AudioMedia - October 2008 - (Page 64)

10|08 AM n ear monitors are all the rage, but it’s not because of good looks. For the right application, IEM systems can bring a whole heap of benefits that may not be that obvious. Audio-Technica has taken the plunge into the IEM market after some careful planning, as there are some innovative features unique to the M system. After being impressed with the recent range of Artist series microphones, I hope the M in ear system is a perfect complement to the vocal microphones. BEN BURNS points out why Audio-Technica’s new M3 system may well save your health, your job – and even save the day! Yes, these little IEMs might well be the saviour to a lot of sound’s little hazards. I Gigs are meant to be loud, but not dangerous to people’s health. Local councils in the UK like to send ‘noise police’ to keep things under control. Engineers often play cat and mouse with the noise police, who holster devices to measure the sound levels. I can remember a gig where the stage noise was way over the permitted level – without the FOH PA running – I think a politician lived near by. Anyway, the point is that if you reduce the level of any stage monitors, the FOH mix will sound better when the overall gig level has to be quiet. Front of house engineers usually like the stage to be as quiet as possible – none of that fancy Perspex screen over the drum kit or anything, but guitar amps and side fills can easily kill any chance of a balanced mix in a small room. Most of the small rooms in England have some of the worst monitoring systems on the planet anyway, so bringing in your own monitoring system can really save the day – and possibly your job. M onitors The M T transmitter is the heart of the system, M R is a small receiver (like a cigarette packet) that contains a battery powered headphone amplifier. Included extras include the antennae, a rack mounting kit and very light power transformer for the transmitter (like a modern phone charger), headphones with three rubber cup sizes, and the well written multi-lingual manual. The system can operate on over , frequencies, with a range of m in clear space. Any number of receivers can be run from one transmitter – like a television set they will all get the same signal of course. Up to transmitter systems can be used simultaneously within each frequency group – it is possible to have more channels running, but a special frequency plan will be required for correct operation. Inter modulation of radio frequency bands will cause drop outs all over the place, so a good frequency plan is as essential as using the correct antenna cable ( antenna cable, not video BNC!). With a weight of g, this transmitter is not super-light, a good thing as it feels solid and able to withstand any abuse. The transformer is very small and light, like a phone charger. Under full transmitting power the whole unit draws about mA. The transmitter is factory set to mW (in line with UK national regulations) but can be switched up to mW for special operations. Between MHz and MHz, the unit is limited to Mw only. M3T Transmitter AUDIO TECHNICA M3 IEM In Ear Monitors Typically when using stage monitors, the sound for a given performer will change massively if they want to jump about and run around a lot. If the performer wishes to hear a consistent monitor sound whilst moving about or on moving staging, then wireless IEMs are a god send. The front panel is clear and uncluttered, with a green backlit LCD. The information you should be worried about is all clear and easy to read, including battery level (usually eight hours on fresh ones), input level, and frequency display. To change the setting on the transmitter a three button interface lets you move through a basic menu system which any engineer should be able to quickly work out. There are options including naming the unit, tuning the UHF, pilot tone, and squelch control. The pilot tone is there to avoid RF interference when the transmitter is turned off. To listen to the audio signal going into the transmitter there is a ¼” headphone socket with independent volume control ( mW @ ) on the front panel. The rear panel includes the IEC power input socket, two XLR/ / ” combi inputs, two XLR outputs and the antenna connection. For factory use only there is a data port for re-programming and updating the transmitter software. There are currently no plans for any remote PC software. The XLR outputs are a direct copy of the input signal, which remains un-affected by the software in the transmitter. This is useful for ‘looping’ through into a monitor amplifier or other device requiring the same mix as the IEM system. The basic concept of the in ear monitor is for a musician to insert posh earphones into one or both ears. These act as earplugs, reducing dangerous sound levels entering the ear whilst at the same time providing a monitor mix at a reduced volume. There are a large number of benefits from using IEMs, reduced stage level, reduced level for the wearer, freedom of movement when using wireless systems, consistent monitoring from venue to venue, etc. With any radio transmitters there are regulations that should always be adhered to, but at least in the UK there is some confusion about licensing radio frequencies for entertainment use. The JFMG is a government body that works alongside OFCOM in the UK to manage radio frequency licensing, check out the website for more information. Depending which country you are in, the television broadcasters will be using some of the same frequencies available to the M system, so it is important to choose the correct group. THE REVIEWER BEN BURNS is a London-based freelance engineer- both live and studio- with credits including Blur, Dido, Embrace, Happy Mondays, and more. IEM 101 Audio -Technica’s first IEM system embraces these concepts in a feature-rich professional package that won’t break the bank. The whole system is boxed with everything you need to get up and running. M3 System 64 AUDIO MEDIA OCTOBER 2008

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Audio Media - October 2008 Content Recording Post Broadcast Geofocus:�Portugal &�Spain What's Up UK IBC Report Microtech Geffel UM 930 Steinberg Cubase 4.5 ADK�Hamburg &�Vienna Final Cut: House of Fallen Lexicon PCM96 Review The Conch Awards Feature Sound Devices 788T Review Lexicon PCM96 Allen &�Heath Zed R16 Power: Fact & Fiction, PT.2 Product Sampler Plug-ins Video Guide AMSR Plasa Report Audio Technica IEM�M3 Rushes Live Mixing Techniques:�Bruce Johnston Drawmer 4x4 Kickbox

AudioMedia - October 2008

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