The mic is now powered by two AA batteries (requiring only 3V) instead of a 9V block, which is handy because not only are they cheaper to run – youd be surprised how many batteries you can go through on a tour – but they also last longer (up to 12 hours). This has thankfully been rectified in the new G2 range – the new switches remain protected by the proprietary locking knob, which has been retained. This caused countless numbers of them to be snapped off by people who were trying to flick the button sideways instead of pushing down on it (Chris Dennis who owns hundreds of G1s has been buying the replacement switches in bags of 100!). This thing feels like a gun: it really sits in your hand nicely, lets you know its not a toy, and responds in a very businesslike manner.Ī great improvement has been the changing of the G1s notorious red on/off button that was often mistaken by singers as a fingernail switch in part because the mute switch alongside it was a micro switch, (albeit black).
The rugged construction of the Sennheiser handheld is almost indistinguishable from the earlier evolution release, and follows in the tradition of what I often refer to as dangerous microphones… an annoyed singer could clock five yobbos over the head with it and make it back to the stage for the next verse with nary a dint. Armed with the new G2 as well as the previous G1 series, I was able to compare the two generations under conditions that usually reveal the advantages and shortcoming of any piece of equipment. Having had a fair amount of experience using Sennheiser radio mics in the live arena, I figured the best way to test the mic out thoroughly was to use them on a short tour with the Australian band Sonic Animation. There is effectively no colouration caused by the radio link, which provides consistency across the range – an important advantage to anyone who is required to mix and match cordless and cabled mics. And like most other wireless Sennheisers, their tone remains consistent and full-bodied regardless of where they roam, unlike so many other brands, which can become thin and ugly sounding in their wireless form.
The only downside to this is that when a band is very loud on stage, theres a tendency for these mics to pick up splashy cymbal wash and guitar amp spill thats loose on stage. Thus, the mic studiously avoids any tendency to bark at you – a trait common amongst so many other brands of microphones – and its hi-end lift seems wider and silkier, which provides excellent reproduction of vocal nuances, even out of a tired PA.
#Ew100 g1 manual series
AF output 1/4″ (6.There are a variety of systems on offer in the 100 G2 series range: I was given the opportunity to try out the vocal set – an SKM 135 (cardioid dynamic) handheld transmitter, and the presentation set, which came with a choice of two lavalier mics both ME-2 omni-directionals, (one of them flesh-toned).īoth of these mic kits have Sennheiser written all over them – literally and metaphorically: the handheld cardioid dynamic sounds smooth and round with a frequency lift up around 10kHz.Signal-to-noise ratio at 1 mVrf and peak deviation, HDX: >110 dB(A).AF frequency response: 60Hz to 18,000Hz.
#Ew100 g1 manual free
HDX noise reduction system for interference free transmission.
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