A comparison of Wireless Sound

2 Cups of Coffee drank, heart pounding, time to give you the reality check you probably need if you used your Rode Wireless ME this morning.

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VIDEOGRAPHERS:

Please try to find it in your budget to upgrade past the DJI, Rode, HollyLand and other consumer mics if you're serious about videography. Those should be left for the YouTubers and Vloggers - Hold yourself to a higher standard and at least start with something like a Deity PR-2 or move up the chan into the Deity Theos, or cheaper Shur/Sennheiser system. I know you don't care because most people are watching your video on their phone, but Ithink good sound systems are getting more and more popular - Decent soundbars are more affordable, car speakers continue to get better, and even phone/laptop speakers begin to tell the truth about your sound.

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AUDIO PROFESSIONALS:

Okay time to talk about real audio - I personally have not owned anything except Deity systems and Sennhesiers systems, but have had the pleasure of using lots of expensive wireless systems thanks to news, church, and production jobs! I did reasearch and made some charts on my findings - I know it's important to use your ears, but the specs really make a difference when you want to get the best sound possible. I love the Deity Theos for its versatility and with my limited location-sound schedule, I really don't need something more expensive, especially when I lose some practicality features in trade for sound quality. That may sound counterintuitive, but I'm mostly a post-man at this point, and when we are on sets they are lower budget films and docs, commercials, etc. We, of course, have fantastic boom mics and recorders, so fantastic sou quality isn't the question for me - 9/10 times the lavs are only back-ups for our work. If we signed on for a mchlrg pojct,hee is usually an audio budget and then we're probably using an entirely different slew of gear.
That all being said, here are two lists - one that compares budget consumer wireless systems and the other comparing professional systems.

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Quick takeaways (engineering-focused)

• Ultra-wide tuning / RF agility: Sound Devices A20-Nexus (470–1525 MHz via SpectraBand) and Wisycom (up to 1075 MHz RX) stand out if you’re constantly dodging congested TV bands or traveling internationally. Sound Devicesgothamsound.comcontent-files.shure.com
• Lowest quoted latency: A10/A20 quote ~2 ms in standard modulation; great for IFB/handheld vocal and tight camera hops. Sound Devices+1
• On-transmitter recording / timecode: Deity Theos (32-bit float + TC sync) and Sound Devices A20-Mini (32-bit float, TC) give you true dual-system safety at the bodypack—Zaxcom pioneered this concept and still integrates TX recording deeply. Deity MicrophonesSound Devices
• Legacy workhorses: Sennheiser G3 and Lectro L-Series remain ubiquitous; they’re analog/“hybrid” compander systems—rock-reliable when coordinated well, but they won’t give you digital-link perks like encryption or fixed latency. Sennheiser Assets
• Broadcast flagships: Shure Axient Digital, Sony DWX, Sennheiser Digital 6000/9000 (with EK 6042), Lectro D Squared are the common sights on large TV stages for their networkability, spectral efficiency, and encryption. University of Nebraska OmahaLectrosonicsSound Devices

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The Deity systems really are fantasic for the rice and punch in at nice spot for both lists IMO. But obviously if I was rich I'd go with Sound Devices or something.