|
Heads Up on Headphone Systems
- Stage Volume and Monitoring Solutions
The advantages of clarity and fidelity offered by new In-Ear Monitor (IEM) systems will be obvious to any performer who has strained to hear their voice or instrument in a monitor mix against a background of ever increasing on-stage levels. A further advantage, for artist and sound engineer alike, is that each performer can have their own monitor mix. Unfortunately, previous use of such technology had been restricted to those performers and sound companies able to afford the considerable expense of systems suitable for professional use. With the recent advent of economical systems, ministries are now finding it possible to cut back on stage monitors, stage volume, and feedback. These new units use standard earbuds or headphones, and there are wired versions as well as wireless UHF models for those who need uncabled flexibility. The wired versions are good for static performers such as the worship band while the wireless are best for lead vocalists. Brands include the Rolls PM351 personal headphone box, the HearBack and Aviom multichannel systems, and the Sennheiser Evolution wireless IEM.
The Rolls PM351 is a small, adapter-powered box in the $100 range that has a monitor line input, an instrument input with direct out, an XLR mic input with an XLRM split output, and volume controls for all three. It also accepts phone and miniphone headphone connections. Now any performer can have individual control of their vocal, instrument, and a global monitor feed. Effective, simple, and cheap.
The HearBack system which offers seven discreet channels (6 mono and one stereo) consists of an input Hub and Personal Remote Mixers connected using standard CAT5 cables. The distribution Hub can accept analog input signals from mixer aux, matrix, group, and/or direct outputs, and can supply signal and power to a maximum of eight remotes. The Line out of a personal remote can also be patched to a powered monitor or wireless IEM for multichannel control of those systems. One of the only drawbacks is that the mixer units cannot be daisy-chained since power for each personal mixer must come from individual hub CAT5 outputs. Hearback pricing works out to around $200 per person, less than a floor monitor system.
The Aviom system offers a full 16 channels of monitor control on each remote mixer, bass and treble controls, stereo panning for each channel, and memorization of up to 16 different monitor mix setups (to accommodate multiple users.) Since each remote mixer uses an AC adapter for power, they do not require power through their CAT5 cables and can be daisy-chained from a single hub output. Aviom also offers their 16/Y1 hub card for Yamaha digital consoles. This essentially installs a hub in the mixer itself with a special display page for input routing to the card, saving on patch cabling and allowing various input configurations to be saved with each memorized console scene. Though cost is around the $500 per person range, the Aviom is unprecedented for quality and control.
Sennheiser has made the latest IEM wireless technology affordable and available to everyone with their Evolution Series.
The set consists of a stereo in-ear phone with a special earpiece that is attached to the portable bodypack receiver. Each bodypack can receive a stereo monitor signal from its transmitter which offers multiple user-selectable frequencies and another useful feature - a "Dual Mono" mode. This allows you to switch from stereo monitoring to two separate mono mixes with a balance control for adjustment of either one or a combination of both. Add a second receiver and you can have separate mixes for two performers from a single transmitter. Result: more flexibility and substantial savings.
The Long & Short of Wireless Headset
For a while now, we've been used to seeing those high-quality but conspicuous headset mics on performers like Whitney Houston and Garth Brooks, but most pastors don't desire that Wendy's drive-thru look on stage or on camera. The unidirectional models used by vocalists are necessary in that they concentrate pickup from the performer and reject feedback and unwanted pickup of stage levels as do all unidirectional mics.
A typical sermon, however, is not competing with stage levels and the unidirectionals offer several disadvantages in speaking applications. They must be near the mouth for good quality due to their rejection from a distance. This makes them more conspicuous, especially since they require a windscreen to reduce breath pop, and the positioning can be very crucial since a slight change can radically alter the sound of the voice due to proximity effect.
It has always made more sense for a 'speaking' headworn to be omnidirectional like a lapel, but it has taken a long time for the manufacturers to catch up and fill the need. First of all, an omnidirectional capsule is easier to design and can be much smaller since it requires no vents to cancel off-axis sound. Secondly, an omni can be moved to the side of the face for inconspicuous appearance without suffering the overwhelming problems of rejection and proximity affect.
I actually made my first omni headworn many years ago out of a poor quality uni-mic's headband and a cheap omni lapel. I simply cut the headband gooseneck short, wired the lapel element to the end, and painted the gooseneck and mic an appropriate flesh color. It cost me $125 to make and, though a bit larger, sounded as good as current $400 models. But at least we now have a selection of high-quality omnidirectional headworns to choose from.
Though DPA was probably the first (though expensive) offering, the Countryman E6 became popular by breaking the $500 mark. The problem was that Countryman does not make their own wireless systems, so you had to buy another wireless system and order a compatible E6. Now Audio-Technica and Audix have their own complete omnidirectional headset systems.
The Audio-Technica Microset is as small as the Countryman E6, but I believe it offers a more durable and stable design. Where the E6 mic drops down in front of the ear and the loop and cable runs behind the ear, it seems more prone to forcing the mic upward as the gravity or friction of the cable pulls down behind the ear. The Microset has a small hook that curves forward over the top of the ear while the mic comes from behind and under the ear. The ear tends to hold the mic in place so that it doesn't shift upward, and it may be an advantage having it hidden more behind the ear. It also doesn't hurt that the Microset sells for almost $100 less than the E6. It can be combined with any Audio-Technica bodypack, or configured for current systems by other manufacturers including Shure and Sennheiser. I now recommend the Microset for all drama applications where invisibility is a must. (Adding a little clear surgical tape to the cabling behind the ear offers even more stability.)
Audix
The Audix HT5 is a slightly heftier design which makes it even more durable, and has a band that goes around behind the head and over the ears as most unidirectional headworns do. This makes it the most stable of all designs for pastors who are more 'animated' (I guess aerobic instructors would fit in that category as well), or if their ears or eyewear are not kind to over-the-ear models. Though not currently available configured for other brands of wireless, I prefer the complete Audix HT5 system because it offers more powerful transmission and a bodypack battery indicator on the receiver, plus it includes a nice padded carry bag and a rack mount kit. Best of all, like the AT system, it can cost up to $300 less than a complete E6 system. Audix also has a compatible line of what I consider the best wireless handheld dynamics on the market.
|
