Wireless Microphone Systems

Here is how this works in practice. Wireless microphone work in Italy operates inside the range AGCOM redrew after the 700 MHz reallocation. This means the channel plan a UK-based sound mixer arrives with rarely survives contact with a Roma centro storico location. Our inventory carries Lectrosonics Digital and SRc receivers, Wisycom MTP and MCR systems, Sennheiser EW-DX and SK 6212 transmitters, and Zaxcom recording-capable rigs across more than two hundred set up channels, sourced through Aroundsound, Microphone Italia, and EM srl.

Here is the short of it. Lavalier capsule choice is tied to the wardrobe and the actor — DPA 4060 and 6060 subminiatures when concealment under a fitted costume on a CSC-graded period drama matters, Sanken COS-11D for the broadcast workhorse role, Sennheiser MKE 2 and Countryman B6 where the boom op needs a backup channel that disappears against skin.

Here is the breakdown. Every booking starts with a documented RF scan of the actual locations — Cinecittà Studio 5 reads very differently from a Milano Lambrate stage corridor or an open-air Sardegna exterior — and clean frequencies are allocated against the AGCOM table, IFB feeds, wireless video, and lens control before the first transmitter ships. AITS-affiliated production sound mixers run the chain on the day, with frequency records handed to each department head and antenna distribution (Wisycom LFA, PSC RF Multi) configured for the coverage area.

Here is what that looks like on the ground. Backup transmitters and receivers travel with longer schedules, technical support is on call across Roma, Milano, Torino, and Napoli, and emergency cross-rental from partner inventories runs through the same team when an ensemble drama suddenly adds two cast on a Pomezia night exterior.