Sennheiser Wireless Rack

DRAFT

The Wireless Rack

The rack unit has eight wireless receivers

• Eight channels in the rack go to the T8S.
• T8S outputs left and right go to T4S Aux 5/6 panned left and right
• T4S ToneMatch outputs go to L1 Pro32s.
• All inputs are panned hard left or hard right. Nothing is panned up the middle.

Details of the wireless rig.

• 4 x Sennheiser EW-D EM (single channel receivers = 4 channels)
• 2 x Sennheiser EW-DX EM 2 (dual receivers = 4 channels)
• Sennheiser EW-ASA (antenna splitter)
• Front panel antenna kit with 1/2 wave dipole antennas
• To be added: Another antenna splitter and external antennas, but for now, this is performing exceedingly well

T8S and T4S

I use the T8S for the wireless receivers and the T4S for extra connections (e.g., Host headset microphone using Sennheiser AVX system) or emergency wired connections.

Connections

The T8S Main Outputs Left and Right are connected to the T4S Aux Inputs 5/6 (panned hard left and hard right) using 1/4 inch (6.3 mm) Tip-Ring-Sleeve balanced cables.

I connected the T4S ToneMatch ports to the L1 Pro32 system using 50-foot (15-meter) CAT-5 cables.

T8S Noise Gate

I use the T8S Comp/Gate | Noise Gate with an aggressive -35 dB threshold. This shuts down each microphone when no one is singing directly into it, minimizing feedback and stage bleed from open microphones.

The Microphones

These are Sennheiser MM 935 capsules - the wireless version of the Evolution 935 microphones. Almost all my microphones are supercardioid or hypercardioid (e.g., the Sennheiser 965, Sennheiser MD 445, Neumann KMS 105).

The MMD 935 are cardioid, and I got them for less experienced vocalists who may not have the mic technique or discipline to stay on the mic as you need for the more directional microphones.

= KK 205 and MM 445

I use the Neumann KK205 or Sennheiser MMD 445 for my vocals. The Neumann KK205 is for quieter gigs when I want an intimate feel. The KK 205 is the wireless capsule version of the wired Neumann KMS 105. The Sennheiser MMD 445 is better for loud shows, especially if there are backline amps or acoustic drums on the stage.

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