JOE WALLACE: I'm Joe Wallace for Gearwire.Com. I'm here with Tony Price at the Electro-Voice booth, and you have a new microphone. Tell me about it.

RICK PRICE: We have a new wireless system. It's the REV. This is a handheld transmitter which you can see is very slender and actually very close. I hope this works to the same size as the wired microphone, so you can see how small an slender it is which is very appealing. It's our concert level wireless system. It can do up to 44 systems out of the box at full computer monitoring and control.

JOE WALLACE: Okay now, what kind of intelligent frequency-finding characteristics do you have at the receiver end?

RICK PRICE: We actually -- Electro-Voice and Telex have been in the wireless business for over 30 years, and we have what is called ClearScan which scans not only for the best channel but the best group of channels because if you're coordinating more than one wireless system, you need to know that. So, it does it with one button push. It's very easy to use, and then with inside the computer monitoring capability, we have all sort of ways to do frequency spectrum analyzing, and really see what's happening in the wireless domain.

JOE WALLACE: Now for a newcomer to wireless, where should somebody start and what kind of advice do you have for people who are -- they're so overwhelmed, there's so many choices, and you know there's entry-level stuff and there's advanced stuff, you know, and there are a million things in between. Where should the beginner start and what should they look for?

RICK PRICE: I think the main thing is there's two joining points obviously. One is the front-end of the system, which is the microphone, and contrary to popular belief, live microphones all sound quite dramatically different, which is why we do demonstration here at the show. There are microphones that really match person's voices or applications much better than other ones. It's really the vocalist's instrument, so that's the first consideration is the microphone itself. And then within that is the technology, and yes there are a lot of really inexpensive solutions out there but you get what you pay for still, and I think the scanning technology, the accuracy of the wireless transmission to and the accuracy of representing the wired microphone sound, that's another holy grail for us because that it sounds like the wired version. So, it's the ability to be used anywhere and in any environment, and sound just like the wired version and pick the right microphone.

JOE WALLACE: How tough was it to get your technology to work like that?

RICK PRICE: Well, it's many, many years. We have guys that have been in the -- first in the antenna business in our company still for 40 years, so we have all our engineering group in the U.S., in the wireless side of things,l has been around for a very long time. These guys have been around, in some cases, for 25 years in the wireless RF side of business but the antenna side even up to 40 years as I mentioned and these guys are rocket scientists and are really good at it so I can't take credit for that part now.

JOE WALLACE: Now with this particular model of microphone, who is this designed for? You've got people in R&B who are eating the mic and then you got singer/songwriters with their acoustic guitar who stand, you know, about this far away.

RICK PRICE: We have a few different heads that go with it. This is the 410, which is a condenser head, cardiod pattern, so it's for the vocalist who, if you're at our show last night, vocalists that work the microphone a little bit more, it's very contemporary and open sound without being harsh. Then we have another version of the condenser mic. It's a 510. It's a supercardiod, much more neutral sounding microphone, and that's another one but if you're a cupper, this is the mic to buy. This changes very little when you grab the microphone like this, which every singer likes to do and every rapper absolutely has to do. So if you listen to this, we've measured this cupped versus uncapped, there's a least amount of variance to winning at the competition that we've seen out there, so if you're gonna cup the mic, the 767. If you're going to sing in an environment that's not crazy loud on stage, the 410. If you want a condenser sound on a higher SPL stage, the 510.

JOE WALLACE: Thank you very much. I'm at the Electro-Voice booth talking microphones. I'm Joe Wallace for Gearwire.Com.

RICK PRICE: Thanks.