Wisycom MTK952 Dual Transmitter
Wisycom·Model MTK952·wisycom-mtk952
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Wisycom MTK952
The Wisycom MTK952 is a premium IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter favored on top-tier tours and broadcast productions where RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. performance is paramount. Its wideband tuning range simplifies frequency coordinationCalculating a set of wireless frequencies that won’t interfere with each other or local TV — the homework behind a clean RF night. in dense RF environments, and AES3The pro standard for stereo digital audio over an XLR cable — balanced, so it runs much farther than consumer S/PDIF. digital input eliminates the need for D/A conversion in all-digital signal chains. If budget allows, this is one of the most capable IEM transmitters on the market.
The Wisycom MTK952 is a full-rack, dual-channel IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter built for environments where RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. failure is simply not an option. It sits at the top of the IEM transmitter category — the kind of unit you find in the wings on major touring productions and broadcast stages where spectrum is contested and the monitor engineer needs every technical advantage available. Each of its two transmitter channels gets its own antenna output pair, its own audio path, and its own coordination headroomThe margin between your normal level and where things clip — headroom is what absorbs the snare hit you didn’t see coming., all packed into a single 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. that pulls a modest 40 watts under typical load.
The wideband tuning range is the practical headline here: when a venue's RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. coordinator hands you a list of available slots an hour before doors, you're not fighting the limits of a narrow-band unit. The AES3The pro standard for stereo digital audio over an XLR cable — balanced, so it runs much farther than consumer S/PDIF. input is equally important in modern rigs — you can route directly from a digital console's AES output or a monitor matrixA routing grid that builds extra outputs from any mix of mixes or channels — fills, lobby, stream feeds — without touching the main mix. without touching a D/A converterThe circuitry that turns analog audio into digital data and back (A/D and D/A). Converter quality sets a digital rig’s sound ceiling., keeping the signal path clean and removing one failure point. Two discrete XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. analog inputs are also on board, so the unit works equally well in hybrid or fully analog signal chains. At 270mm deep it fits most standard rack shelves without drama, and the 2 kg weight won't unbalance a shallow touring rack.
If you're building a riderThe document attached to a booking that lists what the band needs — inputs, monitors, power, backline (and the green-room snacks).-friendly, advance-anywhere IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rig for high-production touring, television, or festival work with dense RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. environments, the MTK952 is purpose-built for exactly that. The $5,499 price point means it belongs in a professional inventory, not a weekend rental package or a regional club rig where simpler, narrower units will do the job for far less. Engineers running a single-artist stereo mix and working in cooperative RF environments should look at more affordable dual-channel options. But if your name is on the mix and the production budget reflects that, this is the transmitter you stop worrying about.
In the rack
- If you're feeding from a digital console's AES output, patch directly into the AES3The pro standard for stereo digital audio over an XLR cable — balanced, so it runs much farther than consumer S/PDIF. input and bypass both analog XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. inputs entirely — fewer conversions, fewer potential gain-stagingSetting sensible levels at every step of the chain so nothing clips and nothing drowns in hiss — the unglamorous secret to clean mixes. discrepancies between channels.
- Plan your antenna placement before the unit goes in the rack: both BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. outputs need clean runs to active distroOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. or a paddleA directional antenna (paddle, LPDA, helical) aimed at the stage — focuses coverage where the performers are and rejects RF from elsewhere. antenna position, so patch bayA panel of front-facing jacks wired to everything behind it — re-route any signal with a short cable instead of climbing behind the rack. your BNC paths the same way you'd pre-plan audio snakesA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box..
- Budget a full frequency coordinationCalculating a set of wireless frequencies that won’t interfere with each other or local TV — the homework behind a clean RF night. session before each new market on a tour — the wideband range is an asset, but only if you've actually scanned and assigned clean frequencies rather than defaulting to saved presets from the last city.
- At 270mm depth, verify your rack's usable interior depth including any rear cable management bars before the advance — some shallow touring racks will put this unit right at the limit when you add BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. and IECThe standard three-prong appliance power inlet on rack gear — the kettle lead. C13/C14 in spec-sheet speak. cable bend radius.
High-end dual-channel, wideband IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter.
I/O Ports (6)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Audio In 1 (XLR) | XLR FEMALE | input | analog audio | — |
| Audio In 2 (XLR) | XLR FEMALE | input | analog audio | — |
| AES3 In | AES3 XLR | input | digital audio | 2 |
| Antenna A (BNC) | BNC | output | antenna | — |
| Antenna B (BNC) | BNC | output | antenna | — |
- Power (IEC) (IEC C14)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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