PylePro Double Over Ear Microphone Headset - Professional Hands-Free Omni-Directional Wired Boom Condenser Microphone with 4 Pin Mini XLR, 1.2M Cable, Windscreen (Beige)

*SEE UPDATES FOLLOWING THE ORIGINAL REVIEW*I work in a performing arts center where we use 24 wireless microphone systems primarily for theatrical productions by high school, middle school and community theatre groups. I expect to mic actors for 38 rehearsals and 54 performances this year. Although we have $300 microphones for " talking heads" applications, there's no way I'm risking a $300 AT or Countryman earset mic on a student. Quite a few mics fail with various kinds of damage over the course of a year, so I am always on the lookout for an unobtrusive and inexpensive mic. I'm hoping I've found one in the Pyle-Pro PMHMS20 Wired Headset Boom Mini XLR Omni-Directional Microphone.I initially purchased two of the Pyle PMHMS20 headset models and have since purchased another along with the Pyle-Pro PMEMS10 In Ear Mini XLR Omni-Directional Microphone (For Shure System) "earset" style mic. These "mini XLR" models are terminated with a TA4F connector required by Shure wireless belt pack transmitters. They also fit the Line 6 XD-V70L wireless belt packs.So far, I've only used the first two headsets in a community theatre production of three rehearsals and four performances. They performed better than expected and sound quality was excellent. They sound better than the MM Audio MM-PSM earset and at least as good, if not better, than a well-placed Shure WL-93. They are not a sonic match for the Audio Technica Microset Omni Condenser Headworn Microphone in Beige or Countryman E6, but they currently cost roughly 1/15th of the AT price listed on Amazon. I didn't measure the cable length, but it is adequate to reach just beyond waist level for typical adults. It will take some time to determine long-term durability, so I'll update this review after I've had time for evaluation.These headsets offer some size adjustment, but I don't believe they can be adequately adjusted for children. Even when adjusted to the smallest size, they were still a bit loose on a petite actress and had to be secured with a small strip of medical tape. The boom is very long, so a fair amount of bending may be required for smaller faces. Even with the mic element right at the corner of the mouth, I did not pick up pops or breath sounds. They do come with two foam wind screens, if needed.The most recent PMHMS20 headset I ordered arrived last week. When I opened the Amazon box, I immediately noticed I received the PMHM2 model with a 3.5mm plug, rather than the TA4F "mini XLR". I checked the packing slip to see that I had in fact ordered the "mini' XLR" version. I then checked the headset packaging, which was incorrectly labeled as the PMHMS20, but contained the PMHM2 version with a 3.5mm connector. I don't consider Amazon to be at fault, since the problem obviously originated with the manufacturer. I don't expect to have any trouble with Amazon exchanging this for the correct model.One other note; the product package (not Amazon) states that the mic is available in both beige and black. Unable to find a black model on Amazon or anywhere else, I called Pyle Pro. They confirmed that the package was mislabeled and no black model is available.-----------------------------------------------------June 2012 Update - I've just ordered seven more of these mics when I found the price had dropped closer to what I originally paid.I continue to be pleased with the sound quality and have been surprised at how well they've held up. So far, I've used them 30-40 times on seven theatrical productions and a half-dozen "talking heads" programs. Most of the plays were musicals, including a dance-heavy production of "Hairspray". I broke the wiring inside one of the earset versions attempting to re-sculpt it for a better fit, but I've only had two minor problems with the headset version reviewed here, and those don't affect function. The clear plastic sheath covering the metal earpiece got stretched out on one mic and the end cap covering the tip of the earpiece was lost from another; again, nothing that harms function. I've had no problems with cables breaking or connector issues (on this headset version).Continued use has proven that these work best on large heads. No amount of adjustment will provide a stable fit on a petite actress or child.I've only had one instance where I had to use a foam windscreen to tame pops.I still wish these were also available in black and/or brown for African-American skin tones.-----------------------------------------------------March 2013 Update - I now have 24 of these and am in the middle of another season of high school & community theatre musicals. Since my last update, these have been used in about 72 rehearsals or performances and I'll have another 25 rehearsals/performances between now & the end of April. To date, I've had three Pyle-Pro PMHMS20 Wired Headset Boom Mini XLR Omni-Directional Microphone "break" & all three have the same cable issue. The cable has a clip that attaches it to the back of the headband very near where the cable enters the headband structure. The band slides to lengthen or shorten the boom and fit head size. The problem occurs because the cable clip does not slide on its own during adjustment & that leads to pinching and excessive stress on the cable between the clip and entrance to the headband (I'll post a photo). The result is an audible "thump" as the internal wiring makes or breaks contact, along with momentary loss of audio. It usually happens as the actor turns his head or the mic cable gets a tug. It is not something I would consider end-user repairable. It can be avoided by always taking care to adjust the clip as you adjust the headband, but that often doesn't happen during the chaos preceding a production, especially if you have a large cast and even more especially if they are responsible to placing and adjusting the mic themselves.Given the use and abuse they endure versus the cost, I absolutely consider this problem and the number of mics I've lost due to it, perfectly within acceptable limits. Most of these productions involve the mic being on someone's head for four to five hours from beginning to end, so I'm talking about several hundred hours of total use for some of these mics, just in the last year. If you are buying a couple for the pastor to use a couple of hours a week and you take care to adjust the cable clip, you should get plenty of use before replacement is necessary.Pyle offers a one-year warranty that covers the usual "manufacturers defects". I've not looked into it, but plan to see if this problem might be covered. I''ll post the outcome when I get an answer.I am still very happy with the audio quality for speech and singing. I do minor EQ on them, but I generally EQ most other mics I use too; probably more a factor of room acoustics or speakers than the microphones.I will comment on pricing. The price of this mic varies as much as the stock market. I've watched it range from just over $11 to nearly $29 in the last year. Compared to similar mics, it is a great value at even the high price range. If you think it's too much, check back often, because it will fluctuate. All my stock was purchased when prices ranged between $14 & $19 (and with free Prime two-day shipping), so I'm thrilled to get this type product for this price.I'll be back with another update at the end of April.--------------------------------------------------------------January 2014 Update - I've had 9 of these to fail as described above. I've posted a photo showing the point of failure. About the best preventative I can suggest is to train your users to take care when adjusting the headband. Also leave slack in the cable between the entry point to the boom and the clip to allow for sufficient adjustment without overly flexing the cable. Perhaps the best resolution is just to remove the clip all together. Doing so avoids the immediate problem with headband/boom adjustments, but there's no strain relief at all if the cable gets a good yank.With the amount of use these get in my facility, I still think they are a great value. Stuff breaks and it's just the cost of doing business. At least you're not out $300 when one of these breaks.Regarding the possible warranty replacement, I never bothered pursuing it. The packaging indicates a required handling fee for warranty issues that when combined with shipping cost, exceeds the cost of replacement with a new mic from Amazon.By the way as others have pointed out, the Amazon photo of the headset is upside down. The curved part of the earpieces go over your ears, not under.-------------------------------------------------------------July 2014 Update - Total failures to date is around 28 since I started using them in October 2011. That sounds like a lot, but they are used well over 100 times a year. Without exception, each headset failed due to a wire break where the cable enters the headset boom. I've detailed this issue in previous updates and posted a photo showing the point of failure. Why then, did I recently purchase 30 more? (1) The price. Compared to any similar headset mic compatible with Shure wireless systems, the price makes this headset a steal. At the current price of under $14, it's a disposable commodity. (2) Sound. As I've said, this is no sonic match for a Countryman, Audio-Technica, DPA or other headset mic that will cost anywhere from $300-900 each, but for what I do (musical theatre with high school and middle school students & talking head events, it's way past good enough). With a little care in adjustment and unclipping the cable from the boom, the wiring problem can be avoided or minimized.I couldn't afford to own 30 Countryman E6 single ear headsets (currently $349 each on Amazon) or the H6 dual earpiece model most similar to this model Pyle (currently $470 each). Really, that's $10,470 for the E6 and $14,100 for the H6! I could buy over 1,000 Pyle headsets for the cost of 30 H6's. If you only need one or two mics for a pastor and they will be used carefully in a controlled environment, or if you are on Broadway with a gigantic budget and cannot entertain the possibility of a single failure, then the high dollar mics should be your choice. If you've got a lot of people who need a relatively inconspicuous headset mic that sounds reasonably decent, I will continue to recommend the Pyle PMHMS20.

Excellent. Not a sonic replacement for an E6 or a WL-93, but pretty darn close especially for the price. For 13.99 you can buy 30 of these instead of an E6. Having been in audio for 3 decades I was helping with a meagerly budgeted sound design for a high school musical. There was some investigation into name brand gear before I got involved. With students we needed a low cost solution to get as as many kids miced as possible. At this price the mics are almost disposable - and indeed during two dress rehearsals and a 3 night run the kids managed to toast at least 6 of the 30 mics I bought. After having been through 2 musicals with students my suggestion would be to buy these and immediately remove and throw away the ear hooks. The wire design where it clips onto the ear hook at the back of the neck was the problem. Kids hastily adjusting the mic would slide the metal frame back from the end of the mic and put strain on the clip holding the wire the the frame. This would cause rapid failure - sometimes only after one use as the strain breaks the wire. The best solution is to lose the ear hooks altogether which leaves you with the mic only on the end of a gently bent stiff wire that is perfect length to run through the hair emerging above the forehead as a head mic. Clip it into the hair discretely with small hair clips or bobby pins and you have an almost invisible mic! Plus it sounds better than the mic at the side of the mouth. I compared several of these and indeed most of the mud, woof and resonance from the chest/neck is gone when the mic is at the hairline. Plus with it lying against the skull my guess is that you are getting a bit of sub 100hz bone conduction that helps define the voice. I turned several of the ear hook mics into head mics after they started to show signs of impending failure - I reinforced each one with heat shrink tubing where the wire meets the frame - not a single one failed after that! Also no mic got torn off during quick costume changes. Some of the guys wanted to keep the mics as earhook booms. The headset mics sounded better and didn't get ripped off their heads. The gain did have to be a bit higher on the head mics, but I didn't have any feedback problems. The only feedback I had was consistently at 253 and 6.4k and that was during high volume checks and ringing out the system. Not a single feedback problem was had during the shows. In summary: buy these, lose the wire frame, heat shrink and reinforce the connections and strain points. Get some moleskin tape & tape the wire well to the back of the neck with enough slack. Then you will have a mic for every kid - every one has their own mic and you only have to swap body packs during scene changes Trust me - If you try to skimp on the number of mics you purchase & try to pass the mics back and forth you will destroy them quickly. You will save more in the long run by using the head mic method. Also the connectors are XLR 4 pin and work with Shure systems. There were 5 Shure UGX pack already there that worked perfectly. In addition I purchased 2 GTD audio UHF G747L systems (these are 3 pin and will require you to swap XLR connectors from 4 to 3). I am completely blown away by these. I got them through another source other than amazon, but you can find them on amazon for $325. The range on these is incredible - better than the Shure UGX. Upon further investigation these are chinese knock-offs of the Shure SGX series. I can't believe they are allowed to be sold and Shure hasn't gone after them. Why? They have the same LCD screen, the same functions - even the manual uses the same terminology. They are total counterfeits - and they perform brilliantly. So throw in a couple Behringer quad expander/compressor units, a five space rack bag and I was able to outfit the school with 8 extra wireless channels (for a total of 13 channels) and a total of 30+ mics for $1300. Every kid (who didn't trash their mic) could be heard. Not bad for $1300 when the going rate for good UHF diversity is $500+ a channel.....

There are much more expensive options on the market, but this is the best value, the sound quality is good and it lasts just as long as the more expensive products.