Wireless Systems and Antenna Placement

“Receiver antennas are one of the most misunderstood areas of wireless microphone operation.”

Credit Shure’s Product Support Group with that bold statement. And they ought to know.  They’re the ones rivaling Sherlock Holmes in the art of deductive reasoning as it relates to solving dropout mysteries. Many times the culprit turns out to be antenna placement.

Mistakes in antenna selection, placement, or cabling can cause short range, dead spots in the performance area or low signal strength at the receiver that leads to frequent dropouts.

Before we cover placement, let’s review the types of antennas you’re likely to encounter in a wireless system.

Omnidirectional Antenna Types

The size of an antenna is directly related to the wavelength of the frequency to be received. The most common types used in wireless audio systems are 1/4-wave and 1/2-wave omni-directional antennas, and unidirectional antennas.

¼-Wave.  This antenna is one-quarter the size of the desired frequency’s wavelength.  (Example: A 200 MHz wave has a wavelength of about 6′, so a ¼-wave antenna length would need to be approximately 18″.) For VHF Applications, an antenna anywhere from 14–18 inches is perfectly appropriate as a 1/4-wave antenna. Since the UHF band covers a much larger range of frequencies than VHF, 1/4-wave antennas can range anywhere from 3 to 6 inches in length, so using the proper length antenna is important.

Tip: 1/4-wave antennas should only be used when they can be mounted directly to the wireless receiver or antenna distribution system; this also includes front-mounted antennas on the rack ears. These antennas require a ground plane for proper reception, which is a reflecting metal surface of approximately the same size as the antenna in at least one dimension. The base of the antenna must be electrically grounded to the receiver.

½ Wave. This antenna is one-half the size of the desired frequency’s wavelength. (A 1/2-wave receiver antenna would be about 3 feet long for the 200 MHz wavelength in the example above.)

Tip: A 1/2-wave antenna does not require a ground plane, making it suitable for remote mounting in any location. While there is a theoretical gain of about 3 dB over a 1/4-wave antenna, in practice, this benefit is seldom realized.  There isn’t a compelling reason to “upgrade” to a 1/2-wave antenna unless remote antennas are required for the application.

Unidirectional Antenna Types

In wireless mic applications, unidirectional antennas are typically only employed in UHF systems. They tend to be frequency-specific, so some care must be taken in selecting the proper antenna to cover the required frequencies. A directional VHF antenna is 3–5 feet wide (just like a roof-mounted television antenna), which makes mounting a mechanically cumbersome task.

Shure Helical Antenna

Shure’s HA-8241 Wideband UHF Helical Antenna

Unidirectional antennas are primarily used for long range applications. A minimum distance of 50 feet is recommended between transmitter and unidirectional antennas.  Here are two types you might encounter:

The helical antenna is a unidirectional antenna that combines high gain with a wide frequency range. It has a somewhat higher gain than the traditional log periodic or “paddle” antenna (12dBi vs. 7dBi), but it has a narrower coverage angle, typically about 60 degrees compared with 120 degrees for the log periodic.

A unique characteristic of the helical antenna is that it doesn’t have a “preferred” polarization angle. It works equally well with antennas that are oriented vertically or horizontally.  For this reason, it has become popular as a wireless in-ear transmitter antenna.

Shure Paddle Antenna

Paddle-style antenna

The ‘log periodic’ or ‘paddle style’ antenna
The most common directional antenna is the log-periodic type, often called a “paddle” antenna because of its shape.  In the direction of increased sensitivity, the antenna can deliver a stronger signal to the receiver, which can increase the effective range of the system.  At the same time, the antenna can offer some rejection of interfering signals coming from other directions.

Tip: Keep in mind that most directional antennas are wideband devices. They are equally sensitive to all frequencies in their operating band.  This means that a directional antenna aimed at an interfering source will increase the level of that interference as well as whatever desired signal may be in that same direction.  Finally, too much antenna sensitivity (gain) may result in overload of the connected receivers.  This can aggravate intermodulation and actually desensitize the receiver.  For most applications omnidirectional antennas are still the norm.

10 Antenna Placement Tips for Optimum Wireless Performance

Modern diversity receivers offer better performance than single-antenna types, but you still need to put the right antennas in the right place to maximize the performance and reliability of the system. Here are some general rules to help you get the best results.

Maintaining Line-of-Sight

Maintaining Line-of-Sight

  1. Maintain line-of-sight between the transmitter and receiver antennas as much as possible, particularly for UHF systems. Avoid metal objects, walls, and large numbers of people between the receiving antenna and its associated transmitter. Ideally, this means that receiving antennas should be in the same room as the transmitters and elevated above the audience or other obstructions.
  2. Locate the receiver antenna so that it’s at a reasonable distance from the transmitter. A minimum distance of about 16 feet is recommended to avoid potential intermodulation products in the receiver. The maximum distance is not constant but is limited by transmitter power, intervening objects, interference, and receiver sensitivity. It’s better to have the antenna/receiver combination closer to the transmitter (and run a long audio cable) than to run a long antenna cable or to transmit over excessively long distances.

    Quarter and Half Wave Antennae

    1/4 wave and 1/2 wave antennas: UHF range

  3. Use the proper type of receiver antenna.  A 1/4-wave antenna can be used if it’s mounted directly to the receiver, to an antenna distribution device or to another panel, which acts as a ground-plane. If the antenna is to be located at a distance from the receiver, a 1/2-wave antenna is recommended. This type has somewhat increased sensitivity over the 1/4-wave and does not require a ground-plane. For installations requiring more distant antenna placement or in cases of strong interfering sources, it may be necessary to use a directional antenna suitably aimed. Telescoping antennas should be extended to their proper length.
  4. Select the correctly tuned receiver antenna(s). Most antennas have a finite bandwidth making them suitable for receivers operating only within a certain frequency band. When antenna distribution systems are used, receivers should be grouped with antennas of the appropriate frequency band as much as possible.
  5. Locate diversity receiver antennas a suitable distance apart. For diversity reception, the minimum separation for significant benefit is one-quarter wavelength. The effect improves somewhat up to a separation of about one wavelength. Diversity performance does not change substantially beyond this separation distance. However, in some large area applications, overall coverage may be improved by further separation. In these cases one or both antennas may be located to provide a shorter average distance to the transmitter(s) throughout the operating area.
  6. Locate receiver antennas away from any suspected sources of interference. These include other receiver and transmitter antennas as well as sources mentioned earlier-digital equipment, AC power equipment, etc.
  7. Mount receiver antennas away from metal objects. Ideally, antennas should be in the open or perpendicular to metal structures such as racks, grids, metal studs, etc. They should be at least one-quarter wavelength from any parallel metal structure. All antennas in a multiple system setup should be at least one-quarter wavelength apart.
  8. Orient receiver antennas properly. A non-diversity or single antenna receiver should generally have its antenna vertical. Diversity receivers, which have two antennas, can benefit from having antennas angled 45 degrees apart.
  9. Use the proper antenna cable for remotely locating receiver antennas. A minimum length of the appropriate low-loss cable equipped with suitable connectors will give the best results. Because of increasing losses at higher frequencies, UHF systems may require special cables.
  10. Use an antenna distribution system when possible. This will minimize the overall number of antennas and may reduce interference problems with multiple receivers. For two receivers, a passive splitter may be used. For three or more receivers active splitters are strongly recommended. Verify proper antenna tuning as mentioned above. Antenna amplifiers may be required for UHF systems with long cable runs from the equipment to the antennas.

Wireless Systems Guide - Antenna Setup

For a more comprehensive discussion on the subject, Download Shure’s free booklet Wireless Systems Guide – Antenna Setup

Or listen and learn. A Shure Educational Podcast on “Antenna Types & Optimal Placement for Wireless” is available here.

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Davida Rochman

Davida Rochman

A Shure associate since 1979, Davida Rochman graduated with a degree in Speech Communications and never imagined that her first post-college job would result in a lifelong career that had her marketing microphones rather than speaking into them. Today, Davida is a Corporate Public Relations Manager, responsible for public relations activities, sponsorships, and donation programs that intersect with Shure at the corporate and industry level.

Show Comments (14)

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  • Bankncard says:

    Thanks for this great content

  • Anthony says:

    I work at a high school and I’m looking at getting 2 qlxd mics for the football field. We have the a press box located above the seating about 150-200′ from the field. I am looking at getting a paddle style antenna to have in the booth pointing at the field so they can use the mics from the field. Would that do the trick or should they buy a couple helical antennas. Would also like to be able to use the mics in the press box if need be.

    Thank you in advanced!

    • Rebecca Senft Rebecca Senft says:

      Hey, Anthony! Thanks for the question. We’d recommend getting in touch with our customer support team at support@shure.com. They’ll be able to provide recommendations based on your situation.

  • Jim Cerone says:

    Where/what kind of mount (like the one in the photo) is best for 2 Shure “paddle” antennas?

  • Michael says:

    so I have a Half wave diversity system
    That is located in a football club bar area
    On Big game days the announcer will go up onto a roof mounted platform with the camera guy
    Can I extend one of the antenna up on the roof with so it’s closer
    And to avoid drop outs
    Many thanks

  • Michael cox says:

    So can I fit a half wave antenna to a quarter wave receiver remotely ?
    Ie extend a cable from the receiver up the wall to a suitable spot on the ceiling and have a half wave sit there on a mounting bracket just to give a better line of sight to transmitter

    • Rebecca Senft Rebecca Senft says:

      Hi, Michael! Thanks for the question. We reached out to our application’s team and here’s what they said:

      “We recommend maintaining line-of-sight to both receiver antennas from wherever a transmitter might be used. Quarter-wave antennas are designed to be mounted on the receiver itself, the rack hardware, or any other suitable ground plane. Half-wavelength antennas are suitable for remote-mounting in locations such as walls, ceilings, or mic stands.

      Most of our half-wavelength antennas have specific frequency ranges, so make sure that the one you choose is appropriate for your wireless receiver.”

  • Bruce says:

    Oh, and at the transmitter end…..
    In these days of transmitter power being reduced almost daily by government fiat, you need to squeeze the maximum out of the “send end” as well.

    With your basic “walk-on, “death by Power-Point” gig, things are fairly simple; transmitter in the suit-coat pocket, hang one of those “headset” mics on the talent and away you go. Not bad at a fair distance in a dimly-lit shed, but close up? And never mind the mental gymnastics of trying to ignore the “nasty growth” on camera.

    If you are doing a “heavy”, live, song and dance gig like “Chorus Line”, forget it. The solution, such as it is, took a while to develop. With the antenna in direct contact with the “sweaty body” in question, as was, due to the general “sogginess” of things, the “Earth” i.e. the transmitter case, guess where MOST of your 15mW is going. Not likely to leave burn marks, but not much is going to get to your carefully-sited receivers.

    Solution: “Socks” made from bubble-wrap. Basically a small cylinder of bubble-wrap slipped over the transmitter antenna and held in place with the traditional “gaffa” / “duct” tape. This provided a small air-gap between the “glowing” talent and the TX antenna, which meant we were only losing probably 50% radiated power, instead of 80%.; crude but effective

    That show has probably killed more “miniature mics” than any other. “Sweat-Death” was the term we used. ONE drop of sweat hits the head of the capsule and things get nasty VERY quickly. Capillary action in fine in trees but NOT in microphones.

    First it sounds, well, like the performer is “underwater”, which, from the point of the microphone, they are. When this happened, the trick was to haul the performer off at the earliest possible moment and swap mics. This was NOT always easy when the cable was threaded through underwear, or under a “sprayed-on” costume.

    The next part of the trick was to dump the ailing mic in DISTILLED water. Sweat, even the “glow” from the cutest danseuse, contains SALT, the sworn enemy of electronic devices. The idea of the distilled water was that “chemistry” would do its thing and the salt would “migrate” to the distilled water, (fingers crossed).

    After 24 hours of creative chemistry, the mic. would be hung up to dry for at least two days (sometimes in the wardrobe department “DRYING ROOM”), and, if it came back to life on test, tagged as having been “resuscitated”.

    HOWEVER, the “sweat” had usually traveled from the capsule and along the cable, from whence it can NEVER be entirely removed. Ultimately, the effects of salt corrosion in the cable starts to have an evil effect on the behavior of the condenser mic system. The WHOLE cable becomes “microphonic” and thus useless when strapped to a hot (or even average) body who is singing and DANCING.

    Three capsules per week into the trash was pretty average on that gig.

  • Bruce says:

    I remember the “fun times” of the old 37MHz gear!

    Then Sony, Sennheiser (1036 and 1046), and others started producing fine 900Mhz stuff; compact transmitters but bulky, modular receivers, but they were a huge advance. Fiddly and a bit “delicate” at times but the audio and RF performance was superb.

    I have long been a fan of ground-plane antennae. One trick is to hang them upside-down above one side of the stage / performing area. The other part of the trick is to use a lightweight wooden beam (non-metallic, of course) suspended on rope, not steel wires, to get the antenna “farm” where you want it.

    No, the sound does not get out of phase with the antennae and boosters inverted..

    The beauty of the ground-plane antenna is that has a “pattern” that is more-or-less, hemispherical, unlike Yagis and “helicals”, which tend to be a bit more directional. This may be a bit academic in a big theatre as the RF bounces off the steel-reinforced concrete walls and often, the “best” signal is a reflection off a nice wall somewhere. With a true diversity system, all of the nasty “swooshes and dropouts” disappear, as long as you don’t push the “envelope” too much. Decent dipoles are the next best bet.

    When you are covering golf or motor racing, EVERYTHING changes.

    A pair of ground-planes also ensure that a transmitter will be “visible” to an antenna as soon as it enters the stage area, and, quite often, even in adjacent areas like dressing rooms; discretion and tight control of the mixer channels are advised. More than one “knob jockey” has been fired for repeating something said on an open transmitter in a dressing room.

  • Blanton says:

    question – how far away do receiving antennas need to be from transmitting antennas? Of course, FOH is usually an antenna farm with wireless gear of all sorts.

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