Sennheiser Digital 6000 review


TV-Bay Magazine
Read ezine online
i

Originally founded in 1945 from a university research lab Sennheiser is of course a globally respected brand and have recently launched the Digital 6000 series as an addition to its pro wireless range. KitPlus were invited to a take a look together with a live music event featuring the system in Hannover last month.

Rewinding slightly to establish where the Digital 6000 fits in the range then wireless big brother, the Digital 9000, is a 4u 19" receiver with 8 channels often found in broadcast, on Broadway, in West End productions and no doubt musical theatres around the world. For the touring production community however the weight and size of the D9000 may be an issue plus if you have an 8 channel gig then you would usually put 2 channels on top for spare which is a challenge as you would need another D9000 8 channel mainframe, just for a spare. Enter the D6000...

The D6000 has the key benefits of the D9000 retaining the long-range mode (LR) and the proprietary audio codec, with a two channel receiver and either handheld or bodypack transmitters. Both transmitters are proprietary to this series but can be used with the D9000 and visa versa existing units from the D9000 used with the D6000. They are paired by infrared matching, with up to 8 receivers being daisy chained without the need for any additional antenna splitter.

While we're talking transmitters then let's talk power. The L6000 expands the D6000 series with a practical charging station where up to four modules can be fitted as needed with two charging ports each for bodypack or handheld transmitter batteries.

The D6000 receiver is fitted with a Link Quality Indicator that ensures that issues get seen before any drop-outs occur. If, as in difficult RF environments, the signal should get temporarily corrupted to such an extent that the transmission error correction can no longer repair it, the intelligent error concealment of D6000 sets in. It employs intelligent learning algorithms to replace the corrupted part, enabling D6000 to still transmit flawlessly where other digital systems may fail.

There are many challenges facing wireless technology and not least is the availability of channel space most notably in theatre areas such as Broadway where a production may require in excess of 100 channels, and that's just one production with others on the doorstep competing for frequencies. Sennheiser is adamant that channel density and the efficient use of the available spectrum is a top priority and the D6000 has been designed with this in mind.

In the good old days the frequency spectrum was open from 470MHz to 960MHz but those days have long gone with the upper area of the band no doubt to be reduced further with other competing technology and cellular needs in the future.

More channels simply have to fit in less frequency space and the D6000 advantage is that it does not produce any intermodulation frequencies. This means that you do not have to calculate your transmission frequencies around these intermodulation products but can arrange your microphones in an equidistant spacing meaning every 600kHz you can fit one wireless microphone. So with no unwanted or spurious noise 146 mics could function in the 88MHz range covered by three transmitter versions (470 - 558 MHz, 550 - 638 MHz, and 630 - 718 MHz).

There are two receiver versions available, the EM6000 and the EM6000 Dante with a Dante connection on the rear - a noteworthy option to consider. Dante (Digital Audio Network Through Ethernet) is a combination of software, hardware, and network protocols that deliver uncompressed, multi-channel, low-latency digital audio over a standard Ethernet network. This means users can stream the audio information from any place via cat5 cable to the mixing desk.

The big advantage of this concept is you are no longer running a big heavy multicore analogue snake. Simply plug your Dante output into an existing location network and off you go. There has been some talk of a second Dante output for the receiver in the future for redundancy across an independent network so that might be something to look out for in the future for a mission critical environment.

With convergence with IT technology then the trend is growing to put audio and video information on a network which can then be distributed to any place, literally anywhere with a simple network connection. Remote mixing is a topic for the future and the prospects are really interesting and evolving giving many options of mixing say three live events around the globe in one evening all from your home studio. Right now latency is an issue but will no doubt be overcome in time.

The D6000 is beautiful, well designed and rugged for the touring environment it will no doubt face. Not only will it find a home touring with top artists but also in broadcast and beyond. Sennheiser is clearly very careful and conscious towards frequency set-ups and reliability and as its message says, it accepts no compromise.


Tags: iss123 | sennheiser | d6000 | microphone | d9000 | digital 6000 | em6000 | dante | KitPlus
Contributing Author KitPlus

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Sennheiser iPhone Microphones at IBC 2107

    Sennheiser iPhone Microphones at IBC 2107

  • Sennheiser VR at IBC 2016

    Sennheiser VR at IBC 2016

  • Sennheiser at BVE North 2011

    Sennheiser at BVE North 2011

  • Memory Mic from Sennheiser shown at IBC 2018

    Memory Mic from Sennheiser shown at IBC 2018

  • Sennheiser HandMic digital and MKE 440 at IBC 2016

    Sennheiser HandMic digital and MKE 440 at IBC 2016

  • Sennheiser HDM Pro at BVE 2014

    Sennheiser HDM Pro at BVE 2014

  • Sennheiser at BVE 2012

    Sennheiser at BVE 2012

  • The KitPlus NAB kit overview video

    The KitPlus NAB kit overview video

  • KitPlus filming rig used at NAB 2017

    KitPlus filming rig used at NAB 2017

  • KitPlus filming rig used at BVE 2017

    KitPlus filming rig used at BVE 2017

  • Kit Overview from IBC 2015

    Kit Overview from IBC 2015

  • DPA Microphones at NAB 2015

    DPA Microphones at NAB 2015

  • DPA Microphones at NAB 2014

    DPA Microphones at NAB 2014

  • Sony Wireless Microphones at BVE 2014

    Sony Wireless Microphones at BVE 2014

  • DPA Microphones and Bubblebee Industries at BVE 2014

    DPA Microphones and Bubblebee Industries at BVE 2014

  • DPA Microphones at IBC 2013

    DPA Microphones at IBC 2013

  • DPA Microphones at NAB 2013

    DPA Microphones at NAB 2013

  • DPA Microphones at NAB 2012

    DPA Microphones at NAB 2012

  • Is your wireless still legal, Digital RF for Broadcast and location sound explored

    Is your wireless still legal, Digital RF for Broadcast and location sound explored

  • Thear Technology at BVE 2013

    Thear Technology at BVE 2013

  • Editors Keys at BVE North 2012

    Editors Keys at BVE North 2012

  • Soundfield at BVE 2012

    Soundfield at BVE 2012

  • Shure at ProVideo2011

    Shure at ProVideo2011

  • Editors Keys at ProVideo2011

    Editors Keys at ProVideo2011

  • The Mic Store at BVE North 2011

    The Mic Store at BVE North 2011

  • Shure at BVE North 2011

    Shure at BVE North 2011

  • Source Distribution and Rode at BVE North 2011

    Source Distribution and Rode at BVE North 2011

  • Glensound Beatrice Dante Intercom at ISE 2019

    Glensound Beatrice Dante Intercom at ISE 2019

  • Glensound Anthens 2 Dante Turntable Pre-Amplifier at ISE 2019

    Glensound Anthens 2 Dante Turntable Pre-Amplifier at ISE 2019

  • SSL Dante AoIP with System T from Solid State Logic at IBC2019

    SSL Dante AoIP with System T from Solid State Logic at IBC2019

  • AES3 to Dante / AES67 converters from Glensound at NAB 2019

    AES3 to Dante / AES67 converters from Glensound at NAB 2019

  • Glensound Dante Intercom System at IBC 2017

    Glensound Dante Intercom System at IBC 2017

  • Glensound Dante at IBC 2014

    Glensound Dante at IBC 2014

  • Glensound Comedia at ISE 2020

    Glensound Comedia at ISE 2020

  • Virgil OB headphone amplifier from Glensound at NAB 2018

    Virgil OB headphone amplifier from Glensound at NAB 2018

  • 32 Keypanel Intercoms from Clearcom at NAB 2017

    32 Keypanel Intercoms from Clearcom at NAB 2017

  • Live Sports Broadcast Commentator from Glensound at NAB 2017

    Live Sports Broadcast Commentator from Glensound at NAB 2017

  • Glensound at IBC 2016

    Glensound at IBC 2016

  • Glensound at NAB 2016

    Glensound at NAB 2016


Related Shows
  • Working remotely with AoIP Dante® network audio

    Working remotely with AoIP Dante® network audio


Articles
The Future of Broadcast Technology
Sebastian Richter

Spotlight on Sebastian Richter, Vice President Media Systems at Rohde & Schwarz.

We are currently in the middle of a transition phase with migration to several new technologies, from the move to IP-based infrastructure and the shift from linear to video-on-demand (VOD).
The question for all of us is how long that transition phase will last; it is going to be faster for some customers then for others – national broadcasters, for example – it will be a slower process.

Tags: broadcast | 5g | 5g broadcast | rohde and schwarz | Sebastian Richter
Contributing Author Sebastian Richter Click to read
Spotlight on James Gilbert, Director of Product and Solution Management
James Gilbert

Over the next eight years we are going to be in transition, and within that there will be vastly different rates of change among content owners and media organisations. As a technology provider the onus is on us to be flexible and adaptable to meet this wide range of requirements from our customers.

Tags: | James Gilbert
Contributing Author James Gilbert Click to read
Spotlight on Karl Mehring, Director of Professional Services, Broadcast, Amplifier and Media
Karl Mehring

How has the role of Professional Services evolved in recent years and what vision do you have of the broadcast technology business? Covering new opportunities that the move to remote brings, new technologies such as 5G broadcast & the impact on the broadcast industry, and the challenges for broadcasters and how can they overcome them.

Tags: COTS | cloud | remote production | distribution | 5g broadcast | Karl Mehring
Contributing Author Karl Mehring Click to read
The Future of Broadcast Technology
Manfred Reitmeier

Now that OTT and VOD have become more mainstream, many commentators talk about traditional broadcast methods, like terrestrial transmission, being a thing of the past. With so many new platforms and non-traditional content services carving out a growing slice of the market, you can be forgiven for thinking that linear over-the-air television is on its way out. The reality is that the industry must strike a balance between meeting consumers’ shifting habits and the business and operational needs of content providers.

Tags: Rohde Schwarz | 5g broadcast | Manfred Reitmeier
Contributing Author Manfred Reitmeier Click to read
A switch in time: how KVM can unlock the future of broadcasting
Chris Smeeton

One of the major changes for broadcasters during the pandemic has been the shift towards remote production; by no means a new phenomenon in an IP environment, yet accelerated under lockdown to accommodate travel and gathering restrictions. A 2021 report found that almost 40% of broadcast professionals now employ remote production, up 9% on the previous year.

Tags: KVM | ARGOSY | GDSYS | KVM Tech | Chris Smeeton
Contributing Author Chris Smeeton Click to read