ASI Audio IEM Live Issues

[fenderbenderlax]

Hi everyone,

I've been grappling with a peculiar issue with my ASI Audio 3DME Gen 2 IEM system. I'm curious to know if anyone else has encountered something similar or has insights on this.

I have been using this system for the last six months and in general the sound output is overwhelmingly treble-heavy. To get to a point where it sounds reasonably balanced, I find myself needing to apply a low pass filter at around 2kHz, which seems quite extreme. It sounds very muffled when I run the same signal through my EV PXM monitor. I'm starting to wonder, is this a normal characteristic for the 3DME, or is it just me facing this issue?

Looking forward to your insights and advice. This community has always been a great resource, and I'm hoping to gain some clarity on this.

Many thanks!!!!!

 

[warlockII]

They don't have the bass extention of my 64 audio U12's, but I don't feel the need to taper the high end as extensively as you are. Have you tried the built in eq instead of a high cut?

 

[MicroMort]

would these be the same as the Sensaphonics IEMS? I have trouble telling which company is which. If so, it should be noted that crinacle gave them a pretty harsh review (scroll down to almost the end of the page) https://crinacle.com/rankings/iems/

I definitely cut the treble on mine. I wish they sounded better, but I can't give up the ambient mic functionality.

 

[fenderbenderlax]

I have tried that as well. Again I literally have to dial out all of the high end to get a proper signal. I did their seal test and it seems to be fine. I'm also hearing the bass and kick drum really well in the mix.

 

[fenderbenderlax]

would these be the same as the Sensaphonics IEMS? I have trouble telling which company is which. If so, it should be noted that crinacle gave them a pretty harsh review (scroll down to almost the end of the page) https://crinacle.com/rankings/iems/

I definitely cut the treble on mine. I wish they sounded better, but I can't give up the ambient mic functionality.

yes its the sensaphonics one. although the specific model is not included in that list I think. But I agree with the sharp and shrill comment on one of the models

 

[Anthony76]

Have you checked the built in eq via the app?

 

[fenderbenderlax]

Have you checked the built in eq via the app?

Yes I have looked into that and I could use the eq to tame the highs. I guess my bigger concern was whether this was par for the course.

 

[Anthony76]

Yes I have looked into that and I could use the eq to tame the highs. I guess my bigger concern was whether this was par for the course.

Oh yeah, absolutely, I was just thinking to check it to see if the highs got boosted somehow.

 

[Sixstring]

I have that same system and dont have that issue, if anything I don't have the clarity that I get with my EV's. They work as intended which is why I bought them and sound decent but not as you are describing. Are you using the stock seals? I didn't care for those and went to a triple flange seal.
Personally a lot more comfortable than the ones provided.

 

[Rick]

We’re making the move to IEMs and after watching Scott Uhl’s review of them I thought they might be the perfect solution. They are pricey, and it seemed all early reviews focused on the novelty of being able to hear ambient noises as opposed to the quality of the mix tones. People hear things differently, so it’s likely I’ll never know without taking the plunge. I’m certainly going to be following comments here. The OP’s assessment got my attention because, having shared monitor mixes with touring acts at festival gigs, the sizzling high end many of these guys use to compensate for hearing loss of the players was brutal for we less-than-full-timers who still had relatively normal range. Like “lay a towel over the horn” bad.

For the time being, I have a condenser room mic up to help add space. Not perfect, but it does eliminate some of the confined feeling of not hearing the room.

 

[fenderbenderlax]

I have that same system and dont have that issue, if anything I don't have the clarity that I get with my EV's. They work as intended which is why I bought them and sound decent but not as you are describing. Are you using the stock seals? I didn't care for those and went to a triple flange seal.
Personally a lot more comfortable than the ones provided.

I much prefer the EV over the ASI system. It works great as a earplug (a rather expensive one) and I definitely don't have ringing ears after a gig/rehearsal...but what I hear live is not great...too much high end...I'm using the stock seals. maybe changing that would help. I tried the onboard EQ and it seems to be quite weird. An alternative that I tried was sending output 2 to my wireless IEM system and placing an EQ block with. a high cut around 2.5 khz. Sounds quite convincing and inspiring then. I wonder if it has to do with my IEM system which is a relatively inexpensive Phenyx pro system.

 

[fenderbenderlax]

We’re making the move to IEMs and after watching Scott Uhl’s review of them I thought they might be the perfect solution. They are pricey, and it seemed all early reviews focused on the novelty of being able to hear ambient noises as opposed to the quality of the mix tones. People hear things differently, so it’s likely I’ll never know without taking the plunge. I’m certainly going to be following comments here. The OP’s assessment got my attention because, having shared monitor mixes with touring acts at festival gigs, the sizzling high end many of these guys use to compensate for hearing loss of the players was brutal for we less-than-full-timers who still had relatively normal range. Like “lay a towel over the horn” bad.

For the time being, I have a condenser room mic up to help add space. Not perfect, but it does eliminate some of the confined feeling of not hearing the room.

I think the concept is great and at rehearsal I purely use the ambient mic functionality and it works fantastic. Live I prefer a blend but the high end is bothering me a bit. It's definitely worth a look.

 

[Rick]

I wonder if it has to do with my IEM system which is a relatively inexpensive Phenyx pro system.

This is definitely a factor worthy of consideration. We tested the Nux 5.8 IEM system after having decent luck with their little guitar wireless sets, but the sound quality was not up to par. At $199, it’s unfair to compare it to $800-1500 systems, but being as that was the option I can only say there’s no real comparison. The Nux worked, but had a much less pleasant sound with very apparent digital artifacts, a kind of a fizzy sound after notes, that was distracting and annoying. This occurred with multiple systems/locations, and we traced it to the Nux set each time. The Sennheiser G4 setup is glass smooth in comparison, with no buzz or sizzle.

I can surely see a place for the inexpensive systems, and I know some folks love them. Ours is on its way back for refund, and has made the purchase of the Sennheiser set less painful. Lol. Sennheiser also has the XSM at a lower price, less frilly version, and the Shure PSM 300 is another highly regarded unit that also costs less than the G4, if cost must be cut. For me, it’s proven once again that, like with FAS vs the cheaper options, the quality is worth (and commensurate with) the price you pay.

 

[Sixstring]

I'm using the stock seals. maybe changing that would help. I tried the onboard EQ and it seems to be quite weird. An alternative that I tried was sending output 2 to my wireless IEM system and placing an EQ block with. a high cut around 2.5 khz. Sounds quite convincing and inspiring then. I wonder if it has to do with my IEM system which is a relatively inexpensive Phenyx pro system.

Not sure if it will change how it sounds at least I don't think it did it's been a while but it sure made a difference in how the felt!

This is good info! The Church I play at we are getting ready make that switch and have been looking at the Phenyx Pro system (we need 4 body packs) and two hard wire and don't have 5K to drop on Sennheiser or Shure system.

We mix through a Yamaha TF3 so placing an EQ on the entire EMI mix to knock off highs would be an easy fix if what you are saying is the case. I'm hoping it will be a temporary fix and we can move to one of the better systems. The other potential issue is the rest of the team has never used IEM's, so I don't know if the others are going to like or be able to make the change.

 

[jamongrande]

I use the ASI system (for about 2 years now with Sennheiser G4 receivers), with both the universal dual-drivers and more recent the custom molded quad-drivers. There is an overall tilt towards trebles with this system, though certainly not drastic compared to the Shure 425s that were my standard pair for a number of years. I would definitely recommend using the 3dme's onboard eq to dial back the highs, in particular knocking back 1800hz and 4300hz around 2-4db. It helped me address some overall fatigue I get from iems in general.

I would also say that I find the mics in the 3dme system to lean towards brightness anyways, so sometimes I end up dialing back the ambients further than where I initially think I want them.

And as crazy as it sounds, the tips can have a subtly but noticeable effects on overall sound. I had a pair of the molded sleaves made for my universals (prior to getting the quad-drivers). Switching back and forth between comply tips with the earwax guard and the molded sleaves made for a very different experience. Comply's couldn't get the deep seal of the molded sleaves, so bass and lower mid frequencies bled through and conversely made the iem signal sound thin. Conversely (and I'm just hypothesizing here) the trebles seem softer with the Complys, perhaps because of the earwax guard.

Anyways, I'm getting my quads back today (bad cable was causing some crazy noise in one ear). I'll listen to the difference between a few different listening systems (Neumann monitors, DT-880 cans, Blue Lola cans, and the 3dme system) to confirm my thoughts. But in general, I find the Blue Lola's to have the most the top end, followed by the 3dme, Neumanns, and lastly DT-880s (which I think I really dislike for any critical music listening).

 

[fenderbenderlax]

And as crazy as it sounds, the tips can have a subtly but noticeable effects on overall sound. I had a pair of the molded sleaves made for my universals (prior to getting the quad-drivers).

great pointa. Yes if I dial back the eq on the highs it does help significsntly. On a side note do you find the molded sleeves to be a more satisfying experience?

 

[fenderbenderlax]

Not sure if it will change how it sounds at least I don't think it did it's been a while but it sure made a difference in how the felt!

This is good info! The Church I play at we are getting ready make that switch and have been looking at the Phenyx Pro system (we need 4 body packs) and two hard wire and don't have 5K to drop on Sennheiser or Shure system.

We mix through a Yamaha TF3 so placing an EQ on the entire EMI mix to knock off highs would be an easy fix if what you are saying is the case. I'm hoping it will be a temporary fix and we can move to one of the better systems. The other potential issue is the rest of the team has never used IEM's, so I don't know if the others are going to like or be able to make the change.

Yeah i think putting an EQ on the IEM mix should work. The PTM system is ok for the money. My experience has ranged from very good at some venues to absolutely useless at others. I always carry a behringer P2 as a backup just in case.

 

[fenderbenderlax]

This is definitely a factor worthy of consideration. We tested the Nux 5.8 IEM system after having decent luck with their little guitar wireless sets, but the sound quality was not up to par. At $199, it’s unfair to compare it to $800-1500 systems, but being as that was the option I can only say there’s no real comparison. The Nux worked, but had a much less pleasant sound with very apparent digital artifacts, a kind of a fizzy sound after notes, that was distracting and annoying. This occurred with multiple systems/locations, and we traced it to the Nux set each time. The Sennheiser G4 setup is glass smooth in comparison, with no buzz or sizzle.

I can surely see a place for the inexpensive systems, and I know some folks love them. Ours is on its way back for refund, and has made the purchase of the Sennheiser set less painful. Lol. Sennheiser also has the XSM at a lower price, less frilly version, and the Shure PSM 300 is another highly regarded unit that also costs less than the G4, if cost must be cut. For me, it’s proven once again that, like with FAS vs the cheaper options, the quality is worth (and commensurate with) the price you pay.

Very interesting. The sizzle is something that i have noted almost at all gigs. I wonder if the sennheiser xSW series would be better.

 

[Rick]

Very interesting. The sizzle is something that i have noted almost at all gigs. I wonder if the sennheiser xSW series would be better.

It drove the other guitar player to return them after one rehearsal. After doing more reading, it’s a common complaint that many don’t find obnoxious enough to go past that price point. I can understand that. I’m less of a “make do with” person, for better or worse, and normally adhere to the buy-once-cry-once principal and just buy the proven standard from the start. I rarely, if ever, regret it though it’s a grimacing bite in the wallet most times!

I would fully expect the XSW to be noise-free , or at least as noise free as IEMs can be. That series, from what I understand, is built based on the EW series without all the frills. Most people are not programming a rack of IEMs, so losing the laptop group programming and band-frequency search capabilities are not a concern. And while the body pack isn’t the tank that the G4 unit is, it looks well made and durable.

I’d bet it’s worth a good look. I also had a Shure PSM system years ago that was very good. I’d say that would be my next option from the Sennheisers.

 

[Dutch]

Very interesting. The sizzle is something that i have noted almost at all gigs. I wonder if the sennheiser xSW series would be better.

It drove the other guitar player to return them after one rehearsal. After doing more reading, it’s a common complaint that many don’t find obnoxious enough to go past that price point. I can understand that. I’m less of a “make do with” person, for better or worse, and normally adhere to the buy-once-cry-once principal and just buy the proven standard from the start. I rarely, if ever, regret it though it’s a grimacing bite in the wallet most times!

I would fully expect the XSW to be noise-free , or at least as noise free as IEMs can be. That series, from what I understand, is built based on the EW series without all the frills. Most people are not programming a rack of IEMs, so losing the laptop group programming and band-frequency search capabilities are not a concern. And while the body pack isn’t the tank that the G4 unit is, it looks well made and durable.

I’d bet it’s worth a good look. I also had a Shure PSM system years ago that was very good. I’d say that would be my next option from the Sennheisers.

I now have the Sennheiser XSW which is not noise free, but reasonably low enough to play with. You just don't notice anymore after a while. Make sure there's enough signal going in and not turn up the volume on the receiver too much.

I've also tried the NUX, for full mix it was bearable but somehow only guitar was very buzzy. Maybe a dynamics thing. Too bad, it's a great form factor and concept, but it doesn't work. Weirdly I also have a M-Vave/Lekato mini wireless 2.4GHz that sounds pretty good and is dirt cheap, just has too high latency for live playing!
I also had an LD Systems 1000G2 (German Adam Hall product, probably rebranded chinese) that was pretty noisy.


I questioned Thomann about it and they said not to expect noisefree under $1000,-. i.e. Shure PSM300 or Senn G4. It's a journey.