Audio-Technica 3000 Series Wireless System
Audio-Technica·Model ATW-3212·audio-technica-atw3212
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Audio-Technica ATW-3212
The Audio-Technica ATW-3212 is a single-channel receiver from the 3000-series wireless line, paired with the matching bodypack or handheld transmitter. Solid build and a friendly price make it a common pickup for working musicians, schools, and small venues.
The ATW-3212 is Audio-Technica's single-channel receiver from the 3000 Series, a line that has earned a steady reputation in the working-musician and small-venue world as a reliable step up from budget wireless without crossing into the price territory of Shure's ULX-D or A-T's own 4000 Series. You pair it with the matching 3000 Series bodypack or handheld transmitter depending on the application — a presenter mic, a lead vocal, an acoustic guitar feed — and it delivers one clean analog channel to your console or IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rack. At $899 it sits in a pragmatic middle band: not disposable, not precious.
The receiver draws up to 22 watts and weighs 1.6 kg, which is light enough that a rack tray or shelf handles it without complaint. The dual BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. antenna inputs support the standard passive or active antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. setups you'd run for any show with real RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. density concerns. Audio leaves via XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. or quarter-inch TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. — both are live simultaneously — so you can feed a console and a personal monitor source without a splitter. At 230 mm deep it fits comfortably in a shallow tour rack or a standard road case without the receiver fighting for depth against your power strip.
This is the right call for a freelance engineer carrying a personal rack for theater, corporate, or club dates where the venue's wireless is questionable and you want one trusted channel you own. It's also sensible as a school or house-of-worship first wireless purchase. Where it isn't the right call: dense festival environments with 20-plus RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. channels in the air, or any situation where you need networkable receiver control, multi-channel coordination software, or digital audio output. For those scenarios, step to a higher tier — the convenience features you'll miss will matter more than the price difference.
In the rack
- Since the receiver isn't a standard 1UThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. half-rack unit, confirm your rack tray or shelf depth before load-in — the 230 mm body needs a proper surface, not just a wing mount.
- Run antenna cables to remote BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. antennas mounted at ear height near the stage rather than leaving the internal antennas shadowed inside a closed rack bay; RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. performance drops fast when the receiver is buried.
- Both the XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. and TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. outputs are active at the same time — use the XLR for your console feed and the TRS to feed a dedicated IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter input if you're building a self-contained performer rig.
- Budget the full 22-watt draw when planning your power conditionerFilters venue AC, clamps surges, and gives the rack one tidy inlet. Not a voltage regulator and not a battery — just cleaner power. load, not the 15-watt nominal — if you're stacking multiple channels on the same circuit, the headroomThe margin between your normal level and where things clip — headroom is what absorbs the snare hit you didn’t see coming. matters.
A-T 3000-series single-channel wireless receiver.
I/O Ports (5)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Antenna A | BNC | input | antenna | — |
| Antenna B | BNC | input | antenna | — |
| Out (XLR-M) | XLR MALE | output | analog audio | — |
| Out (1/4" TRS) | TRS QUARTER | output | analog audio | — |
- Power (IEC) (IEC C14)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
Related gear
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Guides from our library that cover planning around wireless mic gear.
Why sealed IEMs make you feel disconnected from the room — and exactly how to put the audience back into your mix with one or two well-placed mics.
Why your wireless mics and IEMs need a frequency plan, what intermodulation means in practice, and how to coordinate channels for a clean show.
When you need a combiner vs a distro, active vs passive, cable choice and length math, and how to scale a 4-pack rig into an 8 or 12-pack without intermod nightmares.