How it works in the path
At 7 watts nominal draw and 0.6 kg, this receiver is easy on your rack's power budget and weight limit — relevant when you're already hauling a full IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rig alongside it. The two BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. antenna inputs support standard passive or active antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent., so slotting this into an existing antenna system is straightforward. The DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. capability is the spec that deserves attention: if your production is moving toward a networked stageboxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. or you're feeding a console that speaks Dante, this receiver can live on that network rather than running an analog multicore. Remote monitoring via a laptop or tablet at FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. is genuinely useful when the rack is locked in a downstage case you can't easily reach mid-show.
