Sennheiser 1000 series Manual de usuario

The Gradav Guide to

Sennheiser 1000 series

Radio Mics

Intro & Overview

The 1000 series of Radio Mic equipment was introduced to bridge the gap

between the, then standard, simple fixed-channel operation and the agile

(switchable) ‘top of the range’ hardware that was best suited to the

experienced professional user.

Some simplification eg presetting the squelch threshold, was introduced to

reduce costs and make operation easier for the less experienced user. It has

been our experience that by curtailing the user’s opportunity to miss-set

transmitter mic gain, squelch and compression, a more reliable and

consistent result has been achieved.

At the same time LEDs have been used to improve the monitoring of RF

(Radio Frequency) and AF (Audio Frequency), to provide the operator with

a clearer picture of system performance.

The final result has been an effective and popular system that is equally

useful to the occasional user with 1 channel as it is to an experienced

operator working multi-channel on a complicated show.

This guide has been written to assist the user who is new to this system to

get the result they are looking for with the minimum of time and worry. It

will also aid the experienced user whose memory needs a little help!

Fault finding is never easy, especially when you are under pressure. We

have added a section that may just save your reputation (and sanity)!

Pocket Pack Transmitter

To insert a new battery you must first open the battery

compartment cover by pressing the ribbed area, and then

hinge upwards.

Remove the old battery (if fitted) by pressing the battery

end and lifting up, in a manner similar to opening the cover.

Prepare the new battery by removing any wrapping. Take

particular care to remove the rubber terminal cover fitted

to batteries made by Duracell.

Insert the battery ensuring that the polarity of the termi-

nals match those of the transmitter. Both are marked

clearly.

It may be necessary to change the transmitter operating

frequency. The channel change switch (1) is located in the

battery compartment, beneath the battery.

A screwdriver operated rotary switch is easily accessible.

There is an arrow-pointed end to show which channel is in

use. Sometimes it is not easy to distinguish the arrow from

the plain end. If you do not get the channel working using

the arrow end, it is worthwhile setting the other end to the

required channel.

All transmitters are supplied with an aerial (2)

fitted. This aerial will have been used for testing.

Should there be a need to replace the aerial it is a

simple task to unscrew using a flat-bladed screw-

driver of the correct size. When fitting a new

aerial take care not to over tighten.

The Power (On/Off) switch (3) is recessed to avoid

accidental operation. Some models have a red

LED to show when the transmitter is on.

Microphones to fit socket (4) are either fitted with

with screw-down connectors (as shown) or more

frequently with a push to insert type; where a pull on the barrel both unlocks and

removes the connector. Never unscrew this style of connector as internal damage

results, often leaving the connector stuck in the transmitter.

The Attenuation switch (5) is set to -20db by us when testing. We find this gives the

best result for most uses. Moving the switch may result in transmitter overload. Use

with care.

Screw

socket

Press here

to open

Hand Held Transmitter

To insert a new battery you must

first open the battery compartment

cover by pressing the ribbed area

(1), and then hinge upwards.

Remove the old battery (if fitted)

by pressing the battery end and

lifting up, in a manner similar to

opening the cover.

Prepare the new battery by removing any wrapping. Take particular care to remove

the rubber terminal cover fitted to batteries made by Duracell.

Insert the battery (2) ensuring that the polarity of the terminals match those of the

transmitter. Both are marked clearly.

It may be necessary to change the

transmitter operating frequency

using the channel change switch

(A).

The screwdriver operated rotary

switch has an arrow-pointed end

to show which channel is in use.

Sometimes it is not easy to distin-

guish the arrow from the plain

end. If you do not get the channel

working using the arrow end, it is

worthwhile setting the other end

to the required channel.

The Power (On/Off) switch (B) is on a recessed panel to prevent accidental operation.

Push forward for On.

We set the Attenuation switch (C) to the low setting. We find this gives the best result

for most users.

Receivers

Power (On/Off) switch. Controls only the DC circuit. There is a separate mains

PSU for single kits. Systems have a combined Aerial Distribution Amplifier and

Power Supply.

RF Level. Indicates the strength of the RF (radio) signal.

Diversity Operation. Shows which aerial is in use.

AF Level. Indicates the audio output.

Channel selector switch.

VHF systems have 6 frequencies.

UHF systems have a 16 channel switch, but only 12 frequencies are

available. Channels 13 -16 are repeats of other frequencies.

Channel information panel. Shows channel available and their frequencies.

BNC Aerial connector.

6.25mm Jack socket output. Unbalanced.

3 pin XLR output. Balanced.

Output gain control for Jack and 3-XLR outputs.

DC input.

Operation

Check that all the items on the delivery note have been supplied, before you assemble

your system. Please report any shortages immediately. We have less sympathy with

a claim that goods were not supplied after the hire has ended, than we have for a

shortage reported at the beginning.

In particular, note the number of tie clip microphones and their associated clips.

Both can remain attached to costumes, and just vanish at the end of the show!

Connect receivers to mixer inputs and attach all aerials.

Single kits have their aerials attached, and these need only to be extended and set as

shown in the cover picture.

Multi-channel kits are supplied with 2 Dipole aerials that are connected to the ADA

(Aerial Distribution Amplifier) and this supplies RF signals to all receivers. Dipole

aerials should be a minimum of 3 metres apart. Set with the elements vertical. Note

that on UHF aerials there is a moulded ‘E’. This is to show which element should be

at the bottom. VHF aerials have a whip for the upper element, and a helical for the

lower.

Failure to set aerials correctly can affect performance in a marked manner. It is

worth spending time experimenting with aerial location, for a small change can

often transform system performance.

Where we have supplied a flightcased system, you should note that we number the

transmitter, it’s receiver and output cable with corresponding channel numbers.

Power up using either plugtop power supplies (single kits) or connect to the mains

and switch on the ADA (Aerial Distribution Amplifier) which in turn powers all the

receivers in the flightcase.

Connect the Microphone to each Pocket Pack transmitter in use.

Example of a flightcased kit.

Transmitters are supplied in their own case.

Bottom unit is an ADA, which allows all receivers

to share a pair of Dipole aerials. It also powers

itself and all receivers.

Receivers lock onto the strong signals of their matching transmitters. In the abscence

of such a signal they will accept unwanted interference (known as intermodulation

interference - often shortened to ‘intermod’ ), which can light several segments of the

RF display. There is usually little or no audio present, but it can be confusing if

displays light on channels you weren’t expecting!

Failure to set aerials correctly can affect performance markedly. It is worth

spending time experimenting with aerial location, for a small change can often

transform system performance.

Always test multichannel systems with all transmitters switched on.

Always collect the transmitters at the end of the show. Change batteries if

required, and conduct your checks straight away. It is better to discover a

problem at the end of a show, rather than 10 minutes before you need it next

time!

Only when you are satisfied, should you distribute the transmitters. If you are not

planning to use them immediately it may be best to switch off the transmitters. When

all are switched off you should check the receiver displays. It will soon be obvious if

you have missed one!

Handheld transmitters present fewer operational problems than do Pocket Packs.

They are more likely to get dropped (or lost!). Stress to all users that they must take

care until the transmitters are returned to you.

Pocket Pack transmitters can be disguised quite easily with most costumes, but do

remember that aerials must be vertical. We offer black microphones as standard, but

pink models are available if requested at the time of ordering.

Headband microphones are available (MKE48) at an extra

cost.

NB2 adaptors are used with standard microphones (MKE2)

as shown in the illustration. There is a charge for these

adaptors.

Never stick aerials to skin

Capacitive coupling of aerial to skin (body) leads to high RF absorbtion, with a

reduced effective output to the receiver. Avoid placing packs/aerials next to the

skin. Sweat will always affect RF output.

CHECK - every performance

Each channel in turn for RF signal strength and audio quality.

Inspect for damage to every microphone cable and connector.

Transmitter aerial for cable damage and ensure that the connector is tight.

Sensitivity (gain) switches get moved. Re-set if required.

Extra microphones are available should you wish to between different users.

We supply some spares with hires. Spare aerials and microphones are sealed and

clearly marked. They should only be used in the case of failure.

Trouble Shooting

Distorts Input overload. Check that the attenuation switch on

the transmitter is set to -20dB

Overload in the mixer input. Reduce output gain on

receiver and/or reduce input gain on mixer.

If headworn, check the position of the microphone

capsule.

No RF shown on receiver Check that the transmitter is on.

Is the battery OK? Try another one.

Has the rubber transit cover been removed from the

battery?

Has the battery been inserted correctly? Check polarity

Intermittant RF Check that the battery is properly installed.

Inspect the transmitter aerial for damage and loose

fitting.

Check that the transmitter aerial is straight and as

vertical as you can manage.

Body absorbtion of RF. Check that the transmitter

aerial is not stuck to the skin with tape. Avoid contact

of aerial with skin if possible.

Works, but hisses A faulty capsule. They can fail by giving low gain.

Substitute a good microphone from another pack, or

use the spare if only 1 pack is in use.

A level mismatch, where a low signal is amplified by

the next stage increasing background hiss to audible

levels. Below are the most likely solutions to this.

Reduce input gain on mixer, increase receiver output.

Set attenuation setting to high on tranmitter. If disto-

tion results, return to original setting.

Sweat in the pocket pack

transmitter

Some actors (and some locations!) produce a lot of

sweating. Ingress of sweat can affect performance.

Consider re-positioning the pack on the actor.

Take a child’s balloon and trim with scissors so that

you can encase the transmitter in a waterproof cover-

ing.

Works only when close

check that frequency of transmitter and receiver

match.

Aerial placement. Move each dipole aerial in turn

checking the signal strengths on the RF displays for

improvements.

Check transmitter aerial for looseness and damage.

Check receiver aerials are vertical and with the [E]

element at the bottom.

Experiment with receiver aerial positions, while ob-

serving the RF displays on the receivers.

Microphone crackles Screw-lock connectors need to have their locking ring

tight. Check for looseness.

Snap fit connectors should be fully home.

If you think you have found a faulty microphone, test

your suspicions by substituting a working micro-

phone from another unit. Then confirm by trying the

suspect microphone on a pack that is known to work

without crackling.

Scraping noises Check that the capsule does not come into contact

with costume or jewellery.

Cable scraping can cause spurious noises. Secure the

microphone cable by passing it inside the crocodile

jaws of the clip, creating a small semi-circular loop of

cable just below the microphone capsule. Scraping

noises travelling along the cable should be stopped

where the cable is gripped.

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