Think about how many obstructions will be between you and the receiver. Walls and columns count, but don’t forget that a drum set has enough metal in it to make cheap wireless systems cut out. How far you will be in line-of-sight from the receiver? Most are pretty good these days, but in the off chance you are hoisted a few hundred feet in the air like Gene Simmons, make sure you have the range you need. Don’t count out a wireless mic system if you only play small stages. The smaller the stage, the easier it is to trip on a cable – or multiple cables.

 

There is a chance your signal could drop out. No one wants this, but it happens just like a bad cable happens. If you are playing all ages shows at the local VFW and barely making gas money, maybe you can take a few shortcuts. If you make your living doing a Cher tribute in Vegas and a bad show will lose you your gig and send ripples through the whole circuit, maybe spend a few bucks. There are two things that determine drop-outs – antennae diversity and what band of frequency they are operating in. From worst to first in the drop out rank: Single diversity—this means there is one antenna to get a signal. If it doesn’t get one, it drops out. Two antenna systems are called true diversity and the receiver picks between the two for the stronger signal. True diversity systems have come down in price and are nice option.VHF systems—operate on a bandwidth competing with cabbie's and a thousand radio stations. There are a few bands that don’t even work anymore – the FCC took them away. Anything currently made in this frequency is going to be the lowest-of-low quality. Probably best suited for home karaoke and such. UHF systems—operate on high