The Opportunity

The Museum of New Zealand Te Papa Tongarewa in Wellington is an interactive, contemporary Museum and Convention Centre. With attractions for young and old, Te Papa is a must-visit for visitors to Wellington – one of the world’s leading travel sites Tripadvisor lists the facility in the Top 25 Museums of the World while Lonely Planet rates it in the Top 500 Places on Earth.

New Zealand’s National museum is more than just a museum, it is a multi-purpose facility with numerous venues spanning six levels, including multiple conference, convention and meeting spaces for hire. The facility relies on the latest technologies to enable cutting-edge interactive exhibitions, immersive short term shows and successful conferences.

A variety of Harman Professional audio solutions are deployed within the complex to provide a premium immersive experience, including JBL Professional Loudspeakers, Crown Amplifiers, BSS networked audio processors and controllers as well as Soundcraft mixing consoles.

The Solution

Te Papa’s Technology Solutions Team recently implemented a large Dante distribution network. With so many rooms and systems being used by visiting AV Technicians and commercial clients, it was essential to have a system that could manage the hardware and audio streams in an efficient and secure manner.

After consulting with JPRO’s Technical Design Team, it was recommended that with the implementation of the Dante distribution network, the entire infrastructure should be managed through Dante Domain Manager (DDM).

“We opted for Dante Domain Manager as part of a building wide venue upgrade,” says Andy Allison, Technology Solutions Systems Engineer at Te Papa. “Prior to this upgrade we had not used any Dante products. With everything being IP based, the security of our network is extremely important, and we needed to ensure the integrity of our corporate data and the data of our commercial clients and guests.”

Dante Domain Manager allows the Te Papa team to utilise IT best practices within AV, with the ability to unify its systems, easily categorise and control audio streams, while managing user access to their Dante network.

And Allison continues, “We can manage our Dante equipment throughout the entire organisation with DDM. All Dante audio runs on a dedicated VLAN, we have 802.11X authentication servers that prevent any untrusted devices accessing our various VLANs.”

The Impact

“The experience of installing and configuring DDM in our environment has been seamless, with 14 venues divided into 6 Dante Domains plus a Global Domain,” says Andy Allison. “The system design allows users to route audio to and from any of our venues and public spaces, with managed switches in all locations. No venue switch is more than 2 hops from the core. Dante Domain Manager has really made our task of managing the Dante network easier and secure.”

“Without DDM a venue is at risk of its entire audio network infrastructure crashing due to external sources connecting to the network,” says JPRO’s design experts. “We are pleased we can bring added value and ease of mind to our customers, with DDM allowing for simplified site management and a secure audio network.”

Audinate states that the new Level 1, 2 & 3 program include many new topics and live demonstrations that will provide a new perspective to attendees of previous classes.

LEVEL 1 (2nd Edition)

Dante Certification Level 1 introduces attendees to the Dante platform. It offers fundamental knowledge on digital audio, networking addresses and how to use Dante Controller with Dante devices. This is enough knowledge to operate a Dante system in daisy chain mode or on a single network switch.
Collectively, the Level 1 videos are approximately 2 hours in length.

What’s new:
•    Understanding various PoE standards
•    Video Basics – the primer for IT and audio teams
•    Using Dante AV on a Dante network
•    Using Dante Controller’s screens to troubleshoot issues

LEVEL 3 (2nd Edition)

Dante Certification Level 3 builds the necessary skills to navigate a Layer 3 Enterprise network. This includes explanations of what Layer 3 means, why it is helpful and how Dante systems can naturally span a building, a campus, or even multiple properties. This class takes a tour of the various connections and protocols Dante uses, which leads to a simplified approach to troubleshooting. And, it offers demonstrations of Dante Domain Manager connecting devices across the Layer 3 space.

This class is especially helpful to those who want to build a large Dante network, as well as those who wish to improve their ability to work with IT staff at large organisations.

Collectively, the Level 3 videos are approximately 1.5 hours in length.

What’s new:
•    IP ports
•    Address Resolution Protocol (ARP)
•    A simple system troubleshooting approach
•    Open Systems Interconnection (OSI) Model
•    Layer 2 vs layer 3 networks
•    Dante Domain Manager fundamentals
•    GPS clocking

Learn more about the new Dante Certification Training here.

I find myself increasingly in front of stick PAs, as more and more manufacturers get into the territory. I also ran the stick PA demo sessions at ENTECH three years running and have personally put almost all of the models in this roundup through their paces. What I have been surprised by is the history of the humble stick, its origins in a concept championed in the 1970s, and its relationship to modern immersive audio PAs.

The Long Strange Trip

The stick PA we know today had its genesis in the USA when engineer, inventor, and musician Cliff Henricksen. Cliff and another engineer called Ken Jacob started to work on the first stick PA in 1995, which would be commercially released in 2003 as the L1.

Cliff and Ken were trying to solve what they referred to as the ‘triple amplification’ problem in amplified live music performance; instruments have amps on stage, performers have foldback, and then there’s the FOH PA.

They found it all created a flat, uncontrollable mess with no spatialisation that wasn’t ideal for the musicians. They adopted an idea from The Grateful Dead’s ‘Wall of Sound’ experiment in the 70s; dedicated line arrays behind each performer, shooting over their heads, with a separate line array for each performer. No more guitar amps blaring into the first few rows, nor foldback making a sonic mess, and no FOH PA that the musos can’t hear trying to drown all of that out.

The L1 concept was tested exhaustively with musicians and sound engineers, with direct A/B comparisons run between traditional FOH PAs, switching over to four or five L1s set up behind the band. Apparently, the results were fantastic. But as is the case with many radical inventions, the public embraced the product, but not the manner in which it was intended to be used. No matter; the L1 and all of its descendants went on to become huge sellers powering solo and duo musical acts, corporate speakers, buskers, and wedding celebrants.

Which leads us to two of JBL’s newest entrants into the world of “Stick PA’s” the JBL PRX ONE and EON ONE MK2.

After acquiring Studer Audio in January 2021, Evertz Technologies Ltd has relocated Studer’s manufacturing facilities from Hungary to Evertz headquarters in Canada.

Established in Switzerland in 1948, Studer initially manufactured professional tape decks and analogue consoles but began manufacturing digital mixing consoles when it was acquired by Harman International Industries in 1994. 

Vince Silvestri, Vice President Software Systems at Evertz, says: “Studer’s history and reputation for quality is undisputed. As the current stewards of this legendary brand we are committed to developing high quality audio products and solutions to serve current and future live media customers.”

Covid lockdowns have been tough on many industries, with the events community being hit particularly hard.

The Production Company and The Stream Shop have joined forces along with the help of the NZ Music Commission to launch Money for Jam, a streaming fundraiser for the music industry charity MusicHelps. Money for Jam will bring artists together to collaborate on unique performances and acoustic sets.

The Production Company Managing Director Paul (Goff) van’t Hof says that Money for Jam is a chance to raise money to support members of the music community who are out of work due to lockdown and event restrictions, but also to give musicians and production workers an opportunity to stay match fit for what everyone hopes will be a big summer ahead.

Tim Robertson, Tour Sound Manager with AKG distributor JPRO says “AKG is proud to give back to the entertainment industry and support The Production Company. Its been a long and difficult year and this is what the industry needs to lift their spirits and find encouragement.”

AKG through NZ Distributor JPRO are donating 15 Lyra USB microphones to the artists performing on Money for Jam. Lyra is a multiple-pattern USB condenser microphone that doubles as an audio interface. It works easily with all major audio and video production software and online platforms.

“While there may be some downtime from road gigs, Kiwi musicians can work on new material, collaborate on video calls and provide livestream performances from their home with AKG Lyra,” adds Tim Robertson.

Performances by different artists are planned for every Friday from the end of October and will be filmed safely within current Ministry of Health guidelines at The Production Co’s studio in Auckland.

To support MusicHelps and keeping Kiwi music alive, visit https://www.moneyforjam.co.nz/

Invidis is widely recognised as the go-to provider of digital signage industry knowledge and insight both within the EU and global markets. The Invidis Yearbook annual report provides a unique insight into the economic and technical dynamics of the digital signage industry.

NETGEAR’s ProAV solutions are engineered specifically for AV over IP with an unmatched ease of use, reliability and cost savings that benefit all networked AV solutions, providing flexible speed options from 1 Gigabit up to 100 Gigabit per port.

Included in the ProAV product portfolio is a new line of M4250 AV switches that are built for 1G AV over IP installations and designed for a clean integration with traditional rack-mounted AV equipment.

“JPRO values partnering with companies that provide high quality, reliable products and view our partnership with NETGEAR as an opportunity to deliver a comprehensive solution to our network of AV integrators,” says Jacques Klopper, Video and Control Sales Director at JPRO.

“NETGEAR have collaborated with all the leading AV brands to create an easy to configure AV Network switch, with professionally preconfigured templates. AV specific advantages, like rear mounted LAN ports, and SVSI, Dante and AE67 templates, ensure projects are easily and correctly configured the first time. This saves money by removing complications and reliance on network experts.”

Should you require further product information or assistance with a ProAV project, please contact a JPRO representative.

For more information on NETGEAR Pro AV products and services, view here.

As part of the drastic measures taken to curb the spread of the virus, events took place entirely behind closed doors in the Japanese capital which was declared a state of emergency over the pandemic.

The Games saw 339 events take place in 33 sports, including new sports such as surfing, karate, rock climbing, skateboarding and baseball/softball.

Coordinating and monitoring radio frequencies for wireless microphones and in ear monitors for an event of this size requires many months of careful preparation. RF Engineer Steve Caldwell, based at the NW Group in Sydney Australia, has managed RF at every Olympics since 2000 (with the exception of Beijing). Steve relies extensively on the RF Venue CP Beam helical antenna in his RF system designs.

The lightweight CP Beam helical antenna is easy to transport and folds down to be packed away in a 3RU rack drawer

So what does it take to flawlessly pull off such a huge event?  Setup commenced 4 months prior to the opening ceremonies.  For the program’s wireless mics, Steve and his team deployed 72 channels of Shure Axient AD4Q receivers arranged into 24 channels of Quadversity at the mains position at FOH, and 24 channels in a backup location under the performance stage in diversity mode. 

On the IEM side, Steve used 16 channels of PSM1000 for the high level performers along with 64 body packs.  8 channels of Sennheiser SR2050s were used for the level 2 group performers along with 160 EK300 body packs.  The mass cast (numbering in the thousands) carried FM broadcast packs.  Any guesses how many batteries that might take and how many power “on” switches had to be checked?

The RF Venue CP Beams were used as the primary receiving antennas for the radio microphones at all 4 Ceremonies, as well as the rehearsal periods: A pair of CP Beams at the FOH position on the western side of the stadium and another pair, connected by an RF over Fibre link, on the north-east side of the stadium.

The two pairs of CP Beams fed the inputs of the Axient Digital receivers, which were used in Quadversity mode. A third pair of RF Venue CP Beam antennas was used on a separate receiver position under the performance stage.

“Two brands of antenna and models were installed at FOH, however the CP Beams were chosen after significant testing, due to their excellent front to back ratio and ideal beamwidth pattern,” says Steve Caldwell.

After careful planning and coordination, everything worked flawlessly with no drop out.

“All radio microphones used across the bandwidth exhibited excellent coverage due to the helical antennas, with very low interference as a result of the RF Venue CP Beams excellent front to back ratio,” says Steve. “This effectively eliminated most RF noise sources from the stadium concourse behind. All antennas were exposed to full weather conditions for 4 months during the time of the Olympics set up, with no issues of any kind.”

NETGEAR has announced a strategic partnership with AMX by HARMAN, the industry pioneer in AV over IP technology. NETGEAR professional AV switches are now the recommended choice for all AMX AV over IP installations worldwide. AMX AV solutions are trusted globally across corporate, education and government applications, while AMX SVSI networked AV products represent more than 10 years of experience in the expanding AV over IP market, backed by the innovative power of Harman Professional Solutions.

AMX and NETGEAR partnered together to develop the M4250 Series Switch Profile, which ensures that any system that pairs AMX or other networked AV components and M4250 Series Switches, will function flawlessly without the need for any complex setup. After comprehensive testing, the AMX team verified that the NETGEAR M4250 and M4300 series of switches provide the best experience for their most discerning customers.

“Our AMX N-Series of networked AV products combined with the NETGEAR Pro AV switches provide a fantastic solution,” noted Jamie Trader, Vice President, Video and Control at HARMAN Professional Solutions. “In addition to the HARMAN Video and Control group, our Audio and Lighting groups will also benefit from the many features built into these switches – especially Power over Ethernet (PoE). No other switch manufacturer delivers the same performance and feature set.”

Additionally, AMX conducted comprehensive testing for compatibility with NETGEAR’s M4300 and M4500 Series Switches. This rigorous testing guarantees that even the most complex, campus-wide AV applications can be configured easily while delivering exceptional reliability.

M4250 Series Switches

AMX and NETGEAR worked together with input from the AV community, to develop NETGEAR’S M4250 Series Switch Profile which ensures that a system that pairs AMX or other networked AV components and M4250 Series Switches will work flawlessly without the need for any complicated setup.

Models with PoE+ and Ultra 90 PoE++ allow powering of AV endpoints and more. Built with NETGEAR IGMP Plus^™, Auto-LAG, and Auto-Trunk for automatic and dynamic configuration – even with multiple switches.

The easy-to-use AV interface helps integrators conquer the typically tedious AV over IP switch configurations. The installer need only select the protocol or vendor and then select the applicable ports. From there, the NETGEAR M4250 will automate the remainder of the configuration, resulting in less time spent on the network configuration and more time focusing on the other parts of the installation.

M4300 Series Switches

The widely respected M4300 series switches offer a variety of models to address customer’s port count and connectivity requirements. They can also be stacked, thus enabling larger AV configurations. NETGEAR IGMP Plus ensures robust multicast performance without fear of flooding the network. The M4300 is PoE+ capable, has a non-blocking backplane, and is designed to deliver superior multicast performance for a range of AV over IP protocols.

Wide Range of Applications

From conference rooms to college campuses to sports and performing arts venues, the NETGEAR M4250 and M4300 switches have already been proven around the world. The strategic relationship with AMX by HARMAN enables the most advanced AV solutions using IP technology.

Learn More

NETGEAR AV Managed Switches are available to purchase through JPRO, an official distribution partner in NZ.

Learn more about NETGEAR Pro AV products and services here.

Learn more about AMX SVSI AVoIP solutions here.

Over the last year, Audinate, the Blue Note Entertainment Group (of the iconic Blue Note Jazz Clubs) and Peltrix (an integration firm) collaborated on an industry-first demonstration for long-distance, networked audio-video links. In June of 2021, they demonstrated their solution linking three locations up to 1200 kilometres apart with multiple streams of Dante audio and Dante AV video links.

In this demonstration, system latency was so low, musicians were able to comfortably play together as if they were in the same room. No click tracks or guides were used, and timing was natural for performers. Dante AV played an important part in the demo, allowing musicians to see each other, taking visual cues, read body language and engaging with each other seamlessly. The products used are all commercially available today.

View Webinar

If you were unable to attend the webinar live, or would like to re-watch it, we have made the entire session available to watch on-demand. Watch the Peltrix takes Dante over Distance with the Blue Note Entertainment Group webinar here:

Update March 2024: The JBL Pro Connect App has now been upgraded to the Pro Connect App V2. Learn more here.

Available for Android and iOS phones and tablets, JBL Pro Connect opens up a world of possibilities for hands-on control over a full-suite of mixer, DriveRack DSP and Bluetooth features. From either landscape or portrait viewing modes, the streamlined interface makes it easy to adjust and control every feature on multiple speakers from anywhere in the room.

Whether you’re a seasoned audio engineer, musician, DJ or presenter – or just starting out on your live sound journey, the JBL Pro Connect mixer app makes it easy to tailor your sound for any venue or application. The app includes all of the tools to sound your best, right at your fingertips. Dial in your signature sound from anywhere in the room including setting volume levels, adjusting EQ, activating Lexicon reverb and effects and dbx Digital DriveRack signal processing, customised ducking, saving and recalling presets and much more.

Applicable products are:

EON ONE COMPACT

EON ONE MK2

EON700 Series

PRX ONE

PRX 900 Series

JBL Professional portable battery powered PA systems and powered portable loudspeakers are supported in New Zealand by JPRO.

The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc.; any use of such marks by JBL/HARMAN is under license.

Learn how to maximise the use of your JBL Professional Loudspeaker with these JBL Pro Connect Tutorials:

JBL even won its own Oscar®! In 2002, three JBL engineers were presented with two of the most prestigious honours that the Motion Picture Academy can give for technical achievements in loudspeaker technology – a Scientific and Engineering Award “for the concept, design and engineering of the modern constant-directivity, direct radiator style motion picture loudspeaker systems,” and a Technical Achievement Award “for the engineering and design of filtered line arrays and screen spreading compensation as applied to motion picture loudspeaker systems.”

Technology and Innovation Propel JBL’s Sonic Cinematic Future

Engineered to invoke emotion and meet the demands of the moment, whether they’re reproducing a quiet, intimate scene or an aggressively loud action sequence, JBL’s cinema sound excellence continues unabated to this day, with JBL products found in 40% of movie theatres around the world, including the majority of Dolby® equipped theaters. JBL speakers also appear in Warner Brothers, Technicolor and Dolby® screening rooms, as well as The Directors Guild of America and the Academy of Television Arts & Sciences.

JBL is always thinking about the future of how audiences will experience Oscar®-nominated films. Engineers at JBL recently worked on developing a custom Sculpted Sound solution for Samsung’s groundbreaking new Cinema LED technology called “Onyx” that are being installed in theatres around the world.

“Today, JBL is among the most trusted names in cinema sound, as our role in the 93^rd Academy Awards demonstrates,” said Dave Rogers, President of the Lifestyle Division. “After decades of collaboration with the movie industry, JBL’s expertise has grown and evolved alongside the silver screen, ensuring that generations of movie-going audiences around the world continue to experience jaw-dropping cinema sound.”

This release contains some significant new features together with additional bug fixes and improvements. These are summarized below, but for full details please see the Vi V6.4.3 Software User Guide, available here.

In order to ensure maximum stability and usability, Soundcraft recommend that this software is installed on all Vix00 and x000 consoles

New Features:

• Tie Lines now have a new ‘Isolate ALL’ control to allow their patch and label settings to remain unchanged when loading different Shows, in conjunction with the existing ‘Load ISO with Show’ control.
• VCA Master Isolation: VCA Masters now have the ability to individually Isolate the VCA label, Fader/mute and Aux VCA master parameters, allowing more granular control over the recall of these items globally in snapshots using the fader-panel ISO button on the VCA Master strips. New touchscreen controls act as pre-selects for the function of the fader-panel ISO buttons, with a text indicator in the VCA label showing whether ‘partial’ or ‘full’ isolation is active for each VCA master.
• VCA Scope: As with the isolation controls, the VCA Channel Scope and Apply Changes systems also now have the ability to deal with the VCA label, Fader/mute and Aux VCA elements of the VCA Masters separately in terms of selection for recall on individual snapshots. A key benefit this gives is the ability to update VCA labels and Aux VCA fader positions in multiple snapshots, which was not possible in earlier software.

Bug Fixes / Improvements:

• SHURE® ULXD4™ Receivers with REV2 hardware and ULXD4 and QLXD4™ receivers with new frequency bands (DCIDs) are now supported for Wireless Mic Monitoring (VM2). This fixes the issue where these receivers do not show up in the console’s device list even though they are on the network and detected by SHURE Wireless Workbench™.
• Loading a show from a larger Vi surface on Vi1000 could result in GEQs being stuck in ‘large’ mode with insufficient faders to control all the bands. ‘Small’ GEQ mode is now automatically selected for all Shows loaded on Vi1000.
• In Aux VCA mode, VCA master ISO failed to protect channel Aux send On/Off from changing when snapshots are recalled.

Vi1/2/4/6 Consoles Note

Note that Vi1, 2, 4 and 6 consoles use software version 4.9.x, therefore the V6.4.3 software update cannot be installed on these consoles. No updates to the V4.9 software that runs on these consoles are being planned at this time. The current version is V4.9.2.306b.

Offline Editor

An updated version of the Virtual Vi Offline Editor is also available incorporating the above features and bug fixes, allowing pre-programming of Show files.

Show Compatibility

There are no Show compatibility issues with this release, but please see the Software Features User Guide for notes on two points to be aware of.

ViSi Remote iPad App

There is no change to the ViSi Remote app with this release.

Where to get the software update

Downloads are now available on the Soundcraft website: www.soundcraft.com.

• From the Vi1000, 2000, 3000, 5000, 7000 and Vi400/600 CPU Upgrade product pages. Scroll down the page to the ‘Downloads’ area and look under ‘Software’.
• From the ‘Software’ page in the Support menu, scroll directly to the 6.4.3 update file links.

Update Instructions

Please download and read the Update Instructions here.

Powered by JBL and Soundcraft, learn the difference between an XLR and RCA and get some practical insights into the basics of good sound.

Suitable for musicians, regular ‘sound guys’ and sound engineers from beginner to intermediate, Audio Fundamentals will be held in a casual environment and focus on the essentials of good audio, including the basics of sound mixing, providing tips and tricks to get great sound through a PA system.

The workshop will be presented by Tim Robertson from JPRO. Tim worked as an audio engineer with well-known bands in New Zealand for more than 20 years before representing JPRO with Soundcraft, JBL and AKG. He is well-versed in educating, training and lecturing people of all skill sets in understanding audio.

Please use the button below to register your interest for a workshop near you.

Please use the button below to register your interest for a workshop near you.

Islington’s Grade II-listed Assembly Hall has committed to an investment in its technical infrastructure, including the first UK installation of JBL’s new VTX A8 line array system at front of house.

Motivated by the experienced management team of Lucinda Brown and Technical Manager, Tom Watt, the Council-owned building, part of Islington Town Hall complex, can now build on a reputation that has seen Ed Sheeran, Rag’n’Bone Man and Snow Patrol play there in the past.

Future-proofing the installation will bring further stability to a venue which first opened back in 1929 before closing in the mid-1980s.After laying dormant for around 30 years Islington Council funded its refurbishment, and in 2010 it appeared back on the touring map.

Following a competitive tender, the Islington Assembly Hall team chose JBL’s new flagship VTX A-Series, specifically A8 and B18 elements.

The installation was undertaken by SSE Audio Group, who were also responsible for the new JBL VTX A12 installation (with VTX A8 acting as delays and front-fills) at London’s Troxy—coincidentally another Grade II-listed art deco building like the Assembly Hall. Able to use the existing infrastructure, and taking advantage of the advanced JBL rigging, they were able to hoist and align the system expediently, much to the delight of the venue.

“SSE worked hard to get the system in quickly working around events, and expedited the delivery seamlessly in the time allotted.” says Tom Watt.

They have flown L/R hangs of six VTX A8 elements per side, adding a further two as lip fills on the stage. Low frequency extension is provided by six B18 single 18” subs, with the entire system powered by four Crown I-Tech 4x3500HD four-channel amplifiers.

Ed Jackson is satisfied that the A8 concept has been proven. “My prime concerns were that we had coverage to the back of the room, which was noticeably lacking in the old PA, and achieve uniform balcony coverage. If it hadn’t worked with the shorter array we would probably have walked away.

“In terms of sound quality from the transducers this series has got the physical parts of the cabinets right to the point where we are not so reliant on DSP. The system sounds good as soon as you turn it on.”

Lucinda Brown is likewise impressed, both with the new system and the marketability it will give the venue. “We want to be the best and we can only offer that with high quality. Already people are appreciating the difference this system makes.” In addition to visiting sound engineers, this includes the venue’s own tech team, who are unanimous in their praise.

The momentum hasn’t stopped there, for Islington Assembly Hall have also just added six Martin MAC Quantum Wash lighting fixtures.

However, for now it’s all about the sound, and the last word on that goes to Tom Watt. “We now have a PA of which this fabulous building is worthy,” he declares with a smile.

AMX by HARMAN have announced an addition to its 4K60 4:4:4 distance transport switching solution with the release of four new AMX DXLink 4K60 Fibre input/output (I/O) boards, transmitters and receivers.

The new fibre modules offer the ultimate in security and support for extended distances and are fully compatible with AMX Enova DGX 100 Series enclosures. This offers a simple upgrade of existing systems without investing in an entirely new system architecture. These new modules accompany the twisted pair boards, endpoints and Enova DGX enclosures released previously.

The new 4K60 fibre models provide a simplified setup and configuration process. When installed, these products will be auto-configured, and settings can be easily applied using the Enova DGX web-based configuration tool. Field maintenance is also simple with hot-swappable cards that minimise downtime to the rest of the installation.

4K60 Fibre Boards and Endpoints:

• DGX-I-DXFP-4K60 – DGX DXLink 4K60 Fiber Input Board Details – Spec Sheet
• DGX-O-DXFP-4K60 – DGX DXLink 4K60 Fiber Output Board Details – Spec Sheet
• DXFP-TX-4K60 – DXLink 4K60 HDMI Fiber Transmitter Module Details – Spec Sheet
• DXFP-RX-4K60 – DXLink 4K60 HDMI Fiber Receiver Module Details – Spec Sheet

4K60 Twisted Pair Boards and Endpoints:

• DGX-I-DXL-4K60 – DGX DXLink 4K60 Twisted Pair Input Board Details – Spec Sheet
• DGX-O-DXL-4K60 – DGX DXLink 4K60 Twisted Pair Output Board Details – Spec Sheet
• DX-TX-4K60 – DXLink 4K60 HDMI Twisted Pair Transmitter Module Details – Spec Sheet
• DX-RX-4K60 – DXLink 4K60 HDMI Twisted Pair Receiver Module Details – Spec Sheet

RF Venue, manufacturer of antenna and RF distribution solutions for all brands of professional wireless microphone and in-ear monitoring systems, held a webinar entitled Why Wireless Mics Drop Out and How to Prevent It.

Check out the full recording of the live session using the link below.

Understanding Local Interference and Range
Loss of range is typically caused by localised interference, like TV stations, motors, LED lighting and more. Find out how directional antennas and bandpass filters can work together with high-quality coax cables to help mitigate this problem.

Understanding Multi-Path Interference
Multi-path interference is caused by reflections of a transmitter’s signal, primarily by metal objects in a venue and other boundaries. These reflections flip the polarity of the signal and arrive out of phase which causes cancellations in the receiver’s antennas.

Understanding Cross-polarisation Fades
Cross-polarisation fades (aka antenna dropouts) happen when the antennas are not oriented correctly to match the transmitters. Learn how the proper use of antennas can maximise your system’s efficiency.

You may also be interested in the new affordable 8 Channel In-Ear Monitor Combiner, COMBINE8.

COMBINE8 actively combines signals of up to eight in-ear monitor transmitters into one single transmitting antenna, reducing clutter, signal interference and lowering the probability of intermodulation artifacts

RF Venue Combine8 is designed to work with all brands of IEM that are set to transmit at 50 mW or less. It provides DC power for up to 8 IEM transmitters with an external power supply, removing the need for wall warts.

JPRO are the official distributors for RF Venue products in NZ. As always, if we can be of any assistance with your wireless audio project, or answer any questions relating to your RF queries, or if you would like to demo RF Venue, please contact us.

Suitable for musicians, regular ‘sound guys’ and sound engineers from beginner to intermediate, Mixing with Professionals will be held in a casual environment and focus on the basics of sound mixing, providing tips and tricks to get a great sound mix.

The workshop will be presented by Tim Robertson from JPRO. Tim worked as an audio engineer with well-known bands in New Zealand for more than 20 years before representing JPRO with Soundcraft, JBL and AKG. He is well-versed in educating, training and lecturing people of all skill-sets in understanding audio.

Please use this link to register your interest for a Soundcraft Mixing with Professionals workshop near you.

Local Music Instrument Store Music Mania in Pukekohe hosted a successful round of the popular Soundcraft ‘Mixing with Professionals’ which was presented by JPRO, the authorised distributor for Soundcraft in New Zealand.

Suitable for musicians and beginner to intermediate sound engineers, Mixing with Professionals is held in a casual environment and focuses on the basics of sound mixing, providing tips and tricks to get a great sound mix.

The workshops are presented by Tim Robertson from JPRO. Tim worked as an audio engineer with well-known bands in New Zealand for more than 20 years before representing JPRO with Soundcraft, JBL and AKG. He is well-versed in educating, training and lecturing people of all skill-sets in understanding audio.

Enquiries for future Mixing with Professionals workshops can be made here.