The hybrid working environment is here to stay and the future of work will centre on how people connect remotely. We have been compelled to consider all work from home technologies for remote working, teaching and learning essentials. Part of a ‘new normal’ is working from home, conducting remote meetings via web conferencing, distance learning and professional consultations through video.
This means that the need for clear, easily heard sound in conference (video) calling is vitally important. Poor audio can ruin your meeting experience. Lets face it – how many times have you struggled to make out what a person is saying during a video or audio call that just ruins the meeting experience?
We take a look at what essential WFH AV communication tools there are (that do not break the bank) that will help you to be heard clearly and seen no matter where it is you’re remotely connecting from.
The new AKG K300 range of headphones offer two variants – the K361/K371 wired headphones and K361BT/K371BT Bluetooth version. K361-BT and K371-BT are the first AKG Professional headphones to combine pro-grade performance, Bluetooth functionality and comfort in a closed-back, over-the-ear, folding design that are perfectly suited for work and play.
The earpads across the range are designed for extended listening sessions, providing supreme comfort over the ear. They help isolate from some external distractions, allowing personal space to focus for home office and learning. The K371 headphones provide additional audiophile listening enjoyment with reference quality 50mm titanium drivers.
The Bluetooth headphones can be used wireless or wired. They have a built-in microphone for video or mobile calling, pairing easily with any device. K361-BT and K371-BT have gesture control, 40-hour battery life and you can fold them up for portability and storage. As with all AKG headphone and microphone technologies, they sound fantastic.
When working remotely, being heard clearly is the name of the game. Clear sound starts at the source – a standalone microphone, when used correctly, will almost always sound dramatically better than the one that’s built into your laptop or phone.
AKG USB Microphones are useful plug and play audio interfaces that greatly enhance your voice through a computer or mobile device and simply connect via USB.
With two models to choose from, AKG Ara and Lyra have eye-catching appeal based on iconic models that look stylish no matter the application.
The newly launched Ara is competitively priced with dual-pick up patterns that allow podcasters, communicators, vloggers, gamers and musicians to capture pro-quality, high-resolution sound right from their desktop.
If you’re on Teams, Zoom or other web conferencing platforms, both models give you quick access to a mute button and headphone volume, without fumbling for a mouse.
Inspired by classic studio microphones like the legendary AKG C414, AKG USB microphones have a sleek, retro look with future-oriented application, allowing users to look like a professional and sound like one too.
Providing clarity and richness far above that of a laptop or computer that allows you to follow the conversation, JBL’s 104BT Series powered desktop speaker set is now available in a stylish matte white or matte black finish. In addition to Bluetooth, these speakers offer a variety of inputs via the front-panel source select for Bluetooth, RCA, TRS, 3.5mm or All with Volume Control. The 104BT can be used in conjunction with the AKG Lyra USB microphone for Audio & Video Conferencing calls. Should you need to have discrete audio, a headphone can be connected via the front panel.
JBL104BT are studio reference quality and can be used for office, content creation and critical audio listening as well as anyone looking for accurate, yet compact speakers on their desktop.
The AMX Acendo Vibe is perfect for executives, small meeting rooms and home offices. If you are conducting business meetings by video conferencing and want an excellent sound and picture experience for you and your customer, without the need for headphones or external speakers, then the AMX Acendo Vibe all-in-one sound bar is an elegant solution. It can easily be used in small meeting spaces and huddle rooms or taken home for remote working*
The first total conferencing sound bar solution designed for the demands of the modern workspace, with tuned-for-voice JBL speakers and microphones delivering experienced audio with built-in signal processing and Acoustic Echo Cancellation (AEC). A wide-angle camera catches every movement in the space and professional features like CEC display control, USB and convenient Bluetooth connectivity ensure an optimised experience. A stylish external desktop remote provides easy source selection, volume and mute control. Installation is made easy with an integrated mounting bracket.
*Perfect for meeting room sizes of 3m x 3m or smaller.
Soundcraft Notepad is the reimagined version of the legendary Soundcraft Spirit Folio Notepad Mixers released in the 1990s, updated with a modern look and USB connectivity that make them equally at home on your desktop or on-the-go.
Reimagined with today’s online streamers in mind, the Notepad mixers are perfect if you’re looking for a little more tech on your desktop. They have additional input connections for microphones and external audio devices while the USB audio interface allows you to easily connect to your computer, where you can record, edit and play projects using your favourite audio software.
Headphones and external speakers such as the JBL104BT can be connected for the optimum desktop audio experience. The latest driver updates include amongst others a pro-broadcast audio ducking feature.
Soundcraft Notepad mixers are available in 3 variants – Notepad5, Notepad 8FX and Notepad 12FX
Noise exposure at work can be harmful to hearing – however hearing loss is preventable if effective noise control measures are implemented. JPRO provides noise monitoring devices and sensors with control and management solutions to help businesses and institutions comply with the Health and Safety at Work Act 2015.
The Health and Safety at Work Act 2015 (HSWA) has been brought about to protect workers and other persons against harm to their health, safety, and welfare by eliminating or minimising risks in the workplace.
HSWA shifts the focus from monitoring and recording health and safety incidents to proactively identifying and managing risks so everyone is safe and healthy.
Businesses must where reasonably possible, make sure that workers or visitors are not exposed to noise levels that are:
– Equivalent to 85 decibels averaged over 8 hours, or
– A peak noise level over 140 decibels.
These limits apply whether or not the employee is wearing a personal hearing protector.
In relation to noise levels in the workplace the Health and Safety at Work Act states that businesses need to identify the noise level risk, assess the risk and then either eliminate or minimise the risk.
JPRO provides noise assessment, noise control, noise exposure and noise management solutions with products that directly target noisy environments, allowing a person to measure and ‘see’ or visualise noise levels in open plan spaces.
Making noise visible is a simple yet effective way of self-managing noise, making noise control easy and thereby reducing noise levels, creating room for concentration with less interruption.
Noise compliance and monitoring devices assist with aspects of Health and Safety of Staff.
Noise control sensors and systems dealing with external noise issues such as council compliance.
Preliminary noise assessment. A preliminary assessment is a screening tool that should identify probable or possible noise exposures above the exposure limits. If a detailed assessment is then required, JPRO can advise appropriate partners that carry out these assessments.
Preliminary assessments often find noise sources or processes where simple noise control measures may be introduced before having to conduct a detailed assessment.
– Open plan offices
– Library
– Schools
– Hospital (Theatre, NICU)
– Warehouse
– Industrial sites
– Manufacturing Plants
– Fitness Centres
– Bars and Restaurants
– Nightclubs
1. A basic plug-n-play system where you self-manage noise levels by visual cues.
2. A monitored system that reports back noise level data over specified periods to management. Steps can then be taken to reduce noise levels to appropriate levels.
3. A fully automated system that integrates with your audio system to help keep sound levels below specified targets.
The Journal of the Intensive Care society conducted a 2018 study on the benefits of using SoundEar, stating that SoundEar noise warning devices cause a sustained reduction in ambient noise. View the paper here.
Researchers studied the effects of using a SoundEar device to reduce classroom noise levels. They found that the maximum in-class noise levels were reduced by 3.9 dB. Teachers observed that SoundEar helped create a better classroom environment, while learners had a greater awareness to regulate noise and classrooms were quieter using the device. View the paper here.
RF Venue have launched the 8 Channel COMBINE8 In-Ear Monitor Combiner. Combining up to 8 IEM transmitters in a single rack space at a lower price than pairing up multiple 4 channel units.
Making the move from floor wedges blasting in your face to In Ear Monitors (IEMs) can greatly improve your on-stage performance as well as the listening conditions for your audience as they will now hear a more true mix from the PA system. You can virtually eliminate feedback and you can also incorporate things such as click and backing tracks without your audience hearing them. It should be noted this can be of great value when you are streaming your performance online as you will be eliminating a lot of unintentional bleed.
However, adding 4, 6 or 8 IEMs to your wireless microphones causes added strain on that system and can lead to unreliable performance and poor sound quality if you add 8 additional antennas. Simply put, the more antennas you have, the more potential problems you have. Fewer antennas is always preferable to an antenna farm.
Adding an IEM combiner is simply the correct way to do it. In the past combining more than 4 IEM transmitters meant linking multiple combiners or purchasing a very expensive combiner. But today RF Venue is very pleased to announce the new COMBINE8 IEM combiner. You can now combine up to 8 IEM transmitters in a single rack space and at a lower price than pairing up multiple 4 channel units.
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.
RF Venue are offering these as a separate rack unit COMBINE8 or as an upgrade pack COMB8CPB The upgrade pack is a special order only in NZ and is bundled with everything you need to wire up to 8 IEM transmitters and to provide DC power for these transmitters using the supplied power block. The upgrade pack includes the patented CP Beam helical antenna along with a premium quality 25’ RG8x coax cable. Helical antennas outperform paddle or whip antennas for IEM use by adding additional reliability to your system as they eliminate polarisation dropouts (a leading cause of dropouts on stage).
COMBINE8 will work with all brands of unlicensed IEM transmitters that operate in the UHF TV band, analogue or digital (or both!). Simply plug your transmitter into the 8 inputs, connect the dc power supply and run the coaxial cable from the output to the CP Beam antenna.
PERFORMANCE TIPS:
Antenna combiners can greatly lower Intermodulation (IM) products that can interfere with your receivers and reduce the number of open channels you might have to tune to. IM products can also be reduced by setting your IEM and wireless mic transmitters to their lowest power level that works in your venue. Power causes problems so the less you can use the better.
Unless you are using your IEMs across a football field you almost never want to run them at full 50 mW power levels. 30 mW or better 10 mW will provide better performance and less interference. While that may seem counterintuitive, remember that the CP Beam antenna has almost 10dB of gain so even after you have backed off the transmit power you will still have more power than the stock whip antenna but with much lower distortion in your signal.
Don’t forget to separate your IEM antenna from your wireless mic receiver’s antenna by at least 6 feet since one antenna is pitching and one is catching. Think about this the same way you do when you place microphones away from speakers to avoid feedback.
Another tip to optimizing your setup is to stagger your transmitter’s channel frequencies across even and odd input pairs.
Picture that you have 8 channels from low frequency to high frequency. We’ll call transmitter channel 1 the lowest frequency and channel 8 the highest frequency. When you assign your transmitters to the chosen frequencies (hopefully selected with the aid of a frequency coordination program) put TX channel 1 into input 1, put TX channel 5 into input channel 2, 2 with 6, 3 with 7 and 4 with 8. This will likely help reduce the likelihood of intermod buildup depending on exactly the frequencies you have selected. Check out the photo below.
The RF Venue COMBINE8 is distributed and supported in New Zealand by JPRO and is now available.
If you would like a demo of RF Venue products, please contact us using the demo link below.
NOTE: Some printed specifications may indicate that COMBINE8 has been tested between 470-608 MHz, however it is not limited to this range. RF Venue have given assurances that COMBINE8 will work in the 470-698MHz spectrum like other RF Venue products.
From the opening note, there’s no mistaking that the 36th America’s Cup takes place in Aotearoa New Zealand.
NZ guitarist, composer and producer Arli Liberman was given the honour to compose the opening music titles of this prestigious event.
The soundtrack combines futuristic elements, NZ culture and Kiwi flavour together to create an inspiring anthem that establishes the event firmly in New Zealand.
“This experience has been the complete opposite of anything that I have produced thus far,” says Arli. “It is indeed an honour to be involved with this unbelievable sport, combining technology with nature.”
Arli relies on the accuracy of JBL708P Powered Master Reference Monitors and AKG Studio Headphones for his film scoring and composing projects.
“This project needed true versatility with the sonic palate that was required. When I decided to take the sound of the boat and use it as my focal point, it was essential that my production speakers have the most accurate, fast response to create the effects and imagery needed. The JBL 708P definitely meets this criteria.”
View the making of the 36th America’s Cup Soundtrack:
“This project needed true versatility with the sonic palate that was required. It was essential that my production speakers have the most accurate response to create the effects and imagery.”
We are really excited to introduce the new JBL BRX300 Series modular portable line array system for small to mid-size applications to you! It has been designed to be super easy to set up and run, with little or no line array experience needed. And it will make your ‘CFO’ smile…
The BRX300 Series is an affordable, versatile portable line array for bands, DJs, rental firms, houses of worship and anyone who needs a compact, portable system that provides superior fidelity, class-leading output and consistent front-to-back coverage in a range of sound-reinforcement scenarios.
The modular BRX300 Series makes line array technology accessible to customers who are not fully-trained audio engineers, thanks to its plug-and-play simplicity, built-in amplification and corrective signal processing, smart transport system and hassle-free rigging hardware.
We are totally keen to show you just how easy-going the system is, so we’re going on a Road Show! We had a great time with our first round of demo’s throughout the South Island and Lower North Island. Look out for more demo locations for the Upper North Island soon!
Read more about JBL BRX300 Powered Modular Line Array Systems here.
Please join us at one of our demo locations to experience JBL BRX300 first-hand. To book your demo and view the BRX300 demo locations, click on the button below.
Newest addition to IRX Series family of portable P.A.s extends system low-frequency response to 35 Hz
NORTHRIDGE, California. JBL Professional has introduced the JBL IRX115S powered subwoofer to the IRX Series portable powered loudspeakers.
The JBL IRX115S powered subwoofer, is the newest member of the JBL IRX Series, draws from JBL’s top professional touring technologies to deliver superior sound without the guesswork, thanks to its custom driver and amplifier designs; tuned, ported enclosure; and built-in crossover and polarity settings. It all adds up to an impressive 128 dB of deep, powerful low-frequency coverage in a rugged, compact cabinet weighing just 29.6kg.
“With our IRX Series, we’ve drawn from 70 years of JBL innovation to design a portable P.A. that’s lightweight, powerful and doesn’t take a lot of work to sound great,” says Craig Lambrecht, Director, Portable P.A.s, HARMAN Professional Solutions. “JBL IRX Series loudspeakers already deliver stunning sound in an incredibly compact footprint. By adding the IRX115S subwoofer, users can enhance their systems with room-shaking bass, without breaking anyone’s budget—or back.”
The IRX115S leverages more than 70 years of JBL speaker innovation to deliver superior fidelity, range and output. Inside, a powerful 15” woofer with 3” voicecoil produces powerful bass coverage from 35 Hz to 147 Hz (-10 dB); a high-efficiency, 1,300-watt amplifier protects components while ensuring top-level acoustic performance. Selectable 80 Hz, 100 Hz and 120 Hz crossover points smooth out system response, especially when used with JBL IRX Series loudspeakers; a tuned port optimizes response and reduces woofer noise.
With the IRX115S, perfect sound is just a button-push away. Simple, intuitive settings adjust crossover and polarity to optimize system response in any space. Pair the IRX115S with the 8-inch IRX108BT and 12-inch IRX112BT powered loudspeakers and access Bluetooth audio streaming, dbx automatic feedback suppression, ducking and EQ presets that’ll have you instantly sounding your best.
A durable MDF enclosure features a tight-gauge, reinforced honeycomb grille that offers rugged protection without compromising acoustic performance. A built-in pole mount expands system configuration options. Transport is easy, thanks to thoughtfully designed ergonomic handles. And, like every JBL product, the IRX115S undergoes JBL’s legendary 100-hour stress test to ensure it’ll perform flawlessly in real-world conditions.
JBL IRX Series powered P.A.s offer legendary JBL fidelity, power and ease of use at a fraction of the price and size of comparable systems. Budget-conscious musicians, DJs, presenters and fitness instructors can count on versatile, full-featured JBL IRX Series portable P.A.s to deliver stunning sound, no audio engineer necessary.
A durable MDF enclosure features a tight-gauge, reinforced honeycomb grille that offers rugged protection without compromising acoustic performance. A built-in pole mount expands system configuration options. Transport is easy, thanks to thoughtfully designed ergonomic handles. And, like every JBL product, the IRX115S undergoes JBL’s legendary 100-hour stress test to ensure it’ll perform flawlessly in real-world conditions.
JBL IRX Series powered P.A.s offer legendary JBL fidelity, power and ease of use at a fraction of the price and size of comparable systems. Budget-conscious musicians, DJs, presenters and fitness instructors can count on versatile, full-featured JBL IRX Series portable P.A.s to deliver stunning sound, no audio engineer necessary.
The JBL IRX115S is distributed in New Zealand by JPRO and is now available to purchase.
We are pleased to announce that JPRO’s brand new website is now live. The website has updated pages, resources and a user-friendly Dealer Portal.
We have worked hard to make our Dealer Portal as useful as possible, where you will be able to manage your Account, create quotes, manage your pipeline and stock forecasts and place orders.
If you have used our portal previously, the email address you used will be your login and you will need to reset your password using the lost password link to continue to have access.
The new JPRO Customer Service Portal is now functional. This will be used to submit Return Authorisations, Repair or Service Requests and Technical Support requests from our Application Engineers.
Please use the buttons below to access the various sections.
Should you experience any difficulty or need further information about our Dealer Portal, do not hesitate to contact us.
If you have previously logged into our website, you will need to reset your password in order to gain access. Please use the Reset Password button in order to request changes.
Mega Menu
Hover your computer mouse over any of the Tab Headings to view useful site navigation information and mega menu’s. To help with specific product category searches, hover over the Products heading and select the particular category solution you want to search for.
Stock Availability Indicators
When logged in, you are able to view the stock availability indicator as follows:
Green tick box = In stock
Yellow orange O box = On order
Red S box = Special Order only
Further to this, the website will indicate stock levels on hand and provide a stock forecast for future standard quantity shipments. Please contact your representative for any special product enquiries.
Dealer Portal
We have worked hard to make our Dealer Portal as useful as possible, where you will be able to manage your Account, Pipeline and Stock forecasts, create quotes and place orders.
JPRO Customer Service Portal
Use this to submit Return Authorisations, Repair or Service Requests and Technical Support requests from our Application Engineers. This is hosted through a third-party provider – if you Sign Up to this service, you will be able to access all your tickets and see updates and history of any past tickets.
Organised by Pato Entertainment and the sister festival of the One Love Festival, the Good Vibes mUSIC Festival 2020 features an array of local artists, embracing the New Music as international borders were closed and setting the scene for summer reggae vibes. Wanting to elevate the event and treat fans to an unforgettable concert experience, the festival required a state-of-the-art audio system that delivered pristine sound with consistent coverage across the audience.
To achieve its audio goals, the fesitval organizers hired New Zealand’s leading event production company, NZ Sound Reinforcement, which designed and installed a world-class HARMAN Professional networked audio solution. The impressive system features an arsenal of JBL Professional VTX A8 dual 8” compact line array loudspeakers, including a ground-stacked system as well as 12-speaker arrays flown on each side of the stage. With 110º dispersion, high-frequency transducers and JBL’s proprietary woofers and waveguide technology, VTX A8 loudspeakers deliver unmatched sound performance with even distribution across the venue.
“We had multiple venues that demanded a specific combination of audio systems, so we used an assortment of JBL VTX loudspeakers, delivering energetic and full sound despite tight SPL restrictions.”
While the venue offered acoustic challenges, NZ Sound Reinforcement overcame these obstacles with their design and deployment of more JBL VTX speakers. The system includes VTX A12 and VTX A12W dual 12” line array loudspeakers, while sub-arrays consisting of VTX G28 dual 18” and VTX B18 single 18” subwoofers offer authoritative, accurate low-frequency response. Rounding out the sound system, NZ Sound Reinforcement also deployed VTX M22 professional stage monitors, SRX835P loudspeakers and SRX828SP subwoofers. Designed and configured with JBL’s Line Array Calculator 3.5 and Performance Manager 2.7 software, the system is powered by Crown VRack 4×3500HD amplifiers.
“We required a high-fidelity audio solution for the festival, as we were looking to enhance the festival’s sound and provide an immersive atmosphere.”
“We had multiple venues that demanded a specific combination of audio systems, so we used an assortment of JBL VTX loudspeakers. We also had tight SPL restrictions in most venues, whilst keeping the system sounding energetic and full, which we managed to deliver perfectly,” said Juan Soothill of NZ Sound Reinforcement. “We also had very tight load-in times, but with the easy and quick rigging of JBL’s VTX A-Series, we managed to get each system up and running extremely fast.”
“We required a high-fidelity audio solution for the festival, as we were looking to enhance the festival’s sound and provide an immersive atmosphere,” said one of the event’s organisers. “We needed a partner to set up a unique networked audio system with exceptional sound to support some of the world’s biggest artists performing at the festival, and NZ Sound Reinforcement delivered exceptional service.”
Internationally renowned post-production facility Park Road Post in Wellington, New Zealand recently outfitted their mix studios with JBL Professional’s 9350 high impact Cinema Surround loudspeakers and upgraded to 7 Series Master Reference Monitors in a sound editorial room.
Park Road Post Production is an award-winning purpose-built facility owned by WingNut Films, the production company of Sir Peter Jackson – the critically acclaimed director of The Lord of the Rings and The Hobbit Trilogy.
The vast facility consists of two large Dolby Premiere and THX certified mix theatres with full Dolby Atmos monitoring, a mid-sized cinema mix theatre, ADR and Foley stages with control rooms, home entertainment mix suites, a 180-seat client theatre, several edit suites, telecine and film laboratory facilities as well as client support spaces.
Park Road Post has an extensive filmography of celebrated blockbuster hits and it was essential that reference monitors with exceptional clarity and detail were installed into the post-production facilities.
Park Road Post selected the JBL 9350 Cinema Surround speakers to replace the aging surrounds in the larger mix theatres. The 9350 enhances coverage with configurable vertical and horizontal coverage angles based on where the surround is positioned in the theatre.
In order to provide for an accurate sound reproduction with a broader sweet-spot in the smaller post-production facility, JBL’s 708P powered master reference monitors were chosen for a Left-Centre-Right arrangement.
“We rely on JBL’s advanced engineering, patented technologies and superior sonic character and dynamic range to create a premium cinematic sound experience.”
“JBL Professional has been in the movie business since the very beginning, providing innovation in cinematic audio.”
“JBL Professional has been in the movie business since the very beginning, providing innovation in cinematic audio. Leading production facilities around the world choose JBL and we rely on the advanced engineering, patented technologies and superior sonic character and dynamic range to create a premium cinematic sound experience,” says John Neill, Director of Engineering – Sound at Park Road Post.
“Great films are inevitably made with the minimum of compromise,” states Peter Jackson “That same clarity of vision guided us when we put this facility together.”
JPRO are pleased to announce the new Audinate range of Dante AVIO products and solutions from the virtual InfoComm Connected held in June 2020. During the event Audinate also announced that it will provide a free trial period for Dante Domain Manager, allowing users the ability to experience DDM first-hand.
AVIO Adapters
Audinate added two new models to its line of Dante AVIO audio adapters, offering USB-C and Bluetooth connectivity for use with Dante networks. The AVIO family of adapters allow users to use non-networked audio equipment on a Dante audio network. AVIO is available in one or two-channel analogue input or output configurations as well as AES3/EBU, USB and now Bluetooth versions.
The Dante AVIO USB-C adapter ADP-USBC-AU-2X2 allows devices with USB-C ports to deliver and receive two channels of audio with a Dante audio network. It is a class-compliant USB audio device that requires no additional drivers and works with any application, making it suitable for rapid setup of conference rooms, background music and more. The Dante AVIO USB-C adapter may be powered by the connected device or via PoE and it works with common USB-C to USB-A adapters. When using PoE, it features power pass-through for mobile devices, enabling smartphones to remain charged while connected to a Dante network.
The Dante AVIO Bluetooth adapter ADP-BT-AU-2X1 provides wireless connectivity to Dante networks for mobile devices and computers and is ideal for both playback from smartphones to larger sound systems, and for connecting networked speakers and microphones to conferencing software. Once configured, a user may rely upon Bluetooth to switch from local smartphone audio to a complete conferencing system to share what is being said with others.
“With the addition of those two models of Dante AVIO, we’re continuing to expand the availability of cost-effective ways to utilise non-networked equipment,” said Joshua Rush, SVP of marketing and product management at Audinate. “Both of our new models bring unheralded connectivity to mobile devices by embracing popular USB-C and Bluetooth technologies.”
Free trial period for Dante Domain Manager
During Infocomm, Audinate announced a free trial period that allows AV specialists and IT managers to see how Dante Domain Manager can streamline and secure Dante AV networks quickly and easily.
Read this NZ Case Study outlining the importance of using best IT practices within AV and a Dante audio network.
Dante Domain Manager secures Dante networks by enforcing user authentication and roles to ensure that only trusted people can make changes to the system. It provides organisational tools that allow Dante devices to be split into functionally independent groups (domains) that correspond to rooms, spaces, buildings and more for easier routing and security.
Dante Domain Manager coordinates clocking across the entire network, enabling routing of audio and video across IP subnet boundaries for large systems that must span large buildings, multiple studios, or campuses.
A freely downloadable trial version is now available to anyone who wishes to try the power of Dante Domain Manager. The 30-day trial works with up to 50 Dante-enabled devices (running Dante firmware 4.0 or higher) and allows for the creation of up to 10 independent Dante domains.
“Giving users the opportunity to see Dante Domain Manager in action is the best way to demonstrate the power and control it brings to Dante networks,” said Neil Phillips, senior product manager at Audinate. “By streamlining the evaluation process, integrators, IT managers and end-users alike can see how additional security and organisation help to keep their network working perfectly while preserving Dante’s legendary ease-of-use.”
JPRO is an authorised reseller of Audinate AVIO products in NZ. The Dante AVIO USB-C and the Dante AVIO Bluetooth adapters are now available to purchase in NZ.
If you require guidance on how to best manage your Dante setup through a secure managed audio network, we are here to help. Please contact JPRO for assistance with your Dante solution.
RF Venue, the global leader in antennas, spectrum analysis and RF signal management tools for the professional audio-visual industry, has announced the immediate availability of its much-anticipated DISTRO9 HDR antenna distribution system, designed to provide system integrators and end users with a powerful new tool for configuring multi-channel wireless microphone systems.
DISTRO9 HDR’s proprietary architecture can connect up to 9 wireless microphone receivers with two zones of antenna coverage built-in. With superior gain flatness and high dynamic range across VHF, T-Band, and UHF, the DISTRO9 HDR comes ready for multi-band wireless microphone operation in a compact 1RU footprint.
Any of its clean, low-noise diversity outputs can be cascaded to another DISTRO9 HDR, for up to 17 channels of wireless microphones in just 2RU of rackspace. Multi-zone installations are easy with the DISTRO9 HDR’s two zone antenna inputs, providing coverage for large areas or multiple rooms, each with switchable DC power available for in-line amplifiers or active antennas.
Featuring a robust internal power supply, the DISTRO9 HDR can provide clean DC power to wireless microphone receivers with an optional DC cable kit, and can also be powered directly from a DC battery source for location sound cart applications.
The DISTRO9 HDR is also ETL listed to meet bid specification requirements on municipal, government, and other high profile projects. An internal I/O section provides a range of future module add-on capabilities ranging from remote web-based spectrum monitoring to bandpass filtering, and more. As RF spectrum congestion grows and operating bands evolve worldwide, the DISTRO9 HDR is highly configurable to meet the current and future needs of any professional wireless microphone system.
Company president Chris Regan commented, “the DISTRO9 HDR is a high performance antenna distribution system designed and built in the USA. This is a powerful new tool packed with the innovation, engineering, and quality RF Venue customers have come to expect. With more wireless devices competing for less available RF spectrum worldwide, the DISTRO9 HDR provides a flexible platform for wireless microphone users operating in a range of frequency bands and adverse RF spectrum conditions.”
JPRO is the authorised NZ Dsitributor for RF Venue. The DISTRO9 HDR is now in-stock to demo today. To learn more about what the DISTRO9 HDR can do for your next wireless project contact JPRO today.
As the UHF wireless microphone spectrum becomes more congested and regulation gets tighter around the frequency allocation, microphone manufacturers have started using the 2.4 GHz licence free spectrum to alleviate some of these pressures.
2.4 GHz microphones operate in 83 MHz of spectrum between 2.400 GHz and 2.483 GHz. By comparison, most wireless microphones today operate at lower “UHF” frequencies between 470 MHz and 698 MHz.
Let’s take a look at the pros and cons of wireless microphones that operate in the 2.4 GHz ISM band.
The selling points for most of these models are “easy,” “easy,” and “easy.” The predictable locations of WiFi channels allow 2.4 GHz mics to sniff out where occupied frequencies are and are not, and they are also great at communicating with other mics and self-coordinating (this is probably because 2.4 GHz microchips ship with more advanced radio protocols than off the shelf UHF chips).
2.4 GHz chips do not use FM modulation, and they are (at least the ones we’ve seen) all digital, so they are less susceptible to the intermodulation artifacts that plague multi-channel UHF FM systems. Mics from professional grade manufacturers like Shure, Sennheiser, AKG, Line6, and AT have tuned their modulation and circuitry to bring latency down to acceptable levels, as opposed to simply sending audio over WiFi.
Properly manufactured 2.4 GHz microphones can be used in nearly every country without a license, in the same frequency range. UHF frequency bands are not synchronised across international borders, and the rules for wireless microphones vary from country to country. In some countries like the U.K. operating professional UHF equipment requires a permanent or temporary license, and half of the equipment sold in the UK in the 700 MHz band is illegal to use in the United States. 2.4 GHz mics give users a free pass from all the regulatory confusion.
Smaller wavelengths mean smaller antennas and electronic components, which means that manufacturers can pack more features into a 2.4 than a UHF at the same price point.
Manufacturers are careful to state their 2.4 GHz offerings are channel limited. The EW-D1 footnotes up to eight channels “in an ideal RF environment” (some press releases state 15 channels. I don’t know which spec is correct). The AKG DMS100 specifies “up to four channels” per receiver and the AKG DMS300 offers “up to eight channels” per receiver.
2.4 GHz mics aren’t able to offer as many channels because 2.4 GHz chips operate on less spectrum, ~83 MHz, compared with available manufacturer specific blocks/bands adding up to ~230 MHz in UHF. And because 2.4 GHz is so dang crowded with Bluetooth and WiFi thingamabobs, you rarely get all of that spectrum to yourself.
Given the same transmission power, under the same conditions, a UHF microphone will provide greater range than a 2.4 GHz microphone. In our experience, many overestimate just how much range they actually need (if the stage is within 100’ of the performer, you should be OK), and 2.4 GHz microphones sometimes have more powerful transmitters to compensate for the loss (The DMS has a maximum output of 100 mW, 2X the max for unlicensed UHF). You can also use a directional antenna to significantly improve range, but remember that transmission line (cable) loss is much greater at 2.4 GHz than UHF, so long cable runs are difficult.
Since all professional grade 2.4 GHz mics are digital, latency is a bit higher than UHF analogue. But the delays aren’t all that bad on digital microphones, and don’t really stand too far behind UHF digital microphones. In fact, Line6 has latency that beats some UHF digital mics. Latency on 2.4 is only an issue when shows are being recorded for broadcast, or a picky artist starts complaining about monitor delay.
2.4 GHz is the same band that most WiFi devices use. You can’t always expect to waltz into a facility – especially a secure one – and power up a 2.4 GHz device without someone from the IT department hunting you down and telling you to put it away. WiFi in corporate and stadium settings is carefully calibrated and, usually, completely full. IT professionals have tools that let them know if something is interfering with their network.
2.4 GHz microphones are a great choice for those who only need a few channels and want hassle free setup. For those who need lots of channels and ultra-low latency, top-tier UHF mics are still the best choice.
2.4 GHz audio fidelity from reputable manufacturers should be more than acceptable for most applications.
While they may provide additional long-term security over 600 MHz microphones – which will soon be illegal – they do not guarantee complete immunity from interference. A vast sea of other devices uses the 2.4 GHz band, and their numbers will only increase as the Internet of Things explodes.
Inspired by the popular UHF CP Beam antenna, this lightweight, miniaturised helical antenna is built for maximum gain in the 2.4 GHz band. Painstakingly designed and tested in the RF Venue laboratory, it provides significant performance improvements over other non-audio 2.4 GHz directional antennas that are intended for networking devices.
HARMAN Professional Solutions, recently debuted the AMX Connectivity and Transport (CT) Series, a family of 4K switching and distribution kits that combine auto switching, scaling and distance transport into a single kit that includes both a transmitter and receiver.
Two models are available, including a presentation kit targeting simple presentation applications and a conferencing kit that adds USB 2.0 transport and switching for use in web conferencing environments.
The AMX CT Series kits deliver added value and flexibility to conferencing and presentation solutions by providing a single, simple to implement solution that offers switching and connectivity where you need it along with unified control of both the transmitter and receiver—all over a single category cable.
“With the continued proliferation of collaboration environments in corporate and education, our customers have been seeking a solution for video switching and transport in rooms with both installed and BYOD sources,” explains Paul Krizan, Corporate Solutions Manager at HARMAN Professional Solutions. “These new connectivity kits provide a solution that is easy to order, design, and implement.”
Two Presentation and Conferencing Models:
AMX Presentation Connectivity and Transport Kit (CTP-1301)
The Presentation Connectivity and Transport kit was designed to address the needs of simple presentation environments, including 4K switching at the table, transport over category cable and additional connectivity at the receiver for an AMX Acendo Core or a room PC at the receiver, as well as scaling and output to the display. The receiver has built-in scaling, allowing the display to receive content in its native resolution regardless of the source.
AMX Conferencing Connectivity and Transport Kit (CTC-1402)
The Conferencing Connectivity and Transport kit was created to target web conferencing solutions where cameras, microphones, and other USB devices are installed in the room. The solution combines multi-format 4K60 video switching, scaling and distance transport with USB 2.0 peripheral switching. This allows dynamic sharing of room USB peripherals such as an AMX Acendo Vibe between visiting laptops, etc., and permanently installed devices such as an Acendo Core or room PC. This ensures excellent sound and visuals for guests whether they are using installed equipment or bringing their own devices.
“We are very excited to introduce the new AMX CT Series to the market,” says Shaun Robinson, VP, Enterprise Solutions at HARMAN Professional Solutions. “Leveraging the economies of scale within the HARMAN supply chain, we are now able to deliver tremendous value to our customers by providing the latest in video switching technology at very competitive pricing. In addition, we are providing the best of both worlds: simple-to-install solutions with auto-switching and no programming required—but solutions that are also NetLinx Native for easy integration into a controlled application.”
JPRO has CTC and CTP stock to demo today. To learn more about the AMX CT Series contact JPRO today.
Leading Enterprise Video, IPTV and Digital Signage manufacturer, Tripleplay, has released its latest software platform, Caveman 3.0, bringing an unrivaled level of integration and unparalleled feature capabilities to the AV/IT market.
With 25 new features and improvements and enhancements across the platform, one of the platform’s most significant software releases to date. Tripleplay has continued to develop even more simple innovations, ensuring that our clients, both future and existing, have a reliable and future proof platform for enterprise video, IPTV and digital signage.
Tripleplay CEO, Steve Rickless, commented on the release saying, “Tripleplay is always ambitious when it comes to software releases and I am extremely proud that, despite many engineers now working remotely, the team has been able to release all new features and enhancements as planned for Caveman 3.0.
“We continue to push the boundaries of our market, leading the way for other manufacturers in our industry and making sure we support and meet the needs of our growing customer-base.”
Tripleplay’s Caveman 3.0 software release is available now through Tripleplay’s Authorised Partners and NZ Distributor JPRO.
For more information please download the Caveman 3.0 brochure here. Or contact our Tripleplay specialist Quentin White
JBL Professional has released the latest version of Performance Manager v2.7.0. The update announcement includes updates for JBL Line Array Calculator (LAC) simulation software v3.5 and the JBL ArrayLink app v1.3 for Android and iOS.
It is recommended to update all software programs to maintain maximum compatibility.
JBL Performance Manager is the next-generation software application designed to configure networked audio systems for corporate and live concert events, as well as systems within performance venues such as theatres and houses of worship.
Using Performance Manager dramatically reduces design time, simplifies networking and automates control interface configuration. The patented workflow paradigm of the Performance Manager interface guides the system designer through the complete system design, configuration and control process and, in many ways, the entire process feels and acts like a simple step-by-step wizard.
Networking has been reduced to a simple drag-and-drop operation, and all test, tuning and calibration control interfaces are embedded – no need to spend time designing control panels.
Integration with Rational Acoustics’ world-renowned Smaart® acoustic testing and measurement software provides audio technicians and engineers with unprecedented access to measurement information—all delivered over the network in one screen. A dedicated show mode provides all the monitoring and control needed to have a complete picture of how the system is performing in real time.
Please make use of the link below to download:
Soundcraft have announced the availability of the Ui24R firmware update v3.3.8293 effective from 1 June 2020.
v3.3.8293 is approved for use on all Ui24R hardware.
It is recommended that all Soundcraft Ui24R users update their hardware for maximum performance.
As of the 2019 v3.0 firmware update, the Soundcraft Ui24R has been enhanced with Cascading and many significant new features.
Software update instructions and download link can be found clicking on the button below.
Noisegate were certainly impressed with the AKG LYRA USB Microphone and we’re sure you’ll be equally as impressed too.
The Gang at Noisegate get hands-on with the Ultra-HD Multi-Mode Condenser USB Microphone from AKG, known as LYRA.
AKG LYRA has ultra high definition audio capture, with a sample rate of 192kHz at 24 bit. Other features like USB-C connectivity make it ideally matched for newer computers, and there’s a USB-C to USB-A cable included for older machines.
LYRA is designed for ease of use and plug and play. One cable connects to your selected device and you’re good to record. LYRA is compatible with OSX, Windows, iOS and Android devices. There’s a registration card for Ableton Live Lite included too for those who don’t already have a favoured DAW on their computer.
Harman Professional Solutions has announced a licence free JBL Digital Directivity Analysis (DDA) 5.1 software update at ISE 2020.
Designed to work with JBL Intellivox products along with any point source speakers in the JBL portfolio using common loudspeaker format (CLF) data, DDA software is a powerful simulation tool for electro-acoustic design. DDA enables sound designers to visualise and statistically predict direct SPL, total SPL, D/R ratio, STI and delay spread.
Designed to offer improved workflow, the licence free 5.1 update adds two significant new features. DDA 5.1 streamlines the registration process and removes the need for repeated license renewal found in earlier versions of the software. DDA 5.1 also includes the new SketchUp plug-in, which enables users to easily import 3D geometry from SketchUp software.
Intellivox makes use of JBL’s advanced beam shaping (DDS) technologies. From DDA the radiation pattern of JBL Intellivox loudspeaker arrays can be controlled precisely and tailored to the shape and the acoustics of the space. In addition, DDA offers various design tools which reduce design time and help the sound designer to optimise the system performance. For installation and commissioning purposes DDA also generates FIR output filters which can be uploaded to supported DDS-controlled loudspeaker arrays using the JBL WinControl software.
“With DDA 5.1 we’re continuing our mission to help users streamline the modelling process to achieve more effective results with JBL loudspeakers,” comments Nat Hecht, product manager, commercial sound, Harman Professional Solutions.
“With DDA 5.1, users can instantly start using the program after registration. And with integrated support for third party software like SketchUp, engineers and acousticians are able to streamline their workflow.”
DDA 5.1 and the SketchUp Interface are available to download free of charge from the JBL website here.
Leading New Zealand professional AV distributor and AVC solutions company JPRO has been appointed as the official distributor for Tripleplay’s digital signage, IPTV and video streaming content delivery solutions in NZ.
Tripleplay is an industry leader and specialises in the delivery of video and rich media content over a network to many devices, providing a user-friendly, centrally managed single platform solution for digital signage, IPTV and video streaming.
For more than 30 years JPRO has led the way in the New Zealand market, specialising in customising designs and providing audio and video system solutions for their dealer network. The appointment as Tripleplay distributor allows JPRO to provide digital content services and solutions that are complementary to its current product suite.
“As technologies advance and as JPRO as a company has advanced to become a leading audio, video and control specialist with world-renowned brands, technologies and customer-centric solutions, we are excited to add Tripleplay to our product portfolio,” says Bruce Gray, Managing Director at JPRO. “We believe that Tripleplay is suited to work alongside our products where we will be able to provide new opportunities with scalable, tailored digital content distribution in a number of markets.”
Steve Rickless CEO of Tripleplay commented on the new partnership saying, “We are very excited to have a local partner in JPRO who are well established in the AV industry across New Zealand and the Pacific Islands. We feel that the Tripleplay brand complements their current offering and allows us to offer an enhanced and compelling proposition to our clients and partners.”
Paul Edlin, JPRO Sales Director says “We look forward to this opportunity, we view Tripleplay as a leader in the IPTV digital communication space and see many opportunities in various markets. We look forward to a mutually beneficial partnership, providing exceptional service and support to Tripleplay partners and clients.”
JPRO’s reputation for exceptional customer service, design support and technical expertise is showcased in an array of projects encompassing education, hospitality, government, corporate and entertainment sectors throughout the country. JPRO has appointed sales and technical specialists that will provide on-the-ground support to help grow Tripleplay in New Zealand.
RF VENUE BLOG: In our experience, active antennas are misused and abused. Many people don’t fully understand what an active antenna actually does. They only know the word ‘active’ sounds better than ‘passive’ and that ‘more’ is better than ‘less’.
Hell, I know I do. But here’s the deal: active antennas can really do a number on your system if you aren’t using them right. This article should get you up to speed on the active vs. passive debate.
Active antennas are any antennas with integrated signal amplifiers built right into the unit, like the AKG RA4000B-W.
Passive antennas are antennas that have no amplification stages, like the CP Beam.
An active antenna is a passive antenna that simply includes an onboard amplifier. There is no difference between the antenna element of an active or passive antenna of the same type; the only difference is whether an amplifier is included.
Active antennas can be used for both receiving and transmitting applications, but they are most often seen as receiving antennas. When used to receive signal, the integrated amp boosts the RF picked up by the antenna and allows much longer remote cable runs.
When used as a transmitting antenna, active antennas increase the RF power above and beyond whatever output power the transmitting device is using.***
The only practical reason to use an active antenna is to compensate for cable loss in receive applications. All RF signal loses strength (attenuates) as it passes through coaxial cable. The longer the cable run, the larger the loss. 100’ of RG8X will steal anywhere from -8 to -11 dB, depending on a few factors, like frequency. The amps on active antennas are designed to compensate for this loss by boosting the signal right behind the antenna before sending it down the line, so the gain at the receiver is closer to unity gain.
It is important to note that active receive antennas do not increase directional gain. Which is another way of saying that the amplifier has no effect on the electrical characteristics of the antenna, and therefore no effect on an antenna’s fundamental ability to pick up RF energy floating through the air.
If you use active antennas on a coax run that is too short, you risk overloading the RF front end of the receiver system, which can manifest itself as catastrophic audio over your PA. Likewise, you can easily overload by using an active antenna’s gain control at a setting that is dis-proportionally strong for the cable run’s length.
UHF cable runs of less than 50 feet do not require active antennas or in-line amplification to compensate for loss. The loss is too small to make any audible difference, and without carefully calibrating gain structure you put the overall health of your audio ecosystem at risk. Also, keep in mind that if you’re using a directional antenna like the Diversity Fin or the CP Beam, you’re adding gain at the antenna (without an amplifier) which can make up for short run cable loss. [More on this topic, ERP, will be in a post next week. UPDATE: Here is that post.
All too often, we’ll find a small theater or school or church system is using an active antenna at the side of a stage with a +12 dB amplifier on a 50’ or 25’ run. This gain is in addition to the + 6db of gain the paddle antenna itself imparts. With their transmitters at 30-50 mW, the front end of the wireless receiver gets overloaded and all hell breaks loose (except in a church, where hell is kept safely at bay).
We always encourage our customers to buy passive antennas, and then only add in-line amplifiers to make up for transmission line loss if they are doing very long cable runs of more than 100 feet.
With the introduction of low-cost RFoF technology, active antennas and in-line amplification are becoming increasingly obsolete. In the past, if an installed system required a cable run over 100’ there were only two options: use expensive plenum rated coax, or use some combination of active antennas/in-line amps and carefully manage the gain structure to avoid overload or coax line loss. With fiber optic transmission, signal can be sent miles with little to no loss at all.
***Use caution when deploying active antennas in transmit applications. In the VHF/UHF broadcast bands, most transmitters already operate at or near the maximum output power allowed by the FCC. Adding an amplification stage before the transmitting antenna risks exceeding those limits, so unlicensed UHF users should never include an active antenna in the signal chain of an IEM or intercom system. Plus, an active antenna’s amplifier would need to be bi-directional to function in a Tx setting. Not all of them use bidirectional amps.
