YOU'VE HEARD ABOUT in-ear monitors (IEMs), and perhaps all the
buzz has made you curious. If you've done any research on the
different systems available (see “Stick It in Your Ear”
in the April 2000 issue of Onstage), you may have
concluded that such a system is too complicated and expensive. With
a splitter, an extra mixer, and all the components, even a budget
IEM system can tear an eight-mile-wide canyon through your bank
account. Enter Shure with an attractive solution: the PSM 400, a
new, relatively compact and cost-effective way to get you, the club
musician, involved with IEMs.
Depending on your needs and your budget, Shure's PSM 400 is
available either in separate components for customizing your own
setup or in complete prepackaged systems called Personal
Performance Packs. For this review, I received two Wireless
Personal Performance Packs (convenient for singers, guitarists, and
other performers who wander about the stage) and one Hardwired
Personal Performance Pack (for stationary musicians, such as most
drummers and keyboardists). I tested the PSM 400 in rehearsals and
at several gigs, both as a performer and as a sound engineer.
Here's the scoop.
LOCK, STOCK, AND BARREL
The Wireless Personal Performance Pack ($1,590) includes a P4M
4-channel personal monitor mixer, a P4T wireless transmitter, a P4R
battery-powered wireless personal monitor receiver with a
selectable built-in limiter, and Shure's E1 earphones with
factory-installed foam sleeves.
The Hardwired Personal Performance Pack ($990) contains the P4M
4-channel mixer, the P4HW personal monitor (also with limiter), and
the E1 earphones. Included in both packages are all the cables
necessary to hook up the various components, a 15-volt DC power
supply, the requisite 9-volt battery for the body packs, an
assortment of E1 flex sleeves, rack-mounting hardware, and a
well-written manual.
54 WAYS TO USE YOUR P4M MIXER
One thing that sets this system apart from all the others is the
P4M 4-channel split-output stereo monitor mixer (see Fig.
1). Thom Fiegle from the Shure product design team assures me
there are 54 ways to use the P4M in the PSM 400 setup, and after
spending some time with the system and musing over the
possibilities, I reckon he's telling the truth. It took some
figuring out, but I used the P4M in 4 of the 54 ways, and if I
poked around a little bit more, I could tailor even more workable
setups for my applications.
On the P4M's front panel are four combo jacks (XLR and
¼-inch) that accept either mic or line-level inputs, and four
corresponding concentric volume-pan control knobs. This arrangement
allows mixing of up to four separate signals in stereo. For
instance, you could use one channel for a general mix of the band
from an aux send on the FOH mixer, and use the other channels to
control up to three more inputs from the stage.
The mixer automatically splits the input signals and sends them
to four XLR split outputs located on the rear panel. These
unaffected prefader signals can then go either to the inputs of
another P4M or to the onstage snake and ultimately to the FOH
mixer. If required, the FOH console can supply phantom power,
simply passing it through the P4M to power a condenser mic.
According to Shure, the P4M can split low-impedance mic level
signals through three mixers before noticeable degradation of
signal occurs, and it can split out line-level signals up to seven
times.
The rear panel of the mixer also features two ¼-inch mix
out jacks for sending the P4M mix to the transmitter or to the
auxiliary input of another P4M. Finally, two ¼-inch jacks
labeled Aux In accept line-level inputs (such as outputs from
another mixer, a sequencer, or a click track), combined directly
with the P4M mix output. The front panel settings don't affect any
of the aux inputs (as is the case with the split outputs). For a
simple 4-channel mixer, the P4M offers plenty of signal flow
options.
WHAT'S YOUR FREQUENCY?
The PSM 400's P4T wireless transmitter offers a choice of 16
different UHF frequencies, 8 of which are compatible (meaning you
can use them simultaneously). With the right number of
transmitters, this allows up to eight separate stereo monitor
mixes. The front panel features two vertical 4-LED meters to
monitor input level, a headphone jack with a volume control knob, a
recessed Frequency Select button, a transmission-frequency LED that
displays the selected channel, and a permanently attached
antenna.
The rear panel contains two ¼-inch input jacks (to receive
line-level audio signals from either the mix out of the P4M mixer,
the loop out of another transmitter, or an aux send from the FOH
mixer), and two ¼-inch loop out jacks, which allow the audio
signal to pass through the transmitter to other devices, including
transmitters, tape recorders, and amplifiers.
BODY-PACK MONITORS
The P4R body-pack receiver is smaller than a Walkman and housed
in sturdy, lightweight plastic. It keeps a low profile, clipping to
your belt or waistband. A permanently attached flexible antenna
extends 4 inches out from the base of the unit, enabling reception
of the transmitter signal, and a top-mounted volume control knob
also turns the unit on and off. Scroll and Select buttons let you
specify frequency as well as enable or disable the built-in
limiter, high-frequency shelf EQ, and MixMode, all of which appear
in the LCD window on the top edge of the receiver.
A battery icon on the LCD shows battery status with a High,
Medium, and Low indicator (a receiver can run up to eight hours on
a single 9-volt battery), and an RF indicator appears when the P4R
is receiving a transmission. An easy-access thumb wheel adjusts the
left and right balance when the unit is operating in stereo, or the
blend of two mono mixes when the unit is in MixMode.
The P4HW hardwired personal monitor (see Fig. 2) offers
the same functions as the wireless receiver with two exceptions: it
doesn't require any frequency selection, and you must physically
connect the body pack to the mixer via the attached mini Y mic
cable and the two XLR-to-¼-inch adapter cables. The hardwired
aspect effectively tethers the musician to the mixer, but you can
extend the cable lengths using regular XLR mic cables.
The E1 earphones come standard with the PSM 400 body packs and
are factory-installed with foam plugs. A trial assortment pack of
plastic flex sleeves in three sizes is included. Once you get the
hang of it, inserting the earphones in your ears is easy and quick,
and the foam sleeves block out external noise as effectively as
regular foam earplugs. The plastic sleeves also efficiently blocked
outside noises and felt quite comfortable. The advantage with the
flex sleeves is that you can clean and reuse them more easily than
the plugs.
À LA MODE
MixMode allows you to take two different mixes (say, a full mix
of the band from an aux send out of the FOH mixer, and a separate
vocal mix), sent respectively to the left and right inputs of the
P4T transmitter (or P4HW body pack), and blend them into one mono
signal that goes equally to both ears. When you have MixMode
selected on the P4R receiver (or P4HW body pack), the side-mounted
thumb wheel lets you adjust the volume of the two mixes relative to
each other — for example, you can turn up the vocals over the
band. This function comes in really handy, especially if you're
just using a transmitter and a receiver.
LOOP GURU
The loop outputs allow you to send a signal that's going through
the P4T transmitter to other devices, such as another transmitter,
a monitor amplifier, or a recording device. I tested the loop
application during a rehearsal for the five-piece band Agustus,
setting up a shared mix and customizing solo mixes at the
individual mixers. I set up the lead singer and the second main
singer-guitarist — willing test subjects — with
receivers set to different channels. I worked on their mixes, using
one aux send from the Mackie P.A. mixer for the band mix, a second
aux send for the singer-guitarist's solo mix, and a direct out for
the lead singer's vocal.
As recommended, I sent the general band mix from the Mackie aux
send to input jack 2/R on one transmitter, and then routed loop
output 2/R to the 2/R input jack of the next transmitter. I then
sent the solo mixes (namely the lead singer's direct out and the
second aux send mix for the other vocalist-guitarist) to the 1/L
input jacks on individual transmitters for the respective
musicians. We tried MixMode, the function that enables mixing of
the band and the solo in relation to each other, using the thumb
wheel on the P4R receiver.
While the MixMode function worked quite well, the fact that we
hadn't miked the drums and that we were going through the P.A.
during rehearsal made it challenging to set up a natural-sounding
mix. This aspect disoriented the talent somewhat, but the vocalists
absolutely loved how they could hear themselves without having to
battle the amplified environment. Shure recommends putting up an
ambience mic to add the additional sounds, or having your own mics
available to cover whatever isn't going through the P.A.
I didn't have the extra mics at the time, and my subjects ended
up with one earphone in and one out so they could get the natural
room sound. However, because of the resultant skewed volume levels,
the manufacturer doesn't recommend this approach. If the room is
louder (which it inevitably will be), an inclination to hike up the
IEM volume in an attempt to balance the levels could zap your
hearing pretty badly in the long run.
TESTING, TESTING
Since the vocalists seemed most interested in the system, I took
the opportunity to bring the PSM 400 to singer and songwriter Jill
McKnight's showcase gig at a venue in San Francisco. In this
situation, I found myself hemmed in by sound-system limitations (no
snake and only one monitor mix), so I set up the vocalist (who also
played acoustic guitar) and her lead guitarist with receivers and
used one transmitter to send out a single mix to both. Using an aux
send on the Mackie live mixing board, I created a mix relying
primarily on vocals and guitar. The lead guitarist was dubious, and
before the first song was complete, she ditched the receiver in
favor of the onstage monitor mix. But McKnight loved it, though
she, too, ended up using one earphone halfway into the first
set.
To put the PSM 400 through a more complex road test, I brought
all three performance packs on a gig I had with my band, Mark
Growden's Electric Piñata. We played as a quartet that night,
so the setup was relatively basic. I carefully mapped out mixer
inputs and conferred with Growden and the drummer. The bassist
bowed out of the experiment due to nerves. The soundperson wasn't
thrilled about another bunch of pesky musicians broadsiding him
with a nonroutine procedure. Putting on my best manners, I
convinced him he'd still have control (thanks to the split outputs
on the P4Ms), and he let us give the IEM system a try. I had five
minutes between sets to set it up. (Can you say
“focused”?)
As per the manual, I connected selected mics and instruments to
the inputs of the P4M mixers (see Fig. 3); the determining
factor for my setup was which main mix elements each musician
preferred to control. Then I took a mix from a monitor send onstage
and routed it to channel 1 of the first mixer, split it out to
channel 1 of the next mixer (via a mix output), did the same to the
third mixer, and routed the signal out of the third mixer to the
monitor amp (because the bassist was monitoring off the floor
wedge).
I used the hardwired performance pack myself, but I might have
been better off with the wireless. As a percussionist, I move
around quite a bit. While trying to work the P4M mixers,
communicate with the soundperson, and switch playing stations for
different songs, I became hopelessly entangled in the cables. I
suppose it was pretty humorous to observe, but it was somewhat
disastrous. The clarity of the sound astounded me, regardless of my
trussed condition. Unfortunately, we didn't get a proper sound
check, so the overall monitor mix ended up overloading its input
channel a number of times. With a less harried setup, we could have
set the levels more optimally at the outset.
On the other side of the stage, the lead singer and
multi-instrumentalist (on the wireless) was thrilled with his
newfound freedom. In the past, he'd sometimes blown out his voice
trying to compete with the electrified band, and he often couldn't
hear himself — a frustrating experience. After trying the PSM
400, he doesn't want to go back to floor monitors. Like a few
others who tried the personal monitors, he ended up removing one of
the earphones to get more connected to the stage sound. This was
partly because he was so used to hearing the overall mix in the
room, and also due to our less-than-ideal band mix from the board.
An ambience mic blended into the mix would have provided a more
natural show sound.
NOW HEAR THIS
The PSM 400 is an extremely flexible and reasonably priced IEM
system. The Personal Performance Packs are convenient, but if your
funds can't handle the hit, the fact that you can also acquire
components separately is very cool. With as little as one
transmitter and a number of wireless receivers, a band could enter
the IEM scene with the PSM 400. Granted, they'd have to share a
single monitor mix in such an arrangement, but it leaves both room
to grow and greater flexibility — you can just add components
over time. That's a nice touch.
I found setting up the system in a basic configuration pretty
easy; I just plugged a few mics into the P4M, sent the mix to a
transmitter, and matched up the receiver frequency. But I have to
admit that doing an involved setup at a show required a bit of
mental energy and diplomacy in dealing with the soundperson.
Warning the club management in advance if you plan on using your
own monitoring system is a good idea. Also, logistically speaking,
if you're in the middle slot on a bill, it may take some fancy
footwork to convince the soundperson to do it your way.
The performance packs I tried sounded clear, provided excellent
isolation from external noise, and offered the musician complete
control for tailoring a custom mix. They also kept the house sound
engineers in control through the split outputs (and they sure liked
that). I didn't find feedback a problem when I used the system
without monitor wedges.
Investing in a system as flexible as this one requires a time
commitment; it takes a little getting used to, but the
possibilities are many and the rewards great. With at least 54 ways
to use the PSM 400, you and your imagination should find the
special application that works for your band. You may never go back
to floor monitors again.
Karen Stackpole schlepps tons of gear every week as a
drummer and percussionist and a location-recording engineer. In her
spare time, she writes and teaches sound arts.
PSM 400 SPECIFICATIONS
P4M 4-CHANNEL PERSONAL MONITOR
MIXER
Inputs (4) ¼" TRS/XLR combo main, (2) ¼" TRS
aux
Outputs (2) ¼" TRS (mix), (4) XLR (split)
Dimensions 8.6" (W) × 1.72" (H) × 6.37" (D)
P4T WIRELESS TRANSMITTER
Inputs (2) ¼" TRS
Loop Output (2) ¼" TRS
Earphone Output ⅛" stereo
RF Frequency Range 722-865 MHz
Operating Range 300 feet (environment dependent)
Dimensions 8.6" (W) × 1.71" (H) × 5.37" (D)
P4R WIRELESS PERSONAL MONITOR RECEIVER
RF Frequency Range 722-865 MHz
Operating Range 300 feet (environment dependent)
Frequency Response 50 Hz-12 kHz (± 3 dB)
Dimensions 3.25" (W) × 2.5" (H) × 1.03" (D)
P4HW HARDWIRED PERSONAL MONITOR
Earphone Output ⅛" stereo
Frequency Response 20 Hz-20 kHz
THD <0.1% (at -10 dBu out)
Dimensions 2.5" (W) × 3.75" (H) × 1.03" (D)
PRODUCT SUMMARY
Shure
PSM 400 personal monitor system
Wireless Personal Performance
Pack: $1,590
Hardwired Personal Performance
Pack: $990
Overall rating (1 through 5): 4.5
PROS: Clear sound, great control, reasonably priced.
Flexible setup configurations, rack-mountable. Components and
prepackaged systems available.
CONS: Requires some strategy and tact in dealing with
clubs. Complex setups can get confusing.
Contact:
Shure Incorporated; tel. (800) 25-SHURE or (847) 866-2200; e-mail
sales@shure.com; Web www.shure.com
