Maximizing Wireless Range Indoors and Outdoors
Indoors When on stage or in the studio, transmitters are often in close proximity to receivers. In these situations, it is good practice to reduce the transmitter output power and to use omnidirectional ¼ wave whip or ½ wave dipole antennas. These can be mounted directly to the receiver, or to a slot receiver chassis […]Read The Full Article
Maximizing Wireless Range When Using a Production Bag
When working out of a production bag, wireless receivers are generally carried in close proximity to each other and to mixers and recorders. In some cases, multiple receive antennas, generally whips, are directly connected to the receiver. To maximize range when working out of a bag, there are some basic guidelines to consider: Keep any […]Read The Full Article
Minimizing RF Problems When Using Digital Wireless Audio
Minimizing RF interference is essential to achieve the best wireless audio possible. Several common issues which result in dropouts and short range include: Interference from other RF sources (RFI). This includes DTV broadcast television, gigantic video walls, and RF video links. RF video systems can be the source of interference, even though most of these […]Read The Full Article
Picking the Right Antenna for Digital Wireless Audio
Antennas are critical components of a wireless system. In many ways, they perform like microphones with receivers, and loudspeakers with transmitters. Just like with microphones and loudspeakers, there is no single antenna suitable for all applications. A strong, predictable RF performance requires the use of the right antenna. ¼ Wave Whip ¼ wave whip antennas […]Read The Full Article
Why Digital Wireless?
Wireless systems are designed to replace signal cables. While cables are simple and reliable, many times going ‘hardline’ is impractical or impossible. A wireless system, such as the A10 Digital Wireless System, that sounds and performs as much like a cable as possible is the next best thing. Wireless systems can be digital or analog. […]Read The Full Article
How is a 32-bit float file recorded?
The MixPre II Series are the industry’s first and only USB audio interfaces to offer 32-bit floating point audio for MacOS Catalina and Windows 10.¹ Audio inputs on the MixPre appear as 32-bit floating point audio sources to a DAW for recording and mixing. DAW software can output 32-bit floating point audio back to the […]Read The Full Article