or distorting the maximum input and if it is set too low, we are not getting the clearest possible signal.

What considerations should I think about when selecting a wireless system?
It’s important to note that all wireless systems are not created equal. Only a very few of the products on the market today are actually designed and built by the people selling them. Many of the most popular systems are built by microphone companies that only recently began to manufacture wireless devices. EV is unique in the world of wireless. Electro-Voice has been leading the way in microphone technology for 80 years and Telex practically invented professional wireless microphones 30 years ago. In the late 1990’s when Telex and Electro-Voice came together, these two great heritages combined into a one of a kind microphone company. All EV wireless products are the result of this vast experience and technological know-how. As more and more wireless products get into the market, more problems in installation and performance are being encountered. Often times these problems are unique to the situation and require a trained professional with considerable RF experience to solve. EV maintains a staff of highly trained RF engineers and designers to help our dealers and customers get systems to work in the most critical and demanding applications. Wherever possible, we build features into our new products to take care of problems before they start. The key for the selling dealer is that they have a large company with plenty of experience and talent backing-up their wireless installations.
When selecting a wireless system, consider the long-term use for the system and always purchase a complete solution. That is, if you eventually intend to add more systems, make sure you select a system that will allow for the total number of future systems. Also, don’t forget to look at accessories such as antenna combiners, antenna amplifiers, antennas, low loss coaxial cable, and microphone choices.
Electro-Voice has a complete line of wireless accessories for UHF systems. These accessories allow the system to be tailored for the individual application and allow the user to get the most from their investment.

What is Combination Squelch Circuit?
Advanced products like the FMR-1000, RE-1 and ENG-100 use a combination of tone-code and amplitude squelch to provide maximum protection against errant signals. In this case, the tone squelch works as described in the previous section and when the tone is present the amplitude squelch remains active. If, in the unlikely event, random noise fools the tone detector, the signal at the intended frequency still needs to be high enough to register on the amplitude squelch. The back up amplitude squelch further reduces the chances that an errant signal will cause audio noise while the transmitter is turned off.

What is Diversity?
Diversity reception is a method of minimizing the effects of multi-path delays that create drop outs of the radio signal. This is done by combining or selecting two or more antenna sources for the same signal in order to produce a constantly usable signal. This always requires more than one antenna in different physical locations but not necessarily multiple receivers.
There are many diversity circuits used in wireless microphones on the market today, including twin receiver “switching” diversity, antenna diversity, switching antenna diversity, and the EV patented Posi-Phase auto diversity. Each of these methods may be effective, depending on the particular implementation of the circuitry by the manufacturer, provided other critical areas of the receiver circuitry are not compromised.
The term “diversity” is derived from the word “diverse”, which according to the American Heritage Dictionary means varied or unlike. In the RF world, this translates to two or more unlike sources of received signal energy at the receiver. As long as the two sources of signal are unlike or varied from each other, they are diverse, hence the term ‘diversity’. These days you hear a lot of hype about some systems that claim to be “true” diversity. It this were true, there would also have to be a “false” diversity. But, by definition, any receiver using two or more varied signal inputs has diversity, so the only ‘false’ diversity would be single antenna nondiversity. Major manufacturers may differ in their particular implementation of the diversity circuitry, but all diversity systems use different sources of received energy from two or more antennas. The term ‘true diversity’ is meaningless from an engineering standpoint.

What is FIR-Drive?
FIR-Drive is the name that EV gives to its entire range of FIR offerings, including FIR-capable processing hardware, custom FIR speaker setting files and related software. More information on FIR-Drive can be found in this article.

What is patented Posi-Phase Diversity?
Posi-Phase diversity uses two antennas spaced apart, connected to a single high quality receiver. The antenna signals are connected internally to microprocessor circuits that monitor the phase relationship between the two antennas. Both antennas are active at all times which greatly increases the signal strength under normal conditions. In the event of a signal interruption from a partial phase cancellation (multipath) or total phase cancellation (dropout) the logic circuitry adjusts the phase of the secondary antenna to a positive condition relative to the primary antenna. This process occurs in a fraction of a second and continually adjusts the phase of the second antenna for the optimum signal. A similar patented technique is used in cellular telephones to insure their reliable operation. Telex Posi-Phase diversity is more effective and less costly to produce than switching diversity because only one high quality receiver is required. Since only one receiver is needed, we are able to concentrate on the overall receiver design on more important aspects of the receiver design such as filtering, IF circuitry, squelch and audio circuitry Concentrating on these critical areas of a receiver design yields superior performance over switching diversity.
The superior performance is easily verified by a simple shoot-out with range and audio quality tests. Generally, under the same environment EV systems will go nearly twice as far as competitive models in a similar price range.

What is Phase Cancellation?
Phase cancellation or multipath dropout is a phenomenon where a direct radio signal and a reflected radio signal combine in the receiver. The two signals are slightly out of phase from each other due to the delay in the reflected signal. The phase difference causes the two signals to interfere with each other and cause deterioration in the quality of signal at the receiver. When the distance and geometry are just right, the signals are 180 degrees out of phase and can cancel each other completely, often referred to as a dropout.
A very common example of phase cancellation or multipath dropout has occurred to most people at one time or another. If you have ever driven your car listening to your favorite FM radio station and pulled up to a stop light and noticed your radio station become fuzzy and faded away as you pull slowly forward, you have experienced phase cancellation. Did you notice that when you pulled your car up just a few feet the station came back to perfect reception?
Because multipath problems are related to the geometry of the set up, it is possible to walk test the transmitters and correct potential dropouts using tools like the Sound Check Screen in the REV and adjusting your antenna placements. But be wary, each time you change the scenery, arena, or even add people in the performance area, the mix changes.

What is some important wireless terminology?
Like any other technical business, the wireless world is filled with technical jargon and concepts all its own. It is very important that you understand the basics of this language, or overzealous marketing materials can easily mislead you. A wireless system at its most basic includes a transmitter, andheld or bodypack, and a receiver. There are many ways to get the signal from point A to point B and it is important to dispel any myths or preconceived notions that may have been picked up from various marketing materials. We will go through the more common technical terms and try to give you and objective outlook.

What is Squelch Circuit?
Good receiver design begins with the RF and IF filtering, but another important part of the receiver circuitry is the squelch system, or RF detection circuitry. This circuitry is the “gate” that allows the audio to turn on or off based on the RF signals entering the receiver. Simple gate squelch circuits that are commonly used in most competitive wireless receivers have a detector circuit that opens the audio path as soon as a preset level of RF energy is reached. When the signal is below the preset level, the audio path is “closed” or grounded to be very quiet. The obvious problem with a simple gate squelch is that any RF energy including distortion, hiss, harmonics from such sources as lighting dimmers, CD or DVD players, computers, digital effects and electric motors are indistinguishable from the desired signal. This extraneous RF energy will open the squelch gate just as easily as the intended transmitter. So, often times the user must “crank” up the squelch level all the way up to limit the sensitivity to noise, which reduces range and performance of the system.

What is Variable-D?
A fundamental principal of acoustical behavior is that the volume and perceived frequency content of a sound is influenced by the distance between source and point of perception. As this distance varies, there is a non-linear adjustment of this perceived balance. Very near, a sound source will sound full with rich low-frequencies, defined mid-range, and articulate high end. But as this distance increases, the perceived sound will thin-out with a dramatically reduced low-frequency content. Because microphones serve as the point of perception at the front-end of the audio signal chain, this phenomenon greatly influences how microphones are used and perform.
Normal directional microphones (cardioid, supercardioid and hypercardioid) generate increased bottom-end when used close-up. This is typically called the “proximity effect.” While some vocalists like this effect and use it to enhance their performance, it is attainable only in close-up situations where the microphone capsule is within a couple of inches of the performer’s mouth. When the distance between the microphone and the source is extended, the sound quality changes dramatically, losing a substantial amount of the low-frequency content – thus changing the tone of the performance drastically.
Electro-Voice’s patented Variable-D® eliminates this disadvantage. On the rear side of the diaphragm there is a perforated pipe (interference duct) with precise sonic slots at set distances. The duct provides maximum damping that is completely uncolored and undistorted at 180° off-axis, ensuring the same frequency response as if the source was nearly on-axis. This characteristic is particularly beneficial when the performer (announcer, vocalist or instrumentalist) moves around while addressing the microphone. And this same attribute is why radio announcers and DJ’s have chosen Electro-Voice Variable-D® microphones for decades.
Low-frequency content comes in a variety of characters. An added benefit of the Variable-D® technology’s low-frequency stabilization is the resulting personality of the low-frequency content. Variable-D® microphones produce a tight low-end that is unmatched by any other microphone technology, and this is why models such as the RE20 and RE27N/D are revered not only as the #1 announcers mic, but also the go-to mic for capturing kick drums, low-frequency instruments and guitar amplifiers.
For decades, the RE16, RE20 and RE27N/D Variable-D® microphones have been the chosen industry standard for broadcast show hosts, vocal booths, voice-over studios and professional touring or rental companies, trusted for their unparalleled acoustical performance and robust durability.

What is VOB?
Electro-Voice’s unique VOB™ technology (Vocally-Optimized Bass™) reduces low-frequency distortion in the microphone’s output. VOB™ counteracts proximity effect, sibilance and P-popping, thus assuring maximum musical clarity and vocal intelligibility. Critical damping of the low-frequency resonant peak results in a microphone that replaces the “muddiness” found in competitive models with greater warmth and increased vocal intelligibility. With a wider range of working distances than other microphones, this intelligibility ensures a clean, clear, consistent sound that “cuts through the mix”.

Where can I download the IRIS-Net software?
The IRIS-Net software can be downloaded at irisnet.electrovoice.com. IRIS-Net is free to download.

Where can I find information on discontinued products?
Information on discontinued products can be found in the Discontinued Products Archive. If you are still unable to still cannot find the information for which you are looking, contact Electro-Voice.

Which antenna types are available for EV wireless microphones?
Most products ship with 1/4-inch wave antennas to be mounted directly on the receiver or the rack mount hardware. These 1/4-inch wave antennas are not ground independent, meaning that they cannot be mounted remotely at the end of a run of coaxial cable. For remote mounting, use 1/4-inch wave or directional Log Periodic antennas such as the FA-GW, CLA series or the LPA500.

Who can I contact if I have additional questions?
The Contact section of this website lists all of the EV team members in your region who can help answer your questions.

Why are Electro-Voice broadcast microphones the number-one choice for radio and television voiceover and interview work?
Benchmarked by the legendary RE20 and RE27N/D Variable-D® vocal microphones, Electro-Voice broadcast studio and field production microphones confidently uphold their reputations as Industry Standards. These number-one choices for radio and television voiceover and interview work define the sound and reliability broadcast professionals around the world have come to demand.
Unquestionable reliability and spot-on sonic performance are prime requirements in broadcast field production work. Electro-Voice field production mics have been the go-to industry workhorses for decades. You’ve seen Electro-Voice live interview microphones in the hands of reporters and news correspondents around the world – from interviews with the President of the United States to the family next door – EV’s RE50 and 635A mics are famous in broadcast, television, and radio in the- field broadcasts. These microphones set world standards for ENG (electronic news gathering) and EFP (electronic field production). They are extremely rugged and withstand high humidity, temperature extremes and corrosive effects such as salt-air – all while providing excellent sound performance and that legendary “Buchanan Hammer” durability.

Why choose EV wireless?
All EV wireless systems are designed to exacting standards in our Lincoln, Nebraska facility and built in state-of-the-art Bosch production facilities around the world. Advanced techniques are employed in the design of each wireless product, from initial computer simulation and circuit design all the way through the manufacturing line and automated testing. The individual components in every EV system are tested prior to a complete system test, ensuring reliable field performance. EV wireless microphone products are supported from the factory in Lincoln, Nebraska as well as authorized centers in Canada, Germany and Singapore. EV has been in the business of providing quality wireless communications for demanding professional events for over thirty years – we have the hands-on experience and engineering knowhow to address all your wireless needs. Whether designing a onechannel system or a large, multiple-wireless deployment, you can trust EV to provide the product, frequency coordination and system accessories for a turnkey installation.

• Designed and supported in the USA
• Electro-Voice microphones, DSP, amplifiers and loudspeakers & Telex intercom systems are part of the Bosch Communications family of pro audio brands
• ClearScan™ -- The original and best scanning technology on the planet
• Patented Posi-Phase® true diversity for dropout-free audio with the best range in the business
• Complete range of models and accessories to fit applications and installations of all shapes and sizes
• Designed and built for maximum professional performance
• Superior design, construction and warranty

Why have so many top-name performers chosen Electro-Voice microphones over the years?
Electro-Voice is a proven leader in the design and manufacture of live sound microphones. Preferred by performers the world over since the company was founded in 1927, Electro-Voice microphones have long been the choice of the music industry’s greatest artists. Why have so many top-name performers chosen Electro-Voice microphones over the years?
Trusted by both the artists and their skilled engineers and technicians, our legendary capsule designs are engineered to deliver the highest quality tone and clarity in any performance situation.
Rugged design and construction ensures that the capsule (the heart of a microphone’s performance) remains unaffected by treatment that would destroy other brands’ microphones.
Reliable and predictable polar pattern performance allows superior control in the mains and monitors.
Performances as sonically spectacular for the artist as they are for the audience – the Electro-Voice sound is synonymous with the highest quality and musicality.