Guitarists and vocalists may prefer the UE7 molds. I love mine, as they emphasize midrange. I built our IEM systems rack as its own rack, separate from our Monitor rack (Midas M32 Core and DL32). I have it set up such that the two racks (8ch of Sennheiser IEM, just like this rig) are connected to the Monitor/Split rack by 2 Cat6 cables. This keeps it under 50lbs for flying just the IEM rack, and at least for now we can always find Midas/Behringer gear to backline for cheap and just load our show files. We are usually the sole artist or the headliner, so it works better for us to just fly with the IEM systems, which are much more expensive to backline than the MON/FOH stuff, which we normally get to specify. I could easily add 24 channels (that’s all the band would need for monitor mixes) of splitting to the Monitor rack via 3 Art S-8s
I really dig this video, as you offer a bunch of solid, specific recommendations for bands going for an IEM system that's usually not operated by a dedicated monitoring engineer. I especially loved Rob pointing out that you had dropouts with your previous, monstrous IEM rig. I just wished you had specified that it was caused by the horizontal antenna orientation, which caused their "donut-shaped", radial radio pattern pointing vertically. That way, horizontal signal coverage/pickup of the recivers was effectively prohibited. Thanks for the informative clip.
It was a combination of the antennas’ orientation, the fact that they were inside the rack with no line-of-sight to the bodypacks, and that there 4-5 of them at any given time back there, creating an antenna farm. Truly breaking all the “rules”, before I knew anything about RF.
I always wondered in these kind of setups, why wouldn't you utilise the mixer not only for monitors but for FOH too. Mix with an ipad e.g. and provide the the venue's FOH console with a stereo signal. This way you don't have to mess with all the snakes /splitters etc.
A few reasons. IEM's and FOH require lots of different EQ's, Verbs, delays. we play a lot of club size (100-500 cap rooms) and mixing engineers want full control over what FOH sounds like. In theory your idea could be correct for smaller band playing local bars/shows but FOH engineers will hate it the more you scale.
@@whitsettband yeah we are going to be flying with ours a lot. So I’m looking at the best options. I’m basically gonna build the same as yours as soon as BTPA gets back to me! Is that the 20” 6u rack?
Heys guys! Thanks for the great content. Do you see a big difference from the Sennheiser units you have in the video compared to the PSM1000’s? I’m thinking of upgrading to the 1000’s but just wasn’t sure if there was a reason to or not. If you guys have used them. Thanks!
Hey Jason! I’ve used PSM 900’s a few times but it’s been years. Rob is very familiar with both I’ll have him respond his thoughts ASAP! Thanks for watching!
Hey Jason! I pretty much exclusively use PSM1000’s on the road. They are all around a much better unit than any Sennheiser has on the market at the moment in terms of audio quality, RF diversity, and durability. That said, they aren’t for everyone. If you are mixing your own ears with a system similar to the one in the video, you won’t get the full benefit of these features and you likely won’t feel like they are worth the price jump. Where they shine is as a part of a larger RF system where networking is key and there is a dedicated monitor engineer or RF coordinator to deploy them. In a DIY scenario they can be more of a pain than the current Sennheiser G4 systems which are much easier to deploy without external software and extensive RF knowledge. Hope this helps, happy to discuss further.
@@8-TrackCustomAudio thank you so much! So right now we are running six channels of axient digital for microphones and instrument wireless into a rack mixer into a cbi split with 4 of the G4’s for iems on an antenna combiner. Just more was curious as if the sound quality is better with the 1000’s compared to the Sennheisers?
