Wireless receivers typically search for the strongest matching signal, irrespective of its quality, which means that the RF signal environment should be as clean as possible. This environment is referred to as the signal noise floor, which is the amount of background RF (Radio Frequency) noise present before any required signals are received.

USING BANDPASS FILTERS

While the implementation of best wireless audio practice such as frequency coordination with effective antenna distribution and antenna placement is always encouraged, there are RF tools available that can lower the noise floor in the RF spectrum and prevent the RF receiver overloading.

Lowering the noise floor is achieved by using a bandpass filter to reduce and filter out unwanted frequencies on each side of the desired frequency range. It is simply inserted in the antenna signal path and allows a specific range of frequencies to pass, while restricting the frequencies on either side outside that range. If a diversity system is used, a bandpass filter should be inserted on each antenna line.

REDUCING INTERMODULATION WITH BANDPASS FILTERS

Using bandpass filters can effectively reduce intermodulation problems when using several IEMs and wireless microphone systems together.

RF Venue bandpass filters have been designed to work with any brand of wireless system, provided that the correct frequency band is selected.

If you need assistance in configuring your wireless microphone setup and would like to implement best practice measures using correct antenna distribution, please contact our team of experts at JPRO today!

If you have a question about using bandpass filters in your system, or need assistance with your wireless microphone setup, contact our specialist Team at JPRO today!

Written by Andrew Sorrill with information based on RF Venue blogs.

Bibliography:

• Unplugging the Mystery Behind (and Inside) Video Wall RF Interference
• Bandpass Filters Are Your New Friend
• Improve Microphone Signal-to-Noise Ratio
• Bandpass Filters

Batteries Included!

Amplify any event with JBL’s newest portable battery powered PAs – from the small-and-mighty, rechargeable EON ONE Compact to the rechargeable column array EON ONE MK2.

JBL’s latest technology carries sound farther and clearer than similar type speakers. With digital mixer, Bluetooth and remote control via app, these ultra-lightweight, one-hand carry portable PA systems provide 6 or 12 hours of play time with easily swappable batteries. They’re perfect for anyone who wants the best sound indoors or outdoors.

School Sports and Teambuilding Days just got more dynamic and engaging. Solo artists, entertainers and ensembles can now focus on their performance. Outdoor fitness sessions, corporate gatherings and activations have become captivating.

JBL Professional’s EON ONE Compact and EON ONE MK2 are now NZ’s must-have All-In-One portable, rechargeable battery powered PA solutions!

Here is our guide to JBL Professional Portable Battery Powered PA Systems:

As the name suggests, EON ONE Compact is the smallest battery powered professional portable speaker of the JBL Pro All-In-One family. Despite its size, it is dynamite in a small package! Crammed full of tech in an intelligently designed form-factor with enough amplifier power to easily transmit voice or music to a good-sized crowd. This is the all-in-one Pro Bluetooth Speaker to take and #PlayAnywhere

EON ONE MK2 is the newest All-In-One Portable Battery Powered column array by JBL Professional. Launched in New Zealand in September 2021, this portable system has become a firm favourite, featuring the best of the previous EON ONE models and adding the latest in digital mixing, improved portability, longer battery power and audio processing technology. This makes EON ONE MK2 the most flexible, powerful and portable option in its class of powered column array to date.

Decisions, Decisions!

Unsure which JBL Professional All-In-One Portable Battery Powered PA system is right for you and where to purchase? Please contact the NZ based JPRO Team for expert advice, tips and recommendations.

JBL EON ONE Compact and MK2 Tech Comparison

Learn how to upgrade your EON700 PA to the latest firmware

Learn more about your EON700 in this Portable PA Training Series

Performance Software

JBL Performance is now available for iPad OS in the Apple App Store. Along with the macOS and Windows versions, the iPad version brings a fully featured version of the Performance app, for controlling and monitoring SRX900 series products to a highly portable, touch friendly device.

The experience and capabilities are the same across all platforms, including the sharing of files created on different operating systems.

Download JBL Performance today from the Apple App Store.

DIRECT DOWNLOADS:

Tutorial: Get Started with JBL Performance

A complete video training series is available to help get started with JBL Performance. View here:

Performance Manager

Performance Manager version 2.9 adds support for system deployment, control and monitoring of the new VTX A6 line array, B15 and B15G subwoofers. Additionally v2.9 adds a new full-screen mode, improving visibility on devices with smaller screens, improves the repeating array template and enables daylight mode to automatically follow the computer’s theme settings.

View the Performance Manager v2.9 update overview video here:

NEED TO TALK TO A JBL SOLUTIONS EXPERT: Contact your JPRO Representative or click on the Contact button below.

JBL Performance is a full-featured application designed to control, configure and monitor SRX900 Series sound systems in live applications. Building on the success of JBL HiQNet Performance Manager, a workflow-based approach guides the user through the system design, testing, tuning, and monitoring stages. An intuitive drag-and-drop interface quickly creates system groups that leverage powerful on-device signal processing, including Gain, Delay, EQ, and Array Calibration filters providing an efficient tuning and optimization process. Real-time device testing and monitoring of the system bring confidence that everything is performing as expected. JBL’s HControl protocol eliminates the confusing chore of managing IP addresses at the venue and operating seamlessly over off-the-shelf networking hardware while being fully compatible with Wi-Fi.

Performance is part of a complete software ecosystem. It integrates with other JBL software, including JBL Line Array Calculator III acoustic prediction software and the JBL Array Link mobile app.

NORTHRIDGE, Calif.— HARMAN Professional Solutions, the global leader in audio, video, lighting and control technologies, today introduced the newest members of JBL’s flagship VTX line array series, the VTX A6 subcompact dual 6.5-inch passive line array element and the B15 compact, arrayable 15-inch subwoofer.

The A6 and B15 bring JBL’s top acoustic technologies to compact form factors for small- to medium-size touring and fixed installations, providing versatile solutions for production companies, touring acts, rental houses, theaters, houses of worship and anyone who requires superior sonic performance in space-critical applications.

“When you choose the JBL VTX A Series, you’re building a complete ecosystem, with common acoustic profiles and rigging systems, consistent voicing and standardised system design and operational tools,” says George Georgallis, Director, Product Management–Performance Audio at HARMAN Professional Solutions. “And, by accessing VTX technologies in a new ultra-compact package, you’re able to maximise your system investment and deliver VTX quality and performance in any scale application.”

Streamline system operation and share information with teams in real time using JBL’s suite of software tools, including the LAC-3 design application, the Array Link deployment tool and the Performance Manager configuration and control application. Simple, intuitive user interfaces let users design systems in minutes and manage functions from anywhere.

JBL VTX A Series products are constructed from premium materials that withstand the harsh conditions of touring and outdoor installations. Enclosures are built from exterior-grade birch plywood with black Duraflex finish and feature powder-coated, hex-perforated stainless steel grilles with acoustically transparent cloth backing. Units are IP55 rated and metal parts are made from high-grade steel with anti-corrosion coating.

With the addition of the A6 and the B15, the JBL VTX Series offers a complete ecosystem for delivering unrivaled sound reinforcement at any scale, in any venue, anywhere in the world.

JBL Professional is distributed and supported in New Zealand through JPRO. For further information on JBL VTX A-Series or any JBL Professional products or audio system designs for your NZ venue, please contact JPRO.

Product Links

For complete product details and specifications, please use the links below:

The Opportunity

Renowned streetwear retailer Culture Kings recently opened their first New Zealand store in Auckland. Located in Sylvia Park, Culture Kings is setting a new benchmark for retail spaces worldwide by providing an incredible user-experience.

Music, sport and fashion are the fundamentals to its success, creating an electrifying atmosphere along with sought-after exclusive streetwear providing a premium retail experience.

Because music plays such an important role, the quality of sound and volume form an integral part of the Culture Kings international brand. The client’s brief was to have high-quality sound throughout the store and a dedicated PA System in the live performance area for DJ, MC and brand activations.

The Solution

AV integration company Avid Automation provide high fidelity customised technology solutions and were called upon to provide a high-impact, exceptional audio experience for the store.

As the store was in a mall with adjacent tenancies – one of which is a movie cinema – it was imperative that the sound design not only provide exceptional sound coverage, but effective volume control, adhering to the sound limits set by the mall.

Acoustic consultants Marshall Day were engaged by the client to ensure that all walls were acoustically treated and floating walls placed in front of structural walls to prevent audio leakage.

Avid Automation worked in conjunction with JBL Professional distributor JPRO to design an audio model within Ease to calculate speaker performance, speaker location and mounting angles – the objective to focus the audio within the retail space. All speaker locations were coordinated with the acoustic consultants.

It was decided that all wall-mounted speakers would be mounted to a ‘floating bracing’ (bracing which is not secured to the studs or joists), while Avid Automation fabricated a custom suspension system for the live performance area.

JBL Control28-1 loudspeakers, known for their consistent wide coverage and rich sonic character, were selected for the main retail area. The versatile mounting options ensured that the sound was projected in the areas they were needed, assisting with the volume requirement of the venue.

JBL SRX 812P active loudspeakers powered by Crown Drivecore Amplifiers and a full suite of user controllable DSP were deployed in the performance area, while powerful JBL SRX818SP active single 18” subwoofers provide additional bass reinforcement for DJ and guest artist appearances.

The heart or ‘ears’ of the volume management was a SoundEar 3-300 noise monitor combined with a BSS BLU-806 processor, programmed to monitor and control the overall sound level produced in the store.

System Features

• BSS BLU-806 Dante Audio Processor with open architecture which is fully configurable through Audio Architect with a full range of processing and logic objects and a “drag and drop” method of configuration provided a powerful volume control system in conjunction with the SoundEar.
• SoundEar3-300 monitors the overall SPL in the store and in conjunction with the BLU-806 manages the sound system volume reduction.
• BSS EC-8BV 8-Button controller with volume control allowed precise control of various zones and source selection.
• Atterotech Dante enabled Bluetooth wallplates and interface provided seamless device connectivity for visiting DJ’s.
• 2x JBL SRX 812P active loudspeakers and 2x SRX818SP active single 18” subwoofers provided powerful sound reinforcement for the performance area.
• 12x JBL Control28-1 loudspeakers powered by a Crown Drivecore CDI2600BL installation amplifier ensured consistent audio coverage in the retail area.

The Impact

“We are very happy to have been involved with this project in what essentially was a very basic sound system configuration, thanks to JBL’s purpose-built speakers that just work as they are intended,” says Darian Sundar of Avid Automation. “The real success and smarts of this project is based around how SoundEar and the BLU-806 are integrated to perform volume reduction. The BSS open architecture platform makes virtually anything possible. The system has performed flawlessly – which is what we have come to expect from JBL, BSS and Crown.”

“Launching Culture Kings in New Zealand is a really exciting step for us so we can deliver the iconic in-store atmosphere that we’re known for to our NZ customers,” says Simon Beard, CEO of Culture Kings. “Our Sylvia Park location gives New Zealanders an immersive experience unlike anything in the market.”

Tech Talk

“SoundEar is a SPL Monitoring device that gives the client a visual indication of the current SPL,” says Darian Sundar. “With the ability to set custom limits and thresholds in the SoundEar, the volume limits imposed by the mall were loaded into the device with a threshold a few dB under the limit, so that the client would see a visual warning prior to reaching the system limit.”

An automated volume reduction was still needed and as a result, SoundEar and BSS were integrated together and programmed so that if the volume went above the set volume limit, the BSS BLU would reduce the volume and continue to do so until the incoming level was decreased by the user.

This achieved a satisfactory result better than using limiters and compression. Signal integrity was maintained so that the audio experience within the store remained clean and undistorted.

RF Venue, a global leader in antenna and RF wireless communication products, has revealed its Architectural Antenna, a new aesthetically pleasing diversity antenna for use with wireless microphone systems.

The patented cross-polarised Diversity Architectural Antenna is based on the highly successful Diversity Fin Antenna in a virtually invisible footprint.

RF Venue’s diversity antennas provide an ideal easy to install solution to the problem of wireless microphone signal dropouts, and other interferences that are common when using many wireless microphones together with separate paddle antenna pairs.

The Diversity Architectural Antenna installs in minutes, with mounting plates and all necessary hardware provided. Connecting an in-wall or in-ceiling coaxial cable pair to the rear-mounted BNC jacks completes the installation. The flexible installation kit is designed to accommodate multiple mounting configurations including junction boxes, sheet rock, studs and ceiling tiles.

Diversity Architectural Antenna printed specifications indicate that it has been tested with wireless systems between 470-616 MHz, however it is not limited to this range. RF Venue have given assurances that the Diversity Architectural Antenna will work in the 470-698MHz spectrum like other RF Venue antennas.

The Diversity Architectural Antenna is distributed in NZ by JPRO and is now available in New Zealand as of September 2022.

Situated in a region of the USA crowded with television broadcast stations and numerous event sites using wireless mic and in-ear monitor systems that contribute to a challenging RF environment, exceptional RF coordination and distribution is key in setting up a wireless system free of drop out.

The church live streams its services from a portable broadcast campus—where volunteers perform load-in and load-out every weekend

Robert Roy is the central production lead for Vox Church. “We have a very small paid staff for each campus, as far as production-wise. And so equipment-wise, we try to be as efficient as we can, so that we can make the job easier for each volunteer on a Sunday morning.”

One way the church speeds load-in and load-out is through its heavy reliance on wireless mics and in-ear monitors (IEMs). Using more wireless systems, for instance, reduces the time and effort involved in uncoiling and wrapping cables. It also reduces on-stage clutter—an important factor when shooting video.

In a recent effort to improve audio quality and reliability, the church’s technical leadership added technology to solidify signals for its wireless microphones and in-ear monitor systems across all of the campuses, using wireless antennas and signal combiners from RF Venue.

Geno Mulcahy, the lead audio engineer at Vox Church, says using wireless is a time-saver. “Well, that’s the big thing, being a load-in church. We’re moving in, moving out, so time is not our friend,” he says. “So, not to have to spend a half hour coordinating frequencies and doing stuff—that in itself is worth the investment in RF Venue. I have the confidence of just turning on the rack and going.”

Roy says there’s a very small learning curve for volunteers when it comes to wireless, and that RF Venue systems give them the benefit of not having to understand everything about wireless. They can just plug and play, a benefit of finding a single wireless solution that works together well regardless of the make and model of wireless mics or IEMs.

Experience Pays Off

Mulcahy previously partnered with RF Venue in a large-scale wireless RF project and has learnt how critical the antenna and its distribution is to a reliable wireless system.

“Antennas and distribution are the non-fun part of working with wireless, but they’re mission-critical to making any event happen flawlessly,” he says. “The RF Venue products do the one thing that absolutely has to happen with wireless, and that’s make sure there are no dropouts. If you lose audio during a service, especially during the streaming audio that’s going out to other campuses that depend on taking their music cues from us, it’s game over. It’s as bad as losing video.”

The church operates a combination of Shure ULX-D wireless microphones and Sennheiser IEM G4 in ear monitor systems. “RF Venue allows us to use any brand of wireless microphone and IEM system we want, all with solid reliability” Mulcahy adds.

The Solution

Vox uses RF Venue’s Diversity Fin Antenna, a multi-purpose antenna for wireless microphones that’s less susceptible to drop outs, due to a patented cross-polarized design. It provides a diversity solution in a single package by combining one log-periodic dipole array (LPDA) and one dipole antenna in an orthogonal (right angle) configuration. One element captures vertically polarized waves, and the other horizontally polarized waves.

Unlike traditional “paddle” or “shark fin” antennas, the Diversity Fin allows receivers to see a constant signal regardless of microphone orientation, allowing the user to hold a wireless microphone in any position relative to the antenna without signal loss – typical of live performance movement when using wireless transmitters.

The Diversity Fin antennas interface with DISTRO4 and DISTRO9 distribution amplifiers, which feed RF to multiple wireless microphone receivers of any brand. The DISTRO4 has dual inputs that combine the two outputs of the Diversity Fin Antenna for distribution of up to five wireless microphone receivers, along with regulated 12-volt DC power. Six DISTRO4 units can be connected together to feed up to 25 receiver channels.

The DISTRO9 offers dual zone inputs for reception from dual Diversity Fin antennas, and its nine outputs can be used to directly feed wireless receivers or to feed the inputs of additional DISTRO9 units to in turn feed up to 81 receiver inputs.

Further, to help ensure consistent signal with in-ear monitors, COMBINE4 and COMBINE8* IEM combiners combine the outputs of four or eight wireless monitor system transmitters into a single output to feed a CP Beam circularly polarized helical antenna.

*Combine8 only available for 470mhz-608mhz systems.

The Impact

“I nicknamed RF Venue, ‘The Glue.’ They are the glue for my wireless. Antenna choice, placement, and management are the most important aspects of wireless, and RF Venue has made those aspects easy to take care of. They are that last part of the puzzle that you need to have to make sure it’s all together.” Concludes Mulcahy.

“And when my volunteers have success, it motivates them to do more – they want to be involved more when they’re successful. We’ve all but eliminated wireless problems with this solution – and never a single drop out. RF antennas aren’t the glamorous part of audio, but without them there’s no show. With RF Venue, there’s never a dropout.”

The RF Workshop is suited to anyone that has worked with, specified or installed wireless microphones and in-ear monitor systems (IEM’s).

“With restrictions on events being reduced leading up to Christmas and as we enter the holiday season, we thought it would be an appropriate refresher course for experienced operators and helpful to those who have not yet attended an RF Workshop,” says Tim Robertson from JPRO.

The online event is scheduled for 21 December and will be held in two sessions. The intermediate workshop at 10:30am is targeted towards integrators, houses of worship and schools. The advanced workshop at 2pm is for audio techs, hire companies and users who have experience in RF coordination for events. Each session will last approximately one hour.

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.

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.”

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.

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.

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.

Enhance Your Focus Time with AKG K361 and K371 Headphones

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.

Be Heard Clearly with AKG USB Microphones

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.

Get the Message Clearly with the JBL 104BT Desktop Speaker Set

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.

Be Seen and Heard with AMX Acendo Vibe Video Conference Solutions

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 USB Desktop Audio Mixer Interface

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

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.

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:

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.