Wireless Audio Systems

Wireless audio in Korea sits inside a tightly managed range environment. The KCC (Korea Communications Commission) and MSIT govern the 470-698 MHz UHF band used by pro production wireless. Rental houses such as NAC Image, KW Studio, and Hello Pictures Korea plan Korean frequencies as a standard service, and our own packages run on Lectrosonics SRc receivers.

The SRc is the rental SKU of choice across Korean drama and feature sets. We pair it with Lectrosonics SMQV and DBSM transmitters, Wisycom MCR54 receivers for high-channel-count shoots, Sennheiser Digital 6000 where the mix demands it, and Audio Ltd A10 for low-profile body-pack work. Our lavalier stock leans on DPA 4060 and 4061, Sanken COS-11, and Countryman B6 for hidden wardrobe placement. Each kit ships with full sweat- and movement-management gear for wardrobe-heavy K-drama shoots.

Running RF on Korean locations means more than picking clean frequencies. Our team runs range scans at each venue before the shoot, which matters most in dense urban RF zones like Gangnam and the DMC hub. The Paju and Namyangju studio complexes pose the same problem, since many shoots there share one band. Planning also accounts for venue-licensed wireless, outside-broadcast trucks, and the steady traffic of Korean commercial range users.

Packages scale from two-channel documentary kits up to forty-plus-channel feature and drama setups. We layer in IFB systems (Comtek, Lectrosonics IFB, Shure PSM) for director and talent communication. Every setup ships with backup transmitters, batteries, and antenna distribution. Our crews are ready for tricky multi-channel coverage, including K-content shoots eligible for cash rebates.

Korea's seasons and wardrobe push RF planning further. Summer humidity and sweat near the Han River test how a lavalier holds on skin, so our techs carry moisture wraps and spare mics. Heavy winter coats and the layered costumes of period K-drama call for careful concealment and antenna placement. Wind on the Busan and Jeju coast can mask transmitter range, so we plan booster antennas. A dedicated RF tech rides the rack and re-scans the band as crowds and venue traffic shift through the day.

We treat documentation and handoff as part of the wireless service. Our techs log every frequency, channel, and talent assignment so the sound mixer and post house can trace each track. Backup units and battery rotations are recorded through the shoot day. Antenna maps and scan results stay on file for venue compliance and for the next crew. At wrap, we hand the production a clean RF record that supports KCC and MSIT review and cash-rebate paperwork.