Sony's recently launched series of modestly priced digital wireless systems are attractively designed, well built, and have all the necessary features for the typical user—plus some unique ones. Aspects from Sony's professional wireless lines, such as detachable antennas and interchangeable microphone heads, have been integrated. And the lemon yellow circles surrounding the receiver controls add a splash of color that is rare in the typical gray and black world of pro audio equipment.
Operating in the 2.4 GHz band, the DWZ Series offers a handheld and bodypack transmitter, a half-rack receiver, and a specialized receiver optimized for guitar and bass. Setup is simple, selecting channel one through six via the rotary encoder on the half-rack receiver, or turning the six-position switch on the guitar receiver. Quickly set the transmitter to the same frequency and begin playing, singing, or talking.
WIRELESS RECEIVER
The half-rack receiver features a generous high-resolution color LCD screen, providing current system channel and status, as well as access to the menu. The channel number display is large and bright enough to recognize across the stage, and the remaining battery life displayed across the top can also be seen from several feet away. No more searching for your glasses or a flashlight to monitor what's going on. RF level for both antennas is shown, with the current active antenna highlighted—along with a multi-segment audio meter displaying green bars for working audio level, plus a yellow, red, and peak display.
Front-panel controls are simple, consisting of a power button, a generous push-to-enter rotary encoder, and an escape button to back out of the menu. The rear panel has a pair of BNC connectors for the articulating antennas, which will either project straight out the back or fold to 90-degrees for the typical “rabbit ear” antenna position. The balanced XLR connector is supplemented with a mic/line switch.
Different from other receivers, two unbalanced quarter-inch connectors are present. One is for the standard unbalanced audio out, and the other is for auxiliary or tuner use, and can be programmed to either mute or remain unmuted when the transmitter's mute is engaged. Completing the rear panel are a 12V connection for the external power supply and a miniature USB connector for firmware upgrades.
Using the menu function, the channels can be set either manually or via an RF scan for clear channels. I discovered that when an active transmitter is close to the receiver while scanning, it will overwhelm that function and a clear channel will not be found; moving the transmitter a few feet away allows the scan to function properly.
The menu also includes Audio Setup. To adjust the response of the audio from the microphone, a five-band equalizer is provided, with frequency centers at 60 Hz, 250 Hz, 1 kHz, 4 kHz, and 12 kHz—with level control of +/-12 dB for each band. The rotary encoder is used to make these EQ adjustments. If you need to monitor the audio from the mic at all times or send an instrument signal to a tuner, the status of the Aux/Tuner output can be set to continue sending a signal when the transmitter is muted.
Rounding out the menu, Advanced Settings allows the user to choose either wideband or narrowband RF spacing. The type of battery used in the transmitter can also be specified, so that the remaining battery life displayed will be accurate.
The specialized guitar receiver can be powered with the included 12V power supply, or with a 9V power supply or battery. It could easily fit on a pedalboard, and features a tuner output that remains on when the guitar is muted. A multi-position cable emulation dial mimics the HF roll-off when using typical performance-length guitar cables.
The bodypack is powered with two AA batteries, which insert into a slick battery sled and lock securely into the side of the pack—one of the better solutions I’ve seen.
HANDHELD TRANSMITTER
The handheld is well balanced and comfortable, with a slight taper to the durable metal handle. It is substantial without being overly heavy. An interchangeable cardioid dynamic mic head is threaded on the handle, featuring a center contact and two concentric rings for the connection. Inside the handle within the mic head contacts is a level attenuation switch, with positions for 0, -6, and -12 dB.
The only visible control is a recessed power/mute button, paired with a status LED. It remains green when on, until the battery is ready to change, when it becomes red. When the transmitter is muted, the LED flashes. Under the threaded battery cover, a locking switch can be enabled to prevent accidental muting, turn-off, or channel changes. A small LED display coupled with a micro-button allows channel setting.
The audio quality is good, with a normal cardioid polar pattern and decent attenuation at the rear. The mic responds best when used fairly close to the mouth, and has a modest sensitivity to breath noise. Mild handling noise can be noticed when the transmitter is tapped or the fingers rub on it, but it is quite low compared to the audio output when in use with singing or speaking.
Two AA alkaline batteries will power the transmitter for 10+ hours of continuous use; NiMH or lithium batteries may also be substituted. A miniature USB port is included for upgrades.
BODYPACK TRANSMITTER
The quite compact, solid bodypack has a metal chassis; it looks and feels like professional audio equipment. Headset and lavalier mics, and instrument cables connect to it with a locking 1/8-inch connector. The front surface has a small LED display that displays the channel number for a few seconds when the transmitter is turned on, and also when changing channels. It is flanked on either side with a power/muting button and a channel selection button.
Two side-mounted switches change the operation between microphone and instrument, and provide variable attenuation of 0, -10, and -20 dB. A locking button on the top deactivates the other buttons and controls. Also visible on the top are a pair of LEDs for power status/battery condition and muting.
The bodypack is powered with two AA batteries, which insert into a slick battery sled and lock securely into the side of the pack—one of the better solutions I've seen.
SETTING THE RECEIVER'S EQ
The receiver's internal five-band graphic equalizer permits flexible shaping of the individual microphone's response to the particular circumstance or user—before the signal reaches the mixing console. This can prove useful for high-passing the mics (attenuating the lowest frequencies) to minimize rumble or wind noise or for lowering a frequency range that is more sensitive to feedback where the mic is positioned. And if you have a simpler console with only two or three bands of EQ, you'll now have finer control over these mics.
Accessed via the receiver menu, the first act is to enable or disable the EQ. When enabled, the audio input from the mic is processed with any frequency-specific gains or attenuations before leaving the XLR output. A visual representation of a graphic equalizer is displayed on the screen, with each band labeled below a +/-12 dB vertical line with a horizontal position marker to show the boost or cut.
After a frequency band is selected, turning the rotary control clockwise will increase the level in 1-dB increments, and decrease it by turning the other way. Pressing in the control sets the level and you continue band-by-band through the five ranges.
In testing the EQ with voice, attenuating the 60-Hz band is effective in lowering wind, breath, and handling noise. Slightly boosting the 1-kHz and 4-kHz bands enhanced the “cut” of the voice and emphasized the consonants for increased intelligibility. The 12-kHz band slightly enhanced or backed off the sibilance.
WIDE- AND NARROW-BAND TRANSMISSION
The DWZ Series wireless offers two different transmission modes, wide-band and narrow-band. These settings allow the user to choose what will work best in the particular RF environment, depending on how many other 2.4-GHz transmissions are present in the same location.
In operation, each channel can transmit on more than one frequency, and seamlessly hops among them when interference is detected on the present frequency. The wide-band mode offers two frequencies that are spaced between 20 MHz to 75 MHz apart from each other. This setting is designed to minimize any potential interference the DWZ wireless would have on existing Wi-Fi and other similar equipment.
The narrow-band mode offers three closely spaced frequencies, at intervals of 4.5 MHz, with each block occupying a different portion of the 2.4-GHz spectrum. This setting helps the wireless avoid interference from other devices operating in the same spectrum, such as wireless remote controllers for lighting.
The receiver and transmitter must both be set to the same mode in order for signal to pass, and all DWZ wireless operating together must also share the same mode. The audio response of the signal is the same in either setting, though the latency is slightly higher (approximately 6 ms) in the wide-band mode.
CONCLUSIONS
The Sony DWZ Series digital wireless systems are well built, and it is evident that considerable thought went into their design and feature set. The audio quality is good and consistent, the system is easy to set up and use, and the menu options function well. The receiver's switchable quarter-inch Aux/Tuner output is a nice addition, as is the high-resolution color screen.
Sony has made professional wireless systems for many years, and some of these characteristics have trickled down into these units. The list price for the handheld system is $699.99; list for the guitar system is $499.99.
