Shure PSM Antenna systems.

[flattop100]

Hopefully someone out there has some knowledge of Shure's OVERPRICED wireless accessories!

I'm currently using 5 PSM600's onstage at the same time. Correction--I tried, and can only use 4, and still have some dropouts. Does anybody have experience with the PA760 Antenna combiner? Would it be worth my time and money to buy one? My transmitter rack sits onstage, not more than 75 feet from my performers, so would it also be beneficial to get the directional antenna?

Also, what's the difference between the 1/2 wave and 1/4 wave antennas on the reciever pack, as far as physical description and receiving characteristics?

Thanks in advance!

[michaelhoddy]

The PSM-600 has some limits to its frequency agility, which in turn limits the number of systems which can be used simultaneously, especially in areas with high RF concentrations. This is precisely the reason I only use the PSM-700 or the cheaper PSM-400 in system builds, as both are much less limited in this regard.

IEM's are more prone to dropouts because of their non-diversity nature. A simple, but effective solution is to re-locate the transmitters to the stage using a return snake of some sort. I typically never put multiple IEM or wireless systems together at FOH if it's more than 40 feet away.

Do you do RF/Frequency usage surveys of your venues? Are your PSM-600 systems pre-configured for different channel groups or are they on the same or similar groups?

You will likely need a good set of yagi or powered "paddle" antennas and an active combiner. A combiner and 1/2 wave antennas will not necessarily bring you that much benefit, as I think the PSM-600's come with a 1/2 wave antenna stock anyway. If there are RFI issues caused by the system frequencies being too close together or by outside RF sources, this will be of limited assistance, but it will help.

[flattop100]

Luckily enough, I've got my IE transmitters onstage. Each 600 is in a different channel group, which maxes out my options. In other words, Shure makes 5 different channel groups, and I'm using 5 discrete mixes.

It occured to me the other day that I could have used mix-mode to set up my mixes, but I'm leaving that option open, so that in the future I can have stereo mixes. To change the system over now would mean opening up the recievers and changing their reception frequencies. I'm not afraid to, but I don't have any schematics, so I think I'll hold off.

I've only done an RF survey once--things seemed pretty clear, but there was definitely some IM interference.

Maybe my (performers') expectations are too high for IEM's--is CD-quality sound attainable?

[michaelhoddy]

Is you problem sound quality or dropouts? Which earpieces are you using?

[flattop100]

Dropouts--and sadly, I'm still using E1's.

[edhunt]

I hate the E-1's. When I got my 400 system, I started using the E-1's and after a month of fiddeling, went back to my old pair of Koss open back, clip on phones w/40mm drivers.
Has anyone used the E-1's as well as the E-2's or 3's. Is it worth the extra money to step up to the dual drivers?

Edward

[michaelhoddy]

The E1's do indeed suck. What's even better than any of the ones mentioned, and cheaper, is to get a set of Future Sonics EM3 earpieces. Around $100, and they blow the Shure earpieces away.

[DAS]

The dual driver Shure's (is that the E-3?) sound great. I am borrowing a pair from a friend right now and I really like them much, much better than any of the single driver models I've used.

[lighthouse]

Check with your local TV station to see what frequency they broadcast on. Somtimes that can really stomp on wireless equipment

[JeremyW]

I have to admit, I'm still a neophyte when wireless is concerned, but I do three things before EVERY show.

1. I check with Shure's applications engineering department if I've encountered any problems after checking their website for available frequencies:

http://www.shure.com/ProAudio/TechLibrary/WirelessFrequencyFinder/index.htm

2. On the PSM 700 series, if you have a receiver pack open, make sure it's on channel one and group one. Turn ALL IEM transmitters off. Turn the pack on and cycle (within the first 5 seconds) the group one switch to group two and back. Pink/white noise (caution - rather LOUD) should emit from channels worthy of assignment. On channels you shouldn't use, you'll near other noise, light static, even the audio from a nearby tv location.

3. If you're using antennae combiners (preferred) keep all the units on that combiner in the same group. You could likely have up to 32 PSM 700 IEM's at the same location, but only in BFE. I've only ever seen around 8 - and even that was pushing it. Stationary performers like drums, keys, perc, etc... should use wired in-ear mixes whenever possible. The only people on ears should be your mobile singers, guitarists, etc... People that can't stand still ;-)

Will they get a CD-quality mix? Well no not really. Check the specs on your gear - they'll get what it says. Try not to overload the IEM's. Keep the EQ as flat as you can. Treble boost their pack if they want more top end. Make sure they're not using E1's or something too cheap - their hearing, and your likelihood at long term employment - may suffer.

Regarding paddles, antennae, etc... if you have a paddle right off stage, make sure to pad it if it has the switch. Those are made for long-throw (100' -300') and may send too strong a signal to the stage. If no switch (with LED) no worries.

And remember, never place your IEM transmitters close to your mic receiver antennae. I know - it sounds logical but some people just don't take the time to pay attention to something so simple.

http://www.jeremywestby.com/
Current gig at time of posting:
RM/ENG for Avalon http://www.avalonlive.com/