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Audio Review: Audio-Technica M2 and M3 Wireless In-ear Monitor Systems
Offers a sensible choice between hands-on access to many features and "set and forget."
It's no mystery why in-ear monitoring systems are becoming so prevalent. Being able to hear yourself with pristine accuracy at reasonable volumes is a performer's dream (not to mention what reducing stage volume can do for the front-of-house sound).
Nor is it a surprise that the leading manufacturers of wireless in-ear systems are the same folks already adept at flinging wireless microphone signals across the stage. Audio-Technica has been a leader in wired and wireless microphones (and headphones) for decades, and they've established quite a name for themselves in the wireless in-ear monitoring market as well. We had a chance to test out two Audio-Technica systems, the M2 ($799 list) and M3 ($1,099 list). These Japanese-made systems are identical in specs and basic functions-they differ in their interface and number of available frequencies.
Both the M2 and M3 are frequency-agile UHF units with a half-rackspace transmitter and beltpack receiver. Up to 10 M2 systems can co-exist across 100 selectable channels; these numbers jump to 16 systems and 1,250 channels with the M3. You can use any number of receivers with the same transmitter.
The Transmitters
The Audio-Technica transmitters have left and right inputs on combo 1/4-inch/XLR jacks. Small switches near the inputs offer attenuation of 10 dB and 20 dB if needed. Signal loop-through is accomplished with a pair of XLR outputs. In addition to the input attenuation switches, the M2 has a pair of trim knobs to adjust input level. On the M3, you control these with the menu. Input level metering on the M2 is a simple three-LED affair with peak indicators and mystery level LEDs marked "1" and "2." Input level metering on the M3 appears in the LCD display. The M3 transmitter also has a 1/4-inch headphone output on its front panel, which is a real plus for troubleshooting.
The M3 transmitter and receiver have nice, crisp, backlit LCD displays and a simple one-level menu interface. The M2 system saves buyers money by eliminating these displays, replacing them with knobs on the transmitter and dip switches and potentiometers on the receiver. Most functions accessed with the M3's LCD displays are of the set-and-forget variety anyway, so M2 owners won't be unduly impaired when it comes to actual use.
The Receivers
The M2 and M3 beltpack receivers are quite large and solidly built, with a locking flip-down panel that reveals a battery compartment. The receivers will run a generous eight hours on two AA batteries, which are in an unfortunate death grip and have to be removed with a tool. The top surface of the receivers has a flexible four-inch antenna, headphone output (with locking threads), RF and AF LED indicators and concentric volume and balance knobs. The M2 has a battery level LED that glows red when disaster is imminent; the M3's front-mounted LCD display has a multi-element battery gauge.
The function of the receiver's balance knob depends on the mode the system is in. In stereo mode, the balance control works just as you'd expect-it reduces the volume of one side of the stereo image. In mix (or dual-mono) mode, the left and right signals are summed to both earbuds and the balance control affects their relative mix. This is the more useful mode in most applications, as the performer can be sent a backing mix on one input and their isolated voice or instrument on the other. The balance control then becomes their own "more me" knob, and the sound engineer has one less thing to worry about.
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Loren Alldrin is a regular contributor to Church Production Magazine.
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