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Shure PSM 200 IEM - Let's Talk

#21
Barisaxman said:
.. and now have Sennheiser G3's. The difference in sound quality really is astounding.
Click to expand...
+100%
Been using Carvin EM900's for years - always with upgraded 3rd-party buds.
Just upgraded (last Sat was first gig) the hardware to Senn G3's.
"The difference in sound quality really is astounding" !!!!!!!

I was reluctant to jump into the Senn's - given the $$$ - but having about 17 hrs worth of gigs on them (in the last 8 days - 5 gigs) they are night and day compared to the EM900's and the PSM200's my other band mates use. Night and day... well worth the $$ IMHO.
 
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#22
I have a set of the 200s thatIi used in a highly technical production band. Being as old-school as I am, I never really got to where I liked IEM's more than floor wedges, but Im again in a band that will probably be using IEM's.
This thread has a lot of good advice and info, particularly on quality of earbuds.
If I go IEMs, the firs thing Ill do is upgrade those.

Thanks.
 
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#23
THUNDERGODX said:
I have a set of the 200s thatIi used in a highly technical production band. Being as old-school as I am, I never really got to where I liked IEM's more than floor wedges, but Im again in a band that will probably be using IEM's.
This thread has a lot of good advice and info, particularly on quality of earbuds.
If I go IEMs, the firs thing Ill do is upgrade those.

Thanks.
Click to expand...

Don't quickly poo-poo the SE215 though, especially for starters. They just ain't that bad.
 
#24
nervous said:
Don't quickly poo-poo the SE215 though, especially for starters. They just ain't that bad.
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Agreed.. they are not bad for single drivers.. as part of a mono system.

If you have multiple [identical] instruments (such as 2 acoustic or electric gtrs or multiple sets of keys) the average person WILL have trouble in differentiating between them with the PSM200/300 systems - mostly because they will occupy the similar or same frequency spectrums and sound stage. But this logic applies to ANY mono/single driver system!

IF you are in a band that all different instrumentation (acoustic, electric, single keys, vox, drums, bass, etc.) then you should probably be fine with the 215's.
 
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#25
Just picked up a Shure PSM300 with the metal body pack after waitng since December. Used for a couple of gigs so far. Nothing to really compare to, since I had a wired Rolls 351 system prior.

So far, so good. Really like the system, sync was easy and the sound has been great. Got AA rechargeable batteries, can easily get one 4 hour gig out of a set.

Using custom mold In Earz buds.

Very pleased with the quality and construction of the PSM300, all metal, definatly a a step up from the PSM200.

Also got a Shure GLX-D for my bass, l love being "wireless"!
 
#26
What do you folks use for 9v batteries? Off the rack Durecall and Energizer are great, but pricy and after a job you're left a bit in no man's land of voltage around 8v and wondering if that will make another 3-4 hours for the next show. Anyone using Procell by Duracell? Read good things and at around 1.35ea it's a very affordable option.

Interesting side note, our drummer bought some cheap 2pk of RayOVac and they didn't even fit in the battery compartment, door would not close.
 
#27
nervous said:
What do you folks use for 9v batteries? Off the rack Durecall and Energizer are great, but pricy and after a job you're left a bit in no man's land of voltage around 8v and wondering if that will make another 3-4 hours for the next show. Anyone using Procell by Duracell? Read good things and at around 1.35ea it's a very affordable option.

Interesting side note, our drummer bought some cheap 2pk of RayOVac and they didn't even fit in the battery compartment, door would not close.
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Our guys are using off the rack Duracell/Energizers.. as research has shown that 9v rechargeables are NOT the greatest.

I'm all "AA" RECHARGEABLE on my 2 body paks, using 2800 mAh EBL's in my G3 IEM and 2300 mAh Energizer's in my G90 (the EBL's don't fit.. slightly oversized for "sleeve" AA containers).
 
#33
nervous said:
I have been inactive on this topic for a few weeks because I wanted to spend some more practical live time with everything over a variety of situations. I now have that and can better speak to my original inquiry. I have five more live jobs on this system on three different PA setups and things have improved for us every time. The first thing that made the greatest difference was making a significant change to the size of the signal coming into the transmitted which has added significant headroom to the receiver side signal and has reduced the instances of the limiting coming into play. Part of the gain structure was a more careful use of what instruments are coming back. Low toms were awful, cutting those back paid instant dividends. In fact, an overall lowering of the drum set in general was helpful. With my personal PA I am still working with the overall in head bass tone but in working with out regular, for hire, sound guy and his system, last Friday presented one of the best overall live mixes I have ever had. He just added an Allen & Heath Qu-32 digital mixer so I am sure that has a lot to do with it. But the quality of the in head sound with some basic Shure SE-215 was really good. I sold my Westone UM Pro 20 dual drivers and returned to eth SE215 because there was not enough difference between them to warrant the extra cost. So right now thinsg are looking up for this working as I had hoped.
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This thread was as close to my search for propoer set up of the PSM200 that I found through search.

My question is how are your gain stages set starting with:
monitor out volume from the board; then
transmixer volume; then
receiver volume.

We've been getting distortion lately and receiver volume changes aren't making a difference.
 
#34
mrpackerguy said:
This thread was as close to my search for propoer set up of the PSM200 that I found through search.

My question is how are your gain stages set starting with:
monitor out volume from the board; then
transmixer volume; then
receiver volume.

We've been getting distortion lately and receiver volume changes aren't making a difference.
Click to expand...
some thoughts...
Any other devices "sharing" the same frequency (channel) - either inbound or outbound? Check the OM for each channels frequency. We kept our units 2 channels apart - before we went to G3's.
Using fresh batteries?
Is the input to the PSM200 showing clipping (red) or is the the LED showing yellow? Adjust mic/line input levels if so... if still too hot, lower the levels going into the PSM200.
 
#35
s0c9 said:
some thoughts...
Any other devices "sharing" the same frequency (channel) - either inbound or outbound? Check the OM for each channels frequency. We kept our units 2 channels apart - before we went to G3's.
Using fresh batteries?
Is the input to the PSM200 showing clipping (red) or is the the LED showing yellow? Adjust mic/line input levels if so... if still too hot, lower the levels going into the PSM200.
Click to expand...
only sharing is another receiver (me and lead singer) sharing a mix. Batteries fresh. Will try lowering level going into the transmixer. Thanks.
 
#36
It's really easy to get the "transmixer" to go into limiting - if you set your aux out to unity the transmixer level has to be just barely on. I've been lowering the aux out some. I try to run my receiver volume at 2/3 to 3/4 so I have some room to turn up if needed. That said - usually the issue I get is the limiter kicking in because of one loud channel and reducing the overall volume - never really "distortion".
 
#37
mrpackerguy said:
This thread was as close to my search for propoer set up of the PSM200 that I found through search.

My question is how are your gain stages set starting with:
monitor out volume from the board; then
transmixer volume; then
receiver volume.

We've been getting distortion lately and receiver volume changes aren't making a difference.
Click to expand...

I have been using a PSM200 for years now (I want to upgrade to PSM300 or G3 but dont wanna spend the $) and there are a couple "tricks" that are helpful. One is turning your send from your mixer down a good bit. As mentioned earlier in the thread, they limit really easily. Also, take the output from channel 1 and feed to the input of channel 2. This will give you some more volume, but you will lose the "more me" function if you set up that way.

I will end up upgrading relatively soon because I used a friends G3 once and it was that much better. The PSM200 is discontinued for a reason.
 
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#38
Thanks for all the replies. Seems to have branched out into a broader conversation which is cool. I changed my tips on my KZ-S10 buds the other day to get a "tighter" seal. Seemed to help, but my left ear canal was sore after 30 to 45 minutes. I have a mold kit I'm going to try to see if I can get a better seal without ear pain. I basically run my SansAmp directly into channel one, my sound guy gives me a monitor mix into channel two. I blend them until I like the bass to band ratio. Unfortunately, it's just sounded to thin and tinny for me. I use DR High Beams which are pretty twangy to begin with. I'm hoping the mold kit provides me the seal and low end I need to fill the low end spectrum. I didn't realize the brand of receiver/transmitter could have an effect on sound quality as some have said the Sennheiser units sound "better" than the PSM200. I know the ear buds I'm using have very broad range of sound spectrum to them so I'm pretty sure the ear buds can produce any frequency I want to get.
 

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