TEST: Sennheiser PSM 300

 We all know the problem of variety when choosing products. Whether it's over 60 different types of jam in the supermarket or choosing instruments/accessories in the music store, the luxury problem of finding the right one for you within the huge selection of products is everywhere. Everywhere? Not at all! For example, if you try to find a wireless link or a wireless in-ear system, you will quickly find that this area is firmly in the hands of just three providers worldwide, plus two OEM providers from the music stores Thomann and Musicstore. In addition to the very successful products from LD Systems, which are in the mid-range price range up to around €450, the high-end league is divided between the German provider Sennheiser and the American provider Shure. The Shure PSM 300 Premium S8 from the latter is available for testing.

Structure and concept

As is well known, in-ear monitoring systems have replaced the wedge area in terms of monitor sound by around 90% and are already considered standard even in the amateur sector. It is therefore all the more surprising that, in contrast to a very large range of earphones, there is only a very limited range of wireless providers, while the selection of wireless transmitters is exploding. So it is not surprising that if you are often on large stages like me, you will actually only find two providers in the respective stage racks in the colleagues' area. Both the electronic and the haptic load on the individual components such as the transmitter and bodypack are very high, so that only the best quality can guarantee a very high and consistent performance.

The Shure PSM 300 Premium S8 presented for testing is priced at €777, in the upper range of the Shure line, but is still around 70% below the price of a comparable Sennheiser product. The product, manufactured in a 9.5 inch half rack unit, is delivered with extensive accessories, such as the transmitter, the bodypack and an external power supply, two rack brackets, a protective cover for the bodypack, a stereo earphone and a BNC antenna extension.

With the PSM 300 series, Shure offers several versions of its radio link, which transmit on different frequencies. The product available for testing works in the LTE mid-gap, which is between 822 - 832 MHz. To minimize the risk of overlap with the upload and download frequencies of commercial providers such as Telekom, Vodafone, etc., the product only transmits in the range of 823 - 832 MHz. The frequency range in question is the last refuge for license-free operation, all other frequency bands are subject to a fee. In addition, operation is permitted throughout the EU except Poland (they want money for operation).

The transmitter of the Shure PSM 300 Premium S8

The transmitter of the Shure PSM 300 Premium S8 is housed in a solid metal housing and is almost self-explanatory in terms of operation, provided you have already dealt with radio links a little. An easy-to-read, monochrome display provides all the necessary audio, RF and system information, such as the input level, group selection, lock status, sync status, whether stereo or mono mode was used and the choice of input sensitivity. In addition to the stereo mode, a MixMode can also be used, in which the personal instrument can be continuously mixed into a master mix. To activate this, all you need to do is hold down the GROUP button on the pocket receiver while the transmitter is switched on. The MixMode indicator light on the receiver display lights up to confirm the setting. The receiver returns to stereo mode after it has been switched off.

On the back, in addition to the regular stereo inputs in TRS, 2 outputs labeled LOOP are particularly noticeable. The LOOP outputs route audio signals to an external device, such as other in-ear monitoring systems, recording devices or stage monitors. The signal at the LOOP outputs is identical to the signal coming from the mixer and is not affected by the transmitter volume or the input sensitivity (line/aux) settings. This makes the LOOP outputs particularly useful when using a mixer that has one or two monitor/aux sends. Otherwise, the rear panel offers the input sensitivity control, which distinguishes between line and aux, and a slider for the mono mix.

The bodypack of the Shure PSM 300 Premium S8

In contrast to some products in a lower price category, the receiver of the Shure PSM 300 Premium S8, called the P3RA, is made of metal, which means it is significantly heavier but also much more stable. According to the manufacturer, the receiver has an operating time of up to 5.5 hours with 2x AA batteries or up to 7 hours with an optional SB900 battery. A three-color LED provides information on the charge level of the batteries (green: 5-7 hours, yellow: 1-3 hours, red (constant): 0.5-1 hour, red (flashing) 0) and thus protects against unwanted surprises.

The range of up to 90 meters stated by the manufacturer also lets you stop, which is sufficient even for the largest music stages in the world and extends from the area of ​​application into the event sector. All information can be accessed quickly and easily via an easy-to-read display in combination with three soft buttons located behind the battery cover. Another very useful feature to save battery life is that the receiver switches to power save mode as soon as no earphones are connected.

The Shure PSM 300 Premium S8 in practice

In general, users attach importance to two things when it comes to a wireless connection: for the "normal" user, the sound, and for the "ambitious" user, the range. With regard to the first point, the Shure PSM 300 Premium S8 can only be given top marks. The 24-bit audio processing enables a dense, yet high-resolution sound that, depending on the quality of the in-ear earphone, reproduces even the finest nuances. In addition, the sound remains stable until the connection is lost and does not change at all even as the distance increases.

With regard to the second point, the whole thing becomes particularly interesting on large open-air stages. In order to get the most out of the respective systems, you can see corresponding "paddles" on almost every large open-air stage, which support the range of both the stage radio and the musician-relevant systems. In order to be able to walk the entire stage area on a small club stage and to perform an occasional show in the audience, 2.4 GHz transmitters or receivers are usually sufficient. For an official 30 - 40 meter stage, however, nothing more can be done for this frequency range.

I made it particularly difficult for the Shure PSM 300 Premium S8 by installing my stage setup in a reduced form in the recording room of my studio (room within a room), closing 2 soundproof doors and then heading out into the open air. Despite the closed room, I was still able to move almost 40 meters away from the building before the signal broke off. An excellent value, which is probably primarily due to the 20 mW transmission power.

However, to reduce the product to just these two points would be to do the system an injustice. The workmanship and design of the P3RA receiver cannot be rated highly enough. The workmanship of the bodypack is put to the test, particularly during an intensive stage show or a hectic instrument change. Here, the metal housing offers real added value compared to the plastic competition. The headphone jack also leaves a very good impression, especially since it is probably subjected to the most stress during operation by "pulling on the cable" and "wildly turning around its own axis".

In addition, the most important information during operation, RCF level and battery status, are easy to see thanks to powerful LEDs on the top of the housing, while other systems usually have this information on the front of the housing. Taken together, the Shure PSM 300 Premium S8 is indeed a top-class product that works at the highest level in all relevant areas. Unreservedly recommended.

Conclusion

With the Shure PSM 300 Premium S8, the American manufacturer has a high-end product in its portfolio. It is not for nothing that Shure is one of the two leading manufacturers worldwide when it comes to radio links and wireless in-ear systems. The system sounds very good, has a very long range and scores particularly well with its very good workmanship and solid design.

If you want to be on the safe side in terms of transmission stability, sound and workmanship, you should definitely take a look at the system.

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Additional Informations:

Wireless systems have revolutionized the audio industry, providing unprecedented freedom and flexibility for performers, presenters, and audio professionals. Among the key players in this domain, Shure Incorporated stands out as a pioneering force. This article traces the development of Shure's wireless systems, detailing their journey from early innovations to their current state-of-the-art offerings.

## Origins and Early Innovations

Shure's history dates back to 1925, when Sidney N. Shure founded the company as a supplier of radio parts kits. By the 1930s, Shure had ventured into manufacturing microphones, establishing itself as a reliable name in audio equipment. The company's first significant foray into wireless technology came in the 1950s, a time when the concept of wireless audio was still in its infancy.

The first wireless microphone system, the Shure Vagabond, was introduced in 1953. This system was rudimentary by today’s standards, utilizing a belt-worn transmitter and offering limited range and sound quality. Despite its limitations, the Vagabond set the stage for future developments and demonstrated Shure’s commitment to innovation.

## The 1970s: Expanding Horizons

The 1970s marked a period of significant advancement in wireless technology. Shure introduced the Vocal Artist wireless system, which was among the first to offer reliable performance for live sound applications. This system used VHF (Very High Frequency) transmission and represented a substantial improvement in terms of range and audio fidelity compared to earlier models.

During this decade, Shure also began to refine its wireless systems for specific applications. The company introduced models designed for television broadcasting, theater productions, and concert performances. These systems featured enhanced stability and were built to withstand the rigors of professional use, solidifying Shure’s reputation in the industry.

## The 1980s: Technological Advancements

The 1980s were a transformative era for wireless technology, with digital innovations beginning to emerge. Shure capitalized on these advancements with the introduction of their L Series wireless systems. These systems utilized UHF (Ultra High Frequency) transmission, which provided better range and reduced interference compared to VHF systems.

The L Series featured diversity reception technology, which used two separate antennas and receivers to minimize dropouts and signal loss. This innovation significantly improved the reliability of wireless systems, making them more suitable for demanding live performances. The 1980s also saw Shure introducing companding technology, which enhanced audio quality by reducing the dynamic range of the signal during transmission and expanding it upon reception.

## The 1990s: Digital Revolution

The 1990s brought about the digital revolution, fundamentally changing the landscape of wireless audio. Shure was at the forefront of this transformation with the introduction of their ULX and UHF-R series. These systems offered digital signal processing, which provided superior audio clarity and allowed for more channels to operate simultaneously without interference.

Shure’s ULX series was particularly notable for its user-friendly interface and robust construction, making it a popular choice among touring professionals and installation markets. The UHF-R series, on the other hand, catered to high-end professional applications, offering advanced frequency management and encryption for secure transmissions.

## The 2000s: Wireless Freedom

As the new millennium dawned, Shure continued to innovate with the introduction of the SLX and PGX series. These systems were designed to provide high-quality wireless audio at more accessible price points, making professional-grade wireless technology available to a broader range of users.

The SLX series featured automated frequency selection and transmitter setup, simplifying the process of deploying wireless systems. This was particularly beneficial for schools, houses of worship, and small to mid-sized venues where technical expertise might be limited. The PGX series focused on ease of use and reliability, offering plug-and-play functionality that appealed to novice users and professionals alike.

## The Digital Age: Cutting-Edge Technology

In recent years, Shure has continued to push the boundaries of wireless technology with the introduction of their Axient Digital and GLX-D series. The Axient Digital series represents the pinnacle of wireless audio performance, offering ultra-low latency, wide tuning bandwidth, and advanced interference detection and avoidance. This system is designed for the most demanding professional applications, from large-scale concert tours to broadcast events.

The GLX-D series, on the other hand, leverages the power of digital signal processing and automatic frequency management to provide exceptional audio quality and reliability in a compact, user-friendly package. The GLX-D Advanced system extends these capabilities with enhanced features for multi-system installations, making it ideal for small to medium-sized venues and corporate environments.

## The Impact of Regulatory Changes

Throughout its history, Shure has had to navigate an evolving regulatory landscape. Changes in frequency allocations and spectrum availability have posed significant challenges, particularly with the transition from analog to digital broadcasting and the repurposing of UHF spectrum for mobile broadband.

Shure has been proactive in addressing these challenges, working closely with regulatory bodies and developing products that comply with new regulations. The company has also been a vocal advocate for the needs of the professional audio community, helping to shape policies that ensure the continued availability of spectrum for wireless microphone use.

## Conclusion

The evolution of Shure's wireless systems reflects a broader narrative of technological progress and adaptation. From the early days of the Vagabond to the cutting-edge capabilities of Axient Digital, Shure has consistently pushed the boundaries of what is possible in wireless audio. The company's commitment to innovation, reliability, and user-focused design has made it a trusted name in the industry, ensuring that performers and audio professionals can continue to rely on Shure wireless systems for years to come.

As wireless technology continues to evolve, Shure remains at the forefront, developing new solutions that meet the changing needs of users while maintaining the high standards of quality and performance that have become synonymous with the Shure name. The journey of Shure’s wireless systems is not just a story of technological advancement, but a testament to the company’s enduring dedication to excellence in audio engineering.