Sennheiser 1000 series User manual

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.
1
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.
2
34
5
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.
A
B
C

Receivers
A
B
C
E
D
F
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.
A
B
C
D
E
F
G
H
L
G
J
K
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.
J
G
H
K
L

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.