BSS AR-133 Active DI
BSS·Model AR-133·bss-ar133
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the BSS AR-133
The BSS AR-133 is a long-running active DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise. that runs on either phantom powerThe +48 V a console sends up the mic cable to power condenser mics and active DI boxes — invisible to gear that doesn’t need it. or a 9V battery, making it convenient for stages where phantom isn't available. Clean, transparent sound at a competitive price has kept it on countless touring ridersThe document attached to a booking that lists what the band needs — inputs, monitors, power, backline (and the green-room snacks). for decades.
The BSS AR-133 is a single-channel active DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise. that has earned its place on professional touring ridersThe document attached to a booking that lists what the band needs — inputs, monitors, power, backline (and the green-room snacks). by doing one thing exceptionally well: taking an unbalancedA single signal wire plus ground (guitar cables, RCA) — collects noise with length, so keep the runs short. instrument-levelThe in-between signal from a passive guitar or bass pickup — hotter than a mic, quieter than line, and high-impedance. Hence DI boxes. signal and handing a clean, balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free. mic-levelThe tiny signal straight out of a microphone — roughly a thousandth of line level. It needs a preamp before anything else touches it. signal to the console. In a live rig context it typically sits between a keyboard, playback source, or acoustic instrument and the snakeA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box., solving the impedanceOpposition to signal flow, in ohms. Low-impedance IEMs are easier to drive loud; mismatches shift level and tone. mismatch and ground-loop problems that unbalanced long cable runs invite. Its longevity on the market isn't marketing — it reflects a design that engineers have repeatedly trusted when the gig actually matters.
The AR-133 runs on phantom powerThe +48 V a console sends up the mic cable to power condenser mics and active DI boxes — invisible to gear that doesn’t need it. or a 9V battery, which is the practical detail that sets its workflow apart. At load-in you plug it in, phantom comes up, and it just works — but if the console or stageboxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. loses phantom for any reason, the battery keeps audio flowing without interruption. The quarter-inch thru output lets you feed a stage amp or tuner off the same source without splitting signal or adding another box. At 0.6 kg and 110 mm deep it fits in a bag pocket, a utility drawer, or velcroed inside a rack lid, and draws zero watts from your power strip.
If you're running keyboards, a click-and-cue playback rig, or any unbalancedA single signal wire plus ground (guitar cables, RCA) — collects noise with length, so keep the runs short. line source that needs to reach a console cleanly, the AR-133 earns its place. It's a good choice when ridersThe document attached to a booking that lists what the band needs — inputs, monitors, power, backline (and the green-room snacks). specify it and an equally solid choice when they don't but the application fits. Where it isn't the answer: if you need stereo in a single unit, or if you're working with balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free. line-levelThe strong signal that runs between pieces of gear (about a volt) — hotter than mic level, far below speaker level. sources that just need gainHow much the preamp amplifies the incoming signal. Too low and you’re hunting through hiss; too high and peaks clip.-structure management, a passive DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise. or a line-level interface tool is more appropriate. One unit handles one mono source — keep that accounting simple.
In the rack
- Keep a fresh 9V installed even if you always have phantomThe +48 V a console sends up the mic cable to power condenser mics and active DI boxes — invisible to gear that doesn’t need it. available — a failed stageboxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. channel or a desk reboot mid-show is the wrong moment to discover the battery is dead.
- Use the thru output to feed the keyboard amp on stage; this keeps the amp in the signal chain without loading the DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise. input or creating a split that complicates gainHow much the preamp amplifies the incoming signal. Too low and you’re hunting through hiss; too high and peaks clip. structure.
- When velcroing one inside a rack lid or to a utility panel, orient the XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. output toward the snakeA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box. side of the rack so the cable exit is tidy and the battery door remains accessible for a quick swap.
- If a source is already balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free. and line-levelThe strong signal that runs between pieces of gear (about a volt) — hotter than mic level, far below speaker level. — say, the balanced outputs of a playback interface — bypass the AR-133 entirely and run direct to the console; inserting an active DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise. on a balanced source adds a gainHow much the preamp amplifies the incoming signal. Too low and you’re hunting through hiss; too high and peaks clip. stage you don't need.
Battery- or phantomThe +48 V a console sends up the mic cable to power condenser mics and active DI boxes — invisible to gear that doesn’t need it.-powered active DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise..
I/O Ports (4)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Input (1/4" TS) | TS QUARTER | input | analog audio | — |
| Input (XLR-F) | XLR FEMALE | input | analog audio | — |
| Thru (1/4" TS) | TS QUARTER | output | analog audio | — |
| Output (XLR-M) | XLR MALE | output | analog audio | — |
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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