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Church Tech Arts

Help Us Help You

Jul 28th, 2010
by Mike.
1 comment

This is a follow-up to my previous post, Surviving VBS. It’s an open letter to Children’s Ministries, Student Ministries and any other ministry that needs to interact with their technical and production departments.

I’m a big movie fan, and I really liked the film, Jerry Maguire. The language was rather coarse, but the story line was excellent. In many ways, it had a lot of redemptive themes to it. But I digress. One of the more well-known scenes has Jerry standing in the locker room dealing with his reluctant client. He starts repeating over and over, “Help me help you. Help me help you! HELP ME HELP YOU!!” That’s the message I want to convey in this post. It’s not a rant about how disorganized or unprepared other ministries are, but a series of suggestions on how we can work together to create more effective programs. Here we go.

Over Communicate
Techies need a lot of details. Even things that you don’t think are significant can have a huge impact on what we do. One thing you can do to help us help you is to communicate everything. Take VBS for example; when you give us a schedule, don’t simply give us the schedule for the main room, give us the entire schedule. Let us decide what is important and what’s not because, and I mean this in the kindest possible way, you have no idea what’s important to us.

I wrote a post titled The Downside of Making it Look Easy sometime back, and it addresses this issue well. What tends to happen is that people who work in non-technical areas of ministry walk into the church service and see that everything happens seamlessly. Everyone on stage has a mic that’s turned on at exactly the right time. The band is heard and mixed well. Lights are lighting up what they’re supposed to and videos seems to appear from nowhere.

What you don’t realized is that there is a ton of preparation going into all of that, and all that preparation requires a ton of information. I know a week in advance what my band looks like, and I spend 30-60 minutes writing up a patch sheet and configuring my console to make sure every instrument is accounted for. It takes 2-3 people over an hour to set the stage, line check and get the mixing boards ready to go. Lights need to be focused and that requires a lift driving all over the stage. Videos need to be edited, converted and prepared properly in our presentation software. Someone spends hours setting up the run sheets that are timed to the minute so we know what’s coming next.

Help us help you by giving us all the information we need. Even things that you don’t think are significant (like needing 6 mics instead of 5 for a drama) can be a really big deal, especially if we don’t have 6 mics. I always tell other ministries that we can do anything, we just need to know about it in advance.

Answer Questions Quickly and Accurately
In my last post, I advised techies to ask questions, a lot of questions. Know that we’re not questioning your programming, your plans or your heart for impacting kids. We just need information. So if we keep peppering you with questions, just give us answers. If you don’t know yet, tell us you don’t know, don’t make something up. Or connect us with the person who does. We want to help you put together a great program. Whatever we don’t currently know, we’re going to ask about. Don’t take it personally, we just need information.

Don’t Try to “Save us Work”
Whenever someone tells me “Don’t worry, we’ll take care of it so you don’t need to do anything,” alarm bells start going off in my head. Usually what it means is that my workload just doubled, because now I’ll have to first fix or undo what someone else did, then do it right. The fact is, we’re really good at what we do, and you’re not really good at what we do. And rightly so; I’m not good with kids, and don’t want to spend my days working with them, that’s why I’m a techie. I want you to work with kids, let me deal with tech and production.

See, we do this every week. We have it down to a science. We know our rooms, our stage, our production and technical capabilities and can pull off amazing programs. As most other ministries do big productions once a year, we have roughly 50 times the experience you do. Leverage that, bring us into the process. When you bring in people to “do it for us,” it really makes our job harder. I put in an extra 10-15 hours last week because of the “help” that I had.

Know that I don’t doubt your motives here. I know you know we’re busy. You want to lighten our load, and that’s admirable. But please let us tell you how to lighten our load. I would never presume to tell you how to run your crafts or recreation programs because my experience there is negligible. What we do is specialized and complicated. Treat it accordingly.

Hopefully this will inspire some improved dialog between tech and other ministries. My goal is to better support the other ministries in the church, not dig on them for making our lives tough. The truth is we love what we do, and we’re really, really good at it. We want to be a big part of life-change as the rest of the staff. We simply do it differently. Use our gifts, and help us help you.

Posted in: Philosophy.
Tagged: children's ministires · church production · production · production departments · student ministry · technical areas · vacation bible school · vbs

Surviving VBS

Jul 26th, 2010
by Mike.
3 comments

Last week was VBS for us (though we call is SVBS). As it was my first SVBS since coming to Coast Hills, I wasn’t quite sure what to expect (aside from a ton of really amped up kids screaming their cheers). I had some initial meetings with the kid’s ministries staff to talk about the details of the main sessions. Of course, when we actually got down to the first day, there were a lot of surprises. This is to be expected, however. One thing we need to keep in mind as techies is that when dealing with other ministries (and sometimes even the worship department), they always forget tech.

It’s not intentional, they just don’t think about it. Children’s workers are concerned with how their programs impact the lives of kids, not how it impacts us. And if you think about it, that’s the way it should be. With that in mind, that means we need to be really pro-active about getting the information we need to support them well.

What follows are some thoughts based on what I learned this week. In the moment, I have to admit that I was really frustrated at being deluged with all kinds of requests and changes at the last minute. As I thought through it during the week though, I realized that there were things I could have done to make it run more smoothly. So I’m going to come at this from two angles; first, what I should have done to make sure things go smoothly, and second, an open letter to other ministries on how to work with your technical staff to ensure smooth events. Since we’re the experts, I’ll tackle our side of the equation first.

Ask, Ask and Ask Again
As I said, children’s workers aren’t concerned about how their decisions impact tech. That means we need to be continually asking for information. Because I had a few crazy-busy weeks leading up to SVBS, I was not diligent in asking for more information. I assumed if they had information to me they would give it to me. I was wrong. For example, I knew there was a drama that needed 5 mics. I should have double and triple checked that the week before. Turns out there was a need for 6 mics. I found that out Monday.

I should have verified the schedule as well. The run sheets indicated that the main session started at 10:30, so I planned for my team to be there at 9. Turns out that there was a leader meeting scheduled at 8:30 and the kids would all be in the room at 9:00. I should have pressed for a detailed schedule breakdown of every minute of the week, regardless of whether it directly affected me or not.

The truth is, they don’t know what’s important for us to know and what’s not. So we have to keep asking questions until we get the answers we need. If something has not been communicated to you, assume you need to ask about it. Never assume they will tell you what you need to know.

Talk Directly to the Band
Or worship leader, or drama team, or anyone else who will be on the stage. Perfect example: We had a guy come in to lead worship; I was told it would be him and his guitar. So I prepped a DI, wireless handheld and a wedge. Monday morning, he walked out on stage wearing ears, a headset mic and carrying an iPhone (he was planning on playing back his tracks from that).

Now, I’m behind. We had to quickly drop another line, put in a stereo DI, grab a beltpack (which I re-synched to match the HH channel I had planned for) and set up the PSM900. Thankfully his headset mic had a Shure connector on it and we are a Shure house. Had I gone to Sennheiser last year, however, we’d have been in trouble!

Lesson learned: I should have directly contacted him and found out exactly what his needs were. You can’t trust a children’s worker to communicate the band/worship leader needs from a technical standpoint. They aren’t techies and don’t know that those few subtle changes make a huge difference in how we set things up. We have to be the proactive ones.

Ask for a Map
This was another failing on my part. VBS tends to take over the entire church campus. Rooms that aren’t typically used for production often have production going on. Sometimes that includes parking lots. In our case, we needed staging and portable PAs on both sides of our building, outside. One of the funny thing about portable, powered speakers is that they require power. It’s a rare church planner that thinks far enough ahead to put power in the parking lot (anywhere useful anyway). That means someone will have to run power out there.

In our case, I knew of one of those locations, and didn’t know of the other. Again, in the moment, I was pretty tweaked that no one thought to run power for the powered speakers. And again, as I thought about, I realized that they wouldn’t know any better. To most people what we do is magic. “It’s just a speaker and a mic, why do you need power?” seems like a logical question for them. After all, they never have to run an extension cord to use the PA we dutifully installed in their rooms. It just works.

And that’s why we need a map. Make them draw a picture showing you everything that’s going to be happening all over campus. If you see a giant recreation area in the parking lot, start asking questions about portable PA. See a drama in a classroom, start asking questions. This will save you a lot of last minute stress.

Pre-build and Plan
Thankfully, I stayed around late Sunday to pre-set a lot of what I knew. That saved me when it came to the stuff I didn’t. Had I asked more questions, I would have been closer, but at least I had a baseline. Don’t assume you can set it all up the first morning. There will be surprises, things you didn’t think about, and last-minute changes. Set up more than you think you’ll need, put out an extra wireless mic, stage a few extra portable speakers, round up a bunch of extension cords and anything else you can think of.

It’s also a good idea to have more help on hand than you think you’ll need, especially for the first day or two. That’s something I’m big on; and it saved me. My daughter is the master of prepping wireless mics, so I had her working on that. I brought in another guy to float and he was able to run around putting out fires while I re-built my monitors for the worship leader. My lighting guy is self-sufficient and I had an extra pair of hands at ProPresenter.

Hopefully that gives you a few ideas for surviving and even thriving during your VBS. If you’ve already lived through it this year, consider the next 12 months a time to plan for it next year. Next time, I’ll address children’s ministry directly with some thoughts on how they can help us help them.

Posted in: Philosophy.
Tagged: A Few Tech Blogs · Church · programs · surprises · techies · technical staff · vbs · worship department

Mixing Webinar Part 2, Take 2

Jul 21st, 2010
by Mike.
No comments yet

After last night’s technical difficulties, we’re going to give this another shot. We keep trying to find ways to improve the experience, and make it less time consuming to produce; sometimes it doesn’t work. Last night we were met with blocks in the firewall (I tried it from the office as our upload speed is better than what I have at home), then issues with audio routing in our fallback system.
The good news is that we stayed and worked on it for a while and I think we have a plan. It might not seem it, but getting three people in different parts of the country live to the web (audio & video) and get it recorded is tough when you have no budget.
Anyway, we’re going to give it another shot this Thursday night, July 22nd. Once again we’ll be on the LiveStream channel starting around 7 PM PDT or 10 PM EDT.
I think we have a great list of topics to discuss, and hope you can join us. Thanks for your patience as we keep trying to work out the bugs.

Posted in: Announcements, Audio.
Tagged: Audio · church sound · mixing

Mixing Webinar Tonight

Jul 20th, 2010
by Mike.
1 comment

Join me, Dave Stagl and Jason Cole tonight on the LiveStream channel at 7 PM PDT, 10 PM EDT as we discuss Mixing, Pt. 2. We’ll be picking up pretty much where we left off last time, as we decided we had way too much more to talk about. We’ll be discussing, Panning/Imaging/Stereo, Aux Fed Subs, Spectral Balance/Octaves, Communicating with the Band, and probably wrapping up talking about the Low End.

As always, the recording will be available here and on iTunes if you miss it.

Posted in: Announcements, Audio.
Tagged: Audio · church sound · foh · mixing · monitors · webinar

I Need a New Associate TD…

Jul 16th, 2010
by Mike.
1 comment

So here’s the deal. The church I call home is in search of a new Associate Technical Director. And we need one pronto. The benefits of the job are plenty.

  • Working with the greatest church staff I’ve ever known
  • Being part of a cool movement of God
  • The weather in Aliso Viejo, CA is amazing
  • We have a completely new FOH and Monitor system, as well as a new lighting system
  • Our band is really, really good.

On the downside…

  • The pay is kinda low (it’s a church after all…)
  • The hours can be sorta long sometimes (it’s a church after all…)
  • You have to put up with me as your boss

You can download the full job description here to learn more about the position, and visit our website to learn more about Coast Hills.

As this is an ATD position, there is no relocation package available, so you’re probably going to want to be living in SoCal (or planning on moving here soon anyway) before firing off a resume. If, after all this, you’re still interested, you can send me your information and resume to this address: msessler [at] coasthillschurch {dot} org.

Next week is VBS week, so I’m liable to be really busy so if it takes me a few days to get back to you, don’t sweat it. And if you know someone who may be interested but doesn’t read this blog, let them know. We’re hoping to have someone in place in August.

UPDATE: This is a full-time position.

Posted in: Announcements.
Tagged: aliso viejo ca · associate technical director · church staff · job description · resume · td

Three Tips for Improving Your Mix This Week

Jul 13th, 2010
by Mike.
4 comments

I’m the Technical Director of a good-sized church. As such, I oversee all technical aspects of the weekend services; sound, lighting, video, presentation and even some stage design and set up. In my current role, my time is split between all those disciplines. But at the end of the day, my passion is sound. So with that in mind, I have a few suggestions on how you can improve your mixes. They may seem simplistic, but as I’ve been more intentional about doing them, I’ve noticed a marked improvement in the overall quality of my mixes and how fast they come together. It’s further proof you can teach an old dog new tricks…

Listen to the Music
I’m surprised at how few sound guys actually listen to the music they mix. I once was talking to an audio volunteer about a festival I was shooting. I started naming some of the artists we had filmed that week; Michael W. Smith, Newsboys, Jars of Clay, etc. To each, he shook his head to say, “Never heard of them.” I asked him what kind of music he listened to. “Mmm, I really don’t listen to music,” was the reply. I thought, “That explains a lot…”

Most worship teams have a method of getting recordings of the songs they will be doing for a given weekend out to the team. We use Planning Center Online, and the MP3s are posted there each week. That enables the team to listen to the songs during the week to learn their parts. Since our part as mixers is to know how the individual parts come together, it’s a good idea for us to listen as well. I create a playlist on my iPhone and listen to them during the week several times. Even songs that I’ve mixed before go into the list, as I want to be sure I know when solos are, and to remind myself if it’s a piano or guitar led song. When you know how it’s supposed to sound, it’s a lot easier to pull a mix together

Record and Listen to Your Board Mix
I didn’t start doing this until recently because I had long held to the notion that the board mix doesn’t accurately reflect the acoustic energy in the room. While that may be true, there is still a lot we can learn from listening to the board mix. We may notice that we picked up a guitar solo late, or that the vocal harmonies weren’t balanced properly. The drums may be too loud or too soft in your mix recording, and you can mentally adjust for that, but you can still figure out how everything else sits in the mix.

I admit I don’t do it every week, but I find when I listen to my Saturday night board mixes, my Sunday morning mixes sound better. It doesn’t take that long, and is worth the effort if you want to get better at your craft.

Solicit Feedback
We all know feedback is something to be eliminated in the world of sound. However, feedback in the form of constructive criticism from a few people you trust can be a very good thing. These people don’t have to be musical experts or professional sound engineers. They should have a decent ear and know how to describe what they are hearing, however. It’s a pretty rare church where the sound coverage is so even that what you hear at FOH is the same everywhere in the room. It’s good to get some input from people who sit in other areas, and to hear what they liked and didn’t like.

For example, I really love the sound of the B3 organ. I like to pull it up so I can hear it, which is sometimes too loud. I need people to tell me the organ is starting to overpower the vocals. Since our current mix position is up in the balcony, in a completely different sound field than the rest of the congregation (a particularly egregious sin committed by far too many architects…), my boss will occasionally call up on the com and let me know something is translating too loud or soft on the floor. This is helpful input for me.

So there you go. A few things that are easy to implement and will surely give you results pretty quickly. As a fourth, bonus tip, you can tune in Tuesday, July 20th for “Mixing, Part 2” with Dave, Jason and I. We may be trying a new service this month, so check back in a few days for the URL of the webinar. You can also listen to Part 1 here.

Posted in: Audio.
Tagged: audio mixing · board mix · church sound · disciplines · mixers · technical aspects · technical director · volunteer · worship teams

Wireless IEM Shootout Pt. 3

Jul 9th, 2010
by Mike.
3 comments

UPDATE 7/10/2010: It was pointed out on Twitter that there were some channel polarity issues with the audio samples. Though I’m still trying to figure out exactly what happened (and I will test and figure it out on Monday), it does in fact seem that the polarity of the original audio samples posted here were not correct. After verifying each of the samples with a Goniometer (a meter that measures stereo phase and sound field), I have re-rendered the files. The end result is that each of the IEMs fare better than previously (and the Senn 2000 and PSM are nearly identical to the original sample); and my original findings still stand. The quality of all was raised equally, and I stand by my original conclusions. I have replaced all the samples so you can hear them in the best light possible. Thanks to those who pointed this out. BTW, the reason I didn’t really notice it is that I was always listening through earbuds (Westone UM1s to be exact) and that mode of listening minimizes phase errors. There is a difference, but it’s slight. Anyway, back to the article as written. END UPDATE

It’s the moment you’ve all been waiting for; The results show. In Part 1, we compared the features of the Sennheiser G3 along with the Audio Technica M2 and M3. In Part 2, we looked at the Sennheiser 2000 series and the Shure PSM900. Today, we’ll listen to how they all sound.

Before we get to far into this, I want to say from the outset that this is an imperfect test. I used pre-recorded music (albeit some pretty great music, I Got the News from Steely Dan’s monumental album Aja…and if you don’t own it, go buy it now. We’ll wait.), and captured the output of the receivers through my Lexicon Omega audio interface. I went straight from the 1/8″ jack to dual 1/4″ inputs, without compensating for the impedance change. I know…I’m such a slacker. Still, there are some pretty clear differences. And when I compared the recordings to the receivers, the recordings are accurate enough to make a judgement. As I said, it’s not perfect, but it gives you an idea of the sound quality of each unit without actually having to arrange to demo all five of them. Note that there is no EQ or other processing done on any of the tracks. All I did in Reaper was line up the tracks and adjust the volume so each track was with in a few tenths of a dB. With that said…

The thing that surprised me is how good they all sound. In fact, if the others weren’t around, you could pick any of them and you’d probably be fine. It’s only when you really get into comparing them next to each other that the differences start to emerge. I have a hard time picking a clear winner, though it’s a little easier to pick a loser (and even then, this one is not a terrible choice). The Sennheiser G3 just didn’t quite hold up as well against the others. Aside from the ever present noise (which wasn’t as bad as the 2000 series, remember), the high end wasn’t quite as crisp, and the overall sound field felt a bit more collapsed. The ATs (M2 & M3) sounded surprisingly good, especially in the mid- to upper-range. They did lack a bit in bass response, though the stereo field was quite good. The Sennheiser 2000 sounded excellent overall, and it’s not until you compare to the PSM900 that you notice the highs aren’t quite as crisp. All the differences are subtle, though I think you’ll hear it in these two samples.

Sample 1 is a stair step of each system. I lined up the tracks in Reaper, then ran each system for approximately 10 seconds. You should be able to hear the change at each 9 or 10 second mark. Here’s the order for this one:

Audio MP3
Audio MP3

Sennheiser 2000 ->  Sennheiser G3 -> AT M2 -> AT M3 -> Shure PSM900 -> Original Track

For the next track, I mixed the order up a little. This time, I wanted to pit systems that would likely be compared against each other. They are grouped roughly the way I see them competing. So it’s 2000 vs. PSM900 and M3 vs. G3 with the M2 thrown in at the end (because in all honesty, it sounds 99% as good as the M3). To make the contrast more noticeable, I threw the original track in the middle. So here’s what we have:

Audio MP3
Audio MP3

2000 -> PSM900 -> Original Track -> M3 -> G3 -> M2

It’s pretty clear when you jump to the original track that each of the IEMs is really only giving us about 80% of the full audio spectrum. However, they are all pretty useable. And I think in a live setting, just about any of them would be sufficient.

So how do we determine a winner? Well, I think it comes down to what you value. If cost is the supreme determinant, than the M2 is certainly a solid pick. It’s the least expensive by a few hundred dollars, and sounds quite good. The trade off is a huge, plastic pack with a bad battery compartment design and very limited frequency selection plus a fixed antenna. On the other end of the spectrum, if you demand road-ready rack-mountable gear with full networking capability, remote antennas, and a ton of extra features, the Sennheiser 2000 is your only pick. The trade off there is cost. It’s the most expensive by a lot. And there’s that hiss…

In the middle, it gets tougher. For me it’s hard to chose the M3 over the G3 or PSM900, mainly because of the beltpack. They sound great, but trying to dig those batteries out each week would drive me mad, and I’m not sure how well the pack would hold up. Plus, my worship leader would not appreciate the size. So if the M3 is out, that leaves the G3 and the PSM900. For me this choice is easy; the 900 wins. The overall sound quality is better, the range is superior out of the box and the noise floor is almost non-existent. The G3 does offer networking, but that feature alone isn’t enough to sway me.

So I guess that wraps it up. At the end of the day, I’m putting my money (OK, my churches money) where my mouth is. I just ordered a PSM900. Here are the complete tracks of each system if you want to hear longer samples.

Audio MP3
Audio MP3

Sennheiser 2000

Audio MP3
Audio MP3

Sennheiser G3

Audio MP3
Audio MP3

Shure PSM900

Audio MP3
Audio MP3

AT M2

Audio MP3
Audio MP3

AT M3

Audio MP3
Audio MP3

Original Track

Posted in: Audio.
Tagged: at · audio technica · bass response · church sound · g3 · iem · m2 · M3 · psm900 · sennheiser · shure · stereo field · wireless iem

What’s With the Tip Jar

Jul 8th, 2010
by Mike.
2 comments

This post has been about 4 months in waiting. Not because I’ve struggled with writing it, but because I’ve been trying to convince myself I should. Today I was once again listening to my podcast mentor, Leo Laporte, who talked about his tip jar. I realized that while I am someone who just loves to give everything away for free, there is also nothing wrong with being compensated for your efforts. So with that in mind, I’ve decided on putting a “tip jar” on this site. As this is a new development and I still believe in transparency, I’m writing this post to explain why.

Saying No to Advertising
I’ve thought long and hard about including advertising or sponsors on this site. I keep rejecting it for a few reasons. First, while I’m now seeing upwards of 8,000 views a month, that’s still pretty small in the grand internet universe. My niche is pretty small, and I’m not sure it’s worth it for advertisers or for me. Sure, I could spend some time trying to sell ad space, but frankly, I’d much rather spend my time creating relevant and useful content for you than selling ad space. Plus I hate sales; I did it for a year and a half and disliked every minute of it. I also don’t want to be in any way fearful of saying something negative about an advertiser, or positive about their competition. It’s easy to talk about journalistic integrity, but hard to do when your revenue stream depends on it.

Saying No to Subscriptions
I believe very firmly that content wants to be free. I can’t stand it when I search for a subject, find a great article only to discover that the meat of the article is behind a pay wall. I will typically not visit that site again. I also don’t want to distinguish between “free” and “paid” content. I figure I need to make everything I write open to all, and that means no subscriptions.

Saying Yes to the Tip Jar
Which brings me to the Tip Jar. Here’s my reasoning; I spend a lot of time on this site, the podcasts and webinars, and answering reader mail, not to mention the time researching and learning about everything I’m writing about. It typically consumes 20+ hours a week. Often I spend much of my days off writing, testing or researching articles. Mind you, I’m not complaining; I love it! I don’t have a ton of hobbies, and I really enjoy what I’m doing.

On the other hand, it does take a lot away from my family, and I’d like to be able to take them out somewhere special once in a while to make it up. Plus I spend a fair amount of personal money on equipment, hosting and software to make this all possible.

This brings me to you, dear reader. If you find this website, or the podcast or the webinars helpful, consider leaving me a tip. The amount is strictly up to you, as is the frequency of your donations. I’m not looking to make a living off this, or quit my day job, but like I said, I’d love to take the girls to Disneyland once in a while. They’ve given up a lot so their dad can work at a church and they’ve been super about it. But as a dad, you want to take care of your kids…

If you can’t or don’t want to contribute, it’s no problem. I’m going to keep writing, keep podcasting and keep answering e-mails for as long as I can. As I said, I think content should be free. On the other hand, a little pocket change is great motivation.

If you have any questions or comments, feel free to leave them in the comment section below. I try to answer all comments.
Thanks for reading; you are the reason this site has flourished over the last 3+ years. I have more excitement about going forward than ever and I am delighted to be on this journey of technical excellence with you!
mike

Posted in: Announcements.

What We Can Learn from Michael Jackson

Jul 6th, 2010
by Mike.
No comments yet

Yesterday I wrote a post over at Church Production Magazine with some thoughts gleaned after re-watching Michael Jackson’s This Is It. It may not be immediately apparent, but there are a few things we as church techs and musicians that we can learn from his actions during the rehearsal for the show that never went on. How we treat people is important, and these are a few things we maybe could improve on.

Read the full post here.

Posted in: Philosophy.
Tagged: Church · church production magazine · michael jackson · musicians · rehearsal · techs

Wireless IEM Shootout Pt. 2

Jul 6th, 2010
by Mike.
8 comments

Last time, we looked at the Audio Technical M2 and M3, as well as the Sennheiser G3 300 IEMs. This time around, we’ll tackle the Sennheiser 2000 series and the Shure PSM9.

Sennheiser 2000
I’ll say right from the start that this Sennheiser didn’t seem to have it’s heart in the race. That or the rep really didn’t understand what was going on with the testing process (the original concept was to have them at the SoCal CTDRT meeting; a place you’d want stuff to work). When we “unpacked” the unit, and I say unpacked in quotes because it was very poorly and hastily packed, we discovered that the had not included a US IEC power cord.. After we tracked one down, we discovered they only gave us a 1/4 wave stubby antenna. It just looked like a pretty weak effort for a demo. UPDATE: Upon further investigation, I’ve learned that what we had was the rep’s personal demo unit, and was dropped off for our use at the CTDRT Meeting, not shipped. So in that case, the packing is understandable. The next time we do this, I’ll try to get brand new units, and I’m happy to re-test another 2000 if Sennheiser would like to provide one. // End Update

When we fired it up, the first thing we noticed was an extremely high noise floor. Without any signal, there was significant white noise at any volume setting. Even with signal, it was still present and annoying. Kevin Sanchez, who has several units, said this is not normal, but I couldn’t find a solution even in my testing afterward.

The display is nice.

The 2000 series are all full-rack width, and come in single and dual transmitter models. The dual, shown here, is completely redundant. Built like a tank, it’s clear this model was designed to survive the rigors of the road. It’s really two complete transmitters, with full controls and connectivity in a single box. Everything is done through a menu, which is a little slower than a few dedicated controls, but it’s pretty intuitive and easy to get around. The audio meters show very fine resolution, and make it easy to set the right input gain. Like the G3, the entire display turns red and reads “PEAK” if you overload the front end, a nice touch. Also like the G3, the 2000 series is networkable.

The other side is exactly the same.

Keeping up the trend, the 2000 has combo XLR / 1/4″ input jacks, and balanced loop outs. The BNC antenna connections make it easy to use combiners or external paddles. This is the only unit that is powered by a standard IEC power cord (and the power supply is the only thing shared by the two transmitters). Each transmitter (in a dual model) has it’s own Ethernet jack, which could be good, or a pain, depending on your point of view.

Look familiar? It's just like the G3.

The bodypack is pretty much the same as the G3, at least outwardly. The menu system is exactly the same, as is the very useful and informative display. Like the G3, the pack feels sturdy and solid; certainly road-ready.

The sound quality of the 2000 was excellent, aside from the annoying hiss. Range was significantly less than the G3, on par with the ATs. Audio quality was higher than almost any other in this shootout, with excellent stereo imaging; clear, crisp highs and solid lows. It could play very loud and still sound good, if it weren’t for that blasted hiss. For me, as well as others in attendance at the CTDRT, the noise floor was a deal breaker.

The system does offer some great features; switchable transmit power of 10, 30, 50 and 100 mW; a wide 75 KHz tuning range; a built-in 5 band EQ; and a simple IR channel sync feature, making it easy to scan for open frequencies on the receiver, and tune the transmitter with a single button push. If the noise floor is just an anomaly of this unit, I would say it’s a solid system. However, looking at the pricing online coming in at close to $2,700 a channel, I couldn’t justify it. Even if you could get them for significantly less (which you surely could if you tried just a little), for my money, it’s just not worth it. especially with since Shure introduced the PSM900…

Shure PSM900
I’ll admit to being a little biased about these. I heard them at InfoComm a few weeks ago, and was blown away. On second thought, maybe I’m not that biased. I’ve complained long and loud about the poor performance of the PSM600 and PSM700, and said on many occasions that Shure had ceded the wireless IEM market to Sennheiser and others a long time ago. The introduction of the 900 changes everything, however.

I like the dedicated input level controls and the informative display.

A little background on this unit (since I know it). From an audio and RF standpoint, they pulled out all the stops. They used the same Audio Reference companding as in the UHF-R series wireless mics. They also played some cool tricks with the RF; it’s almost impossible to overload the receiver (even touching the antennas together), and when the RF signal drops off, it simply mutes the audio, none of that crazy ppphhhhzzzzztttt sounds that we’re used to. With performance that high, you would expect to find other features such as dual-unit full rack width models and networking. And you’d be disappointed. The 900 is designed to compete directly with the G3, though performance is on par (or even surpasses) the 2000 series. To make that price point, extra features were eliminated. Thankfully, they kept the good stuff. I would liken the transmitter to the ULX series of wireless mics; it’s not quite as solid as the UHF-R, but if you took care of them, you’d be OK on a tour. In an install, I wouldn’t worry at all.

Looking at the front panel, you’ll see dedicated input level controls, which I really like. The Enter/Exit/Menu controls will be familiar to anyone who’s used a UHF-R sereis mic, as will the sync section. It’s easy to use the receiver to scan for a clear frequency, then sync the transmitter appropriately (and the sync was crazy-fast, much faster than a UHF-R). There is also a headphone jack (1/8″) with volume knob and an interesting switch that allows you to turn the RF section off, killing the output of the transmitter without powering down. I’m not sure I can come up with a need for this, but surely someone has thought of one.

Same as the others.

Out back, we find the usual suspects; combo input jacks, balanced 1/4″ loop outs, a BNC antenna input and a power input. Note the antenna on this one had a very loose hinge; we needed to shore it up with gaff to keep it upright. However, notice that it is a loaded 1/2 wave version, something that contributed significantly to it’s exceptional range (below).

At least it doesn't take up more than one plug...

Power is supplied either by the inline wart or an active antenna distro. I’d rather have an IEC cord, but I’m sure they remote-mounted the power supply to save space, and this is better than a plug-mounted wart.

The receiver is built like a tank.

The P9R receiver feels very solid in the hands, and will surely survive several falls to the floor. You get audio and RF level metering, battery status, and limiting indications as well as frequency. The limiter is really a maximum volume control; set it to 4 and you can turn the volume knob past 4, but it won’t get any louder. This is a good feature to help prevent TTS (Temporary Threshold Shift), a phenomenon that happens when you play for a while and you have to keep turning it up to feel like it’s the same level as it was before.

Another feature (shared by the 2000 series, I should point out) is the ability to sync one receiver with multiple transmitters. If you’re a monitor engineer, you don’t need to strap a pack on for every artist you’re mixing for; just sync your receiver with all the transmitters and you can jump between their signals very quickly. It’s clear both the 900 and the Sennheiser 2000 were built for touring situations.

As for the sound quality, it’s simply amazing. If I closed my eyes and someone switched between a wired signal and the 900, it would be hard to tell the difference. It has every bit as much clarity and stereo separation as the 2000 series (albiet with a tad less low end), without the annoying noise floor. The range of the unit simply blew everything else away. I walked out my front door, and headed down the street. I hit the dead end a good 800 feet from my dining room and still had signal; it was just starting to break up. Interestingly, that was at 50 mW transmit power–I switched to 100 and it didn’t make a lot of difference. I should note that the PSM900 is switchable between 10, 50 and 100 mW of transmit power.

Online pricing puts the PSM900 at around $1100. I’ve gotten better pricing by shopping around a bit. So for less than half the cost of a 2000 series, you have all the sound quality, none of the noise and range that isn’t even in the same league. About the only thing you give up is dual transmitter models and networking. Since I’ll be installing this permanently, I can live without the networking. The range and sound quality is so much better than the competition in it’s price range, there’s really no contest.

Friday, I’ll post some audio samples recorded from the headphone jacks of the receivers.

Posted in: Audio.
Tagged: audio meters · audio technica · church sound · input gain · m2 · M3 · noise floor · psm900 · sennheiser · shure · stubby antenna · transmitters · white noise · wireless iem

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