All four hand held systems failed during a performance
We have 4 handheld and 4 lapels of the g2 100 range, in the rack they are set up with two splitters but per splitter we have only 2 hand helds and 2 lapels.
in a performance all 4 of the handhelds stopped working, but all of the lapels continued to work.
both the transmitter and reciever were un-muted, the reciever said they were un-muted but wasn't recieving signal. normally when they are not recieving they say on the reciever they are muted aswell. so they must have been recieving something or they would appear to be mute
we collected all of the handhelds in the middle of the performance and took them off stage to test them. they didnt work for 2 or 3 minutes and then they all came back on again. nobody toutched the recievers and i was the only one speaking into all 4 mics when they suddenly came on all at the same time. the total down time was about 5 mins.
This is really bizzare and has never happened in the 3 years we have had them
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Re: all four hand held systems failed during a...
That is an odd encounter, and most probably one of the R.F.I. kind. Radio Frequency Inference can be caused by many things. Sometimes it can be a nearby piece of equipment creating that much interference, that the mics could not operate. It may have been a spurious mobile radio transmitter as used with two way radio for the cops, ambo's, firies,or even a nearby Cab!! Some times faulty light dimmers can also spray RF.
To what ever end, the fact that 4 mics went down together is indicative of an external problem, and being radio mics, it would have been radio interference.
The only other thing to check is that they are UHF. there are many VHF mic systems still about, but these frequencies are now being used as part of the soon to be introduced digital TV transmission. Best check that they are UHF, The VHF type have actually been illegal for a number of years Hope this info has helped you understand your problem. I am happy to answer any questions you may have. Cheers
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Your best bet is to sontact Shure. They are always very helpful. Ask for the service department. These parts are readily available and are not expensive. Once you gain access to the internal board, changing the parts is trivial. I have ordered numerous sets of these in the past and keep some in stock as they fatigue after a while.
The Shure SLX2 hand-held microphone has similar performance characteristics to the much-loved (cabled) Shure SM58 vocal microphone. It has a 'cardoid pick-up pattern' intended for close work - being spoken / sung straight into the top of the capsule at no more than about 8 inches from the mouth of the user- to minimise feedback and extraneous noise. If you double the distance between the mouth and microphone the sound level will drop four-fold so distance really matters.
The SLX1 lapel/ lavalier is a semi 'omni-directiona'l pick up pattern microphone, which should work satisfactorily up to 12 inches from the speakers mouth, but closer is better. Always try to get your users to hang it about 6 inches below their chin, at most, and preferably with the top of the microphone capsule pointed upwards towards the mouth.
Here are a few other things for you to try:
There is a volume (gain) knob on the back panel of the SLX receiver unit. Try turning this up to maximum (needs a small screwdriver)
Make sure that both aerials on the receiver are fully extended at different angles to each other and in a clear 'line-of'sight' with the transmitter pack, with no large bits of metal in between which could block the signal. Ideally the receiver should not be more than 25metres from the transmitter. If distance is a problem locate the receiver near to the transmitter and run a balanced (xlr) cable to your mixer/ amplifier.
The angle that the receiver aerials are at should be broadly similar to the angle that the transmitter antenna is at to optimise signal reception.
Make sure the receiver is not located too close to other electrical equipment which may be interfering with the signal (especially voltage transformers, CD or DVD players and hearing loop induction amplifiers which have a strong magnetic field)
Always use good quality batteries - Duracell Ultra or equivalent ( do not use rechargeable batteries as they seldom achieve optimum voltage)
Check that the antenna is tightly screwed into the SLX1 transmitter pack and not damaged.
The SLX2 hand-held microphone has an adjustable level switch inside the body - unscrew the top of the microphone to access it - switch to maximum.
Another possible cause could be an impedance mis-match between the SLX receiver and your amplifier or mixer. There are two outputs on the rear panel of the receiver. One is an XLR (large 3 pin socket) this is LOW impedance and needs connecting to a low impedance input on your mixer/amplifier. You should normally be using this output even if your amplifier has a jack-socket input (use a proper balanced XLR to 6mm trs jack cable rather than a adapter plug). The other output on the receiver unit is a 6mm HIGH impedance, unbalanced, standard jack socket (labelled 'line in'). This would normally be to connect to a guitar amplifier which has a high impedance 'line level' input socket. If you are using this output you may need to use a pre-amplifier to get a big enough signal for a microphone.
Here is some very general info, however for more detailed info, I need more information on what your using it for. Speechs, Play, Vocals, Bands? Inside or Outside venue?
For Vocals you should have no problems with a Wireless Handheld SM58, they work over a large range, however still have a limit. Make sure the receivers are always close enough to the mics to hold a reliable connection.
Wireless Lapel Mics (Clip-on) are more troublesome, as they are generally consenser mics which are more susceptible to feedback. You also need to place them somewhere in range of the person's mouth, whist avoiding placing somewhere where you will get alot of fabric movement whist moving around, or you will hear that very loudly FOH. You also need to deal with body-packs and wires.
Leturn mics are generally easier to deal with than Lapel, however again are Condenser and more feedback prone.
I would reccomend the SM58 where possible, as it is much easier to work with, and you are more likely to get a better sound with less work.