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.

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.

Availability

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.

The Opportunity

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.”

The Solution

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.”

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.

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.”

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.

Availability

The JBL IRX115S is distributed in New Zealand by JPRO and is now available to purchase.

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.

JPRO Useful Links

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.

Website Highlights

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.

The Opportunity

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.

The Solution

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.

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.

The Impact

“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.”

The Opportunity

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.

The Solution

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.

System Features:

• JBL 708P Powered Master Reference Monitors set up in a left-centre-right configuration provide an expansive soundstage and greater accuracy.
• JBL 9350 Cinema Surround loudspeakers were selected for an immersive surround and rear audio experience. The coverage can be adjusted to fit a theatre’s unique environment.

The Impact

“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.”

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.

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.

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.

Availability

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.

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.

Pro’s

Simple to operate (under ideal conditions)

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.

International compliance

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.

Latency

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.

IT Department Wrath

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.

Bottom Line

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.

Need a High Performance 2.4 GHz Antenna?

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.

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.”

“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.”

Availability

JPRO has CTC and CTP stock to demo today. To learn more about the AMX CT Series contact JPRO today.

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’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

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.

Highlights for the PM update include:

• Better placement of tools for system setup
• Improvements to GUI and zoom functionality
• Simplified amp rack building and renaming
• Sub delay values are now carried over and auto-updated when imported from LAC or adding new circuits
• Group editing and ordering mode improved
• LAC 3.5 includes the latest family of VTX loudspeakers and accessories, including the new JBL VTX B28 dual 18” subwoofer

System Requirements

• Supported Operating Systems:
• 64-bit versions of Windows 7, Windows 8.1 or Windows 10

Minimum Performance Guidelines:

• CPU: 64 bit dual core @ 2.0GHz or better
• Memory: 4GB

Optimal Performance Guidelines:

• CPU: 64 bit dual core @ 2.50 GHz or better
• RAM: 8GB or more
• OS: 64-bit Windows 7 or above
• Storage: SSD

Performance Manager 2.7.0 supported devices:

• JBL VTX A-Series: A12, A12W, A8, B18, B28 models
• JBL VTX V-Series: V25-II, V20, S25, G28 and S28 models
• JBL VTX F Series
• JBL VTX M Series
• JBL VRX900 Series
• JBL powered VerTec Series [with DP-DA installed]
• JBL passive VerTec Series
• Crown I-Tech HD Series
• Crown VRACK 12000
• Crown VRACK 4x3500dbx
• dbx DriveRack® 4800 / 4820

Please make use of the link below to download:

Changes to the firmware include:

• Performance improvements to web server stability
• Performance improvements to WiFi frequency accuracy
• Performance improvements to clocking stability, including clocking during Cascade operations

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.

Features as of the v3.0 firmware update:

• Cascading: Double your inputs or double your mixes
• Cue Recall: save mix settings as Cues and then quickly and seamlessly recall them
• UDP Control Recall: for triggering lighting control snapshots
• Lexicon Reverb PreDelay: easily set the time before first surface reflections and simulate desired acoustic environments
• More than 25 new supported touch screens
• And more…

Software update instructions and download link can be found clicking on the button below.

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.

Fast Facts:

• 4K-compatible, Ultra HD-grade, 24-bit/192kHz audio resolution
• Four-capsule mic array provides four user-friendly capture modes
• Headphone monitoring with volume adjustment
• Microphone mute and gain adjustment
• Comes with Ableton Live 10 Lite
• Industrial-Retro Design inspired by the C414
• Versatile mounting option with integrated desktop stand or standard mic stand

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.

DDA 5.1 and the SketchUp Interface are available to download free of charge from the JBL website here.

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.

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.

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.

First, two definitions:

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.

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.

Originally published by Alex Milne for RF Venue

He runs Music Radio Creative, a leading audio provider and production company for radio, DJs and podcasters. Through his business and YouTube channel, Mike helps people create great sounding audio.

Mike recently took the JBL 104 Reference Desktop Speakers for a spin saying, “These monitors are fantastic… I can’t say enough good things. Really good quality for content creators!”

Watch the full review here: