Shure PSM300 Bodypack Receiver
Shure·Model P3RA·shure-psm300-p3ra
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Shure P3RA
The P3RA is the metal-bodied bodypack receiver for the PSM300 system. It strikes a useful balance for working musicians who need solid wireless monitoring without the premium price of the higher-end Shure systems. A common choice for B-rigs, smaller venues, and bands building out IEMsIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. for the first time. One per performer.
The P3RA is the bodypack half of Shure's PSM300 system — the piece that actually goes on the performer. It receives the wireless signal broadcast by the PSM300 transmitter, converts it back to analog audio, and delivers it to whatever IEMsIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. are plugged into its 3.5mm output. This is not a rack unitThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one.; it lives on a belt or in a pocket, one per performer, every show. Its metal construction is a meaningful detail — bodypacks take real abuse on stage, and plastic housings tend to show it faster. At $549, it sits in the working-professional middle ground: serious enough for touring use, accessible enough for a band making their first real IEM investment.
At 110 grams, the P3RA is light enough that most performers stop noticing it after a song or two, which is exactly where you want a bodypack to land. The single 3.5mm output covers the vast majority of IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. cables on the market without an adapter, keeping changeovers simple. Because this is a true diversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. receiver operating within the PSM300 ecosystem, RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. performance in moderately crowded environments is solid — not the top of the Shure lineup, but well above the noise floorThe constant background hiss a device produces on its own. Everything you pass through it sits on top — lower is better. of entry-level systems. Battery life and the physical feel of the controls are things to evaluate in rehearsal before a run of shows; different performers interact with their pack very differently.
The P3RA is the right call for bands building their first IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rig, B-rig redundancyA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. for established acts, or any situation where you need reliable wireless monitoring without committing to PSM900 or PSM1000 pricing. If you're working dense festival RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. environments with six or more channels in close proximity and no RF tech on call, the higher-tier Shure systems offer more headroomThe margin between your normal level and where things clip — headroom is what absorbs the snare hit you didn’t see coming. and you should look there first. Likewise, if a performer is using a premium reference earphone with a low-impedanceOpposition to signal flow, in ohms. Low-impedance IEMs are easier to drive loud; mismatches shift level and tone. cable, it's worth testing the output level and noise floorThe constant background hiss a device produces on its own. Everything you pass through it sits on top — lower is better. in advance — some listeners in quiet IEM mixes can hear the difference between bodypack tiers.
In the rack
- Label every pack with the performer's name on gaffer tape before day one — when six identical metal bodypacks are on a table at changeover, unlabeled is a problem you don't want.
- Coordinate frequency selection against your full RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. plot before the first rehearsal, not at load-in; the PSM300 system's frequency coordinationCalculating a set of wireless frequencies that won’t interfere with each other or local TV — the homework behind a clean RF night. works best when done in advance with all transmitters and receivers accounted for.
- Keep a spare P3RA charged and frequency-matched in your IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rack case — bodypack failures at show time are rare but fast to fix only if the spare is already ready to go.
- Check that your IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. cable terminates in a standard 3.5mm MMCX or two-pin connector before assuming compatibility; the pack's output is standard 3.5mm, but the earphone end varies by manufacturer and needs to match what your performers are wearing.
Bodypack for PSM300 — entry-level / B-rig receiver.
I/O Ports (1)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Headphone Out (3.5mm) | TRS EIGHTH | output | analog audio | — |
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