TEST: LD Systems MEI 1000

 The radio link is now almost part of every frontman's standard equipment. If you really want to design your performance on stage independently of the spatial conditions and monitoring conditions, you will definitely need the in-ear system in addition to a wireless microphone in order to be able to move freely on stage.

In addition to a more relaxed performance, better tone control is usually accompanied by improved intonation, which benefits both the artist and the entire band. If you exclude the extreme versions of metal, in which it really doesn't matter what sounds the "singer" belches out to the crowd, the bottom line is that there is a clear improvement for everyone involved, as long as the melodies are understandable.

This is particularly offset by the wearing comfort of the earphone system and its fixation, which tends to slip, especially during intensive stage acting. Fortunately, technical problems such as dropouts in the transmission path or the durability of the batteries have been massively sidelined due to constantly improved technology and only occur rudimentarily in the lowest quality league.

It is also often overlooked that radio links were not only designed for singing, but are also used in reporting activities where particular emphasis is placed on resistance to interference.

With the MEI 1000, the manufacturer LD Systems, which is sold by Adam Hall GmbH, offers a product which, with a street price of just under €300 for a complete range of equipment, sets a real competitive price and is a direct competitor to one or two gives rise to a rather unpleasant feeling.




construction

The scope of delivery of the complete system consists of a stereo receiver (body pack), stereo transmitter, a flexible antenna, an antenna extension for rack operation, power supply, a set of earphones with different earplugs, 19 inch rack angle, two batteries for the transmitter and an operating manual, all packed in a sturdy Hard case. The earphones and cable were stored separately in a nice soft case.

For signal transmission, the LD MEI 1000 has two frequency ranges available in the UHF band: 790,850 - 813,800 MHz or 838,850 - 861,800 MHz in the X version. 160 frequencies can be switched, which should easily be enough for normal operation.

As with most other radio links, the LD system transmitter is delivered in half rack format, but can be screwed into a 19 inch rack using the included rack brackets. In this case, the supplied antenna cable ensures that the TNC antenna can be screwed into the front at an angle and does not have to search for its carrier frequency in the deep thicket of the rack's innards. Optionally, the transmitter also has four non-slip rubber feet embedded in the housing so that the system can be operated in stand-alone mode. The housing is made of solid sheet steel and is impeccably processed.

There is a fairly clear control panel on the front of the transmitter unit. Next to the on/off switch there is only a medium-sized display, a menu navigation consisting of three buttons, and the hardware components are an input controller for the input signal and an adjustable headphone output. In addition to the selected transmission frequency, the display also provides information about the input level of the two channels using a six-digit LED chain.

On the back, the receiver has 2 lockable, symmetrical combination sockets for signal input as well as a PAD switch of -12 dB to attenuate high input signals accordingly. The connections for the antenna and the external power supply are also located here. The LD MEI 1000 can handle anything between 12 - 18 volts at 300mA when it comes to voltage delivery.

The body pack has the usual dimensions, but is provided with a kind of “velvet cover”, which gives it additional grip. On the back, the product has a tightly tensioned spring to attach the receiver to the waistband or belt. There are also two contacts on the bottom to allow the product to directly charge internal batteries. Unfortunately, it was not possible to find out where a corresponding charging station could be purchased from the economical operating instructions.

The body pack is also switched on at the same time using the receiver's volume control. Two push buttons on both sides of the housing open the flap for the battery compartment, which offers space for two AA energy dispensers. Two small LEDs provide information about the operating status of the device and the battery level, and two small pushbuttons guide you through the receiver's menu.

A small but easy-to-read display provides information about the carrier frequency, the applied field strength of the signal, battery level, activation of the limiter, use of equalizer (an increase in treble from 10 kHz by 6 dB) and the operating mode (stereo or double mono ), whereby the double mono mode is used to be able to adjust the mixing ratio between your own signal and the remaining signals directly on the receiver. However, an additional AUX path on the mixer is required for this.

The included earphones have three different plastic attachments to accommodate different sized ear canals, with the actual earphones being curved again for an improved fit.


Practice

After activation, the transmitter automatically looks for a free frequency on which it can transmit the signal. Activation also works without any problems on the first try. So far so good. The receiver also immediately establishes contact with the transmitter and works perfectly. Both two massive reinforced concrete ceilings and a distance of over 50 meters did not cause the signal to buckle once. What's more, the field strength meter did not want to fall below 50 percent even under this load.

In terms of sound, the included earphones deliver a healthy average, which means that all signals sound flawless and the basic sound can be described as balanced. With strong impulse signals, the earphones tend to clip a little, but this is still within reason and can be remedied by optimizing the adjustment of the signal present.

Not negative? Well, I know that every artist has an individual ear canal and that you can't make general statements when it comes to wearing comfort, but if I were a "strong performing frontman" with a pronounced physical effort, I wouldn't be able to hold the earphones in my ear canal. No matter what I tried, after the first quick turn of my head, the earphones shifted and caused the sound to collapse.

Unfortunately, even the angled plugs couldn't help, but as I said, this is a purely subjective statement and must be checked by each artist themselves. However, there were no problems with a “body-reduced reporter deployment”.


Conclusion

With the MEI 1000, LD Systems is bringing a product onto the market that has a very good price/performance ratio. Neatly processed, easy to use and with a good basic sound, the product is pleasing to the eye.

Only the earphones supplied should be thoroughly checked by each artist before using them live to see whether they can withstand his range of motion and, if necessary, replaced.

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Additional Informations:

The Evolution of In-Ear Monitoring Wireless Systems: A Comprehensive History

In-ear monitoring wireless systems have revolutionized the way musicians, performers, and audio engineers experience live sound. These sophisticated devices allow for crystal-clear audio transmission without the limitations of traditional stage monitors. The journey of in-ear monitoring wireless systems from concept to essential stage equipment is a fascinating tale of innovation, technological advancements, and the relentless pursuit of audio excellence.

The inception of in-ear monitoring can be traced back to the mid-20th century when performers and musicians began to seek alternatives to traditional stage monitoring systems. Early attempts at in-ear monitoring involved cumbersome and often unreliable wired setups, limiting their practicality and widespread adoption. However, these initial experiments laid the groundwork for future developments in wireless technology.

The breakthrough moment for in-ear monitoring came with the advent of wireless transmission systems in the 1970s. As advancements in radio frequency (RF) technology accelerated, the feasibility of transmitting high-quality audio signals wirelessly became a reality. This paved the way for the development of the first generation of in-ear monitoring wireless systems.

One of the pioneering companies in this field was German audio equipment manufacturer Sennheiser. In the late 1970s, Sennheiser introduced its first wireless monitoring systems, offering performers unprecedented freedom of movement on stage. These early systems utilized VHF and UHF frequencies to transmit audio signals, providing a reliable and relatively interference-free experience for users.

Throughout the 1980s and 1990s, in-ear monitoring wireless systems continued to evolve, driven by advancements in RF technology and a growing demand for more sophisticated audio solutions. Companies like Shure, AKG, and Audio-Technica joined Sennheiser in the market, introducing their own wireless monitoring systems with improved performance and features.

One of the key challenges in the early days of in-ear monitoring was achieving consistent audio quality and reliability, especially in environments with high levels of RF interference. Manufacturers responded to this challenge by refining their wireless transmission technologies, incorporating features such as frequency agility, diversity reception, and advanced signal processing to ensure stable and clear audio transmission.

The turn of the millennium brought significant advancements in digital audio technology, further propelling the evolution of in-ear monitoring wireless systems. Digital transmission offered several advantages over analog systems, including increased signal stability, improved audio fidelity, and enhanced encryption capabilities for secure transmission.

In 2000, Sennheiser introduced its groundbreaking evolution wireless series, which combined the reliability of analog transmission with the flexibility of digital signal processing. This marked a significant milestone in the evolution of in-ear monitoring wireless systems, setting a new standard for performance and reliability in the industry.

As digital technology continued to mature, in-ear monitoring wireless systems became increasingly sophisticated, incorporating features such as networked control and monitoring, multi-channel operation, and compatibility with wireless communication standards like Wi-Fi and Bluetooth. These advancements further enhanced the user experience, allowing performers and audio engineers to achieve precise control over their monitor mixes and customize their monitoring setups to suit their individual preferences.

Today, in-ear monitoring wireless systems have become indispensable tools for professionals in the music and entertainment industry. From stadium concerts to intimate club gigs, artists rely on these systems to deliver pristine audio quality and ensure optimal performance on stage. With advancements in RF technology, digital signal processing, and ergonomic design, in-ear monitoring wireless systems continue to push the boundaries of what is possible in live sound reinforcement.

Looking to the future, the evolution of in-ear monitoring wireless systems shows no signs of slowing down. As technology continues to advance, we can expect to see further innovations in areas such as spectrum efficiency, interoperability, and integration with emerging audio technologies. With their ability to provide unparalleled audio quality, flexibility, and reliability, in-ear monitoring wireless systems will undoubtedly remain essential tools for performers and audio professionals for years to come.