203:. This allows all the signals to be transmitted over a single twisted pair cable rather than a bulkier and more expensive analog multicore. Digital stage boxes are typically easier to set up and more reliable than their analog counterparts, and their cables are much more compact. Some digital stage boxes are designed for use with analog mixers, and this type include a corresponding converter box which is located at the mixing console. This converts the input signals back to analog to feed in the mixer. Others are intended for use with a digital mixer, and a cable can be connected directly from the stage box to the mixer, or through an
27:
167:
156:
87:
257:
locking connector is commonly used for twisted pair cables. Whilst these cables may be informally referred to as "ethernet", they do not necessarily use the
Ethernet protocol, merely the same cables. Many manufacturers use proprietary standards for the transmission of digital audio, for example
306:
In a live setting, all of the microphones and musical instruments on stage connect to the stage box, which then connects to the mixing console with a single cable. This is usually more practical than running many individual cables between the stage and the mixer, especially for
73:
on the front whose signals are routed through a snake. In the traditional sense, a stage box is effectively a simple termination box at the end of an analog multicore cable. However, many modern stage boxes convert between analog and digital, using a single
194:
inherently introduce conversion between analog and digital signals. Since digital signals are practically immune to noise, it is preferable to use them for long cable runs. As a result, many modern stage boxes contain an array of
345:. These are typically used to carry microphone signals from one side of the stage to the other, or as an extension cable for a few channels on a larger stage box. The multicore cable attached to a drop box is often called a
143:
in order to minimize interference in the cabling. However, this is unfavorable for some sound engineers who prefer the tone of a specific preamp. Another feature of some stage boxes is integrated
132:
or equipment rack. Smaller stage boxes use compact metal cases which may sit on a stage inconspicuously. Labels on the stage box make it easier to identify cables for troubleshooting and setup.
593:
234:. This was originally a major drawback of digital stage boxes, but recent systems have lowered latency to insignificant levels – typically 2–3 ms.
326:
and the live room. They are commonly rack-mounted or mounted on walls in studios, in contrast to the portable method of installation used for live sound.
533:
424:
388:
287:
319:
speakers. Some sound engineers connect wireless microphone receivers to the stage box and position them in the same rack next to the stage.
504:
452:
26:
664:
726:
485:
226:
conversion processes. Latency is cumulative through all devices in the signal flow, so more complex networks, especially
335:
223:
219:
200:
196:
721:
308:
43:
563:
639:
98:
Stage boxes typically house 16–32 female XLR connectors and 4–8 male connectors, but occasionally
109:
191:
186:
347:
55:
31:
689:
312:
231:
182:
619:
341:
Smaller stage boxes (typically with 2 or 4 connectors) with shorter multicore cables are called
166:
481:
448:
420:
384:
250:
140:
311:. Stage boxes are sometimes also used to connect speakers to a mixer – either
283:
267:
246:
242:
238:
170:
155:
47:
477:
215:
204:
121:
63:
54:. It provides a central location to connect microphones, instruments, and speakers to a
351:, although this may also refer to the entire assembly of drop box and multicore cable.
316:
291:
51:
715:
211:
70:
323:
295:
125:
124:(for analog signals), or the bandwidth (for digital signals). Some stage boxes are
75:
120:(outputs). The connector configuration depends on the number of conductors in the
470:
174:
279:
263:
59:
259:
129:
20:
230:-based ones, can experience latency significant enough to cause an audible
254:
227:
144:
91:
275:
159:
139:. This is intended to amplify the signal as early as possible in the
136:
165:
154:
112:
are used instead. These connections to the mixer are often called
86:
85:
25:
534:"Managing Jitter, Wander, and Latency in Digital Audio Networks"
271:
69:
Stage boxes typically consist of a rugged metal enclosure, with
135:
Many stage boxes, especially digital ones, include microphone
322:
In recording studios, stage boxes are used to connect the
210:
One of the main disadvantages of digital stage boxes, and
476:(2nd ed.). Cambridge University Press. pp.
505:"A-Net v. Ethernet: Networking Designed for Audio"
469:
147:interfaces for direct connection of instruments.
34:(corresponding terminated wires are also visible)
640:"Guide to Using Wireless Audio Systems Onstage"
237:Common cables used for digital stage boxes are
334:For the drop box used in stage lighting, see
8:
594:"AES50 – Applications in Live Concert Sound"
177:carrying digital audio to the mixing console
162:D-Rack digital stage box next to a SD9 mixer
128:which allows them to be mounted in either a
16:Interface device used in sound reinforcement
30:A typical analog stage box connected to a
417:Introduction to Live Sound Reinforcement
468:Horowitz, Paul; Hill, Winfield (1989).
360:
410:
408:
406:
404:
402:
400:
78:cable instead of an analog multicore.
438:
436:
374:
372:
370:
368:
366:
364:
7:
638:La Cerra, Steve (29 November 2017).
627:. MUSIC Group Research UK Limited.
270:'s dSNAKE. Open standards such as
19:For "state box" in a theater, see
14:
599:. MUSIC Group Research UK Limited
173:AR2412 digital stage box, with a
90:Analog stage box with integrated
564:"Cat5 Digital Snake Stage Boxes"
690:"Topic: 8 Way stage (drop) box"
621:M32 Digital Console User Manual
419:(1st ed.). Friesen Press.
42:is an interface device used in
1:
562:Frink, Mark (February 2012).
336:Plug-in box (stage lighting)
592:Walker, Al (24 June 2011).
445:Studio Recording Procedures
218:which is introduced in the
743:
333:
180:
58:(snake), which allows the
50:to connect equipment to a
18:
262:'s ULTRANET, Digigram's
381:Live sound fundamentals
192:Digital mixing consoles
62:to be further from the
727:Audiovisual connectors
669:Rat Sound Systems, Inc
472:The Art Of Electronics
187:Digital mixing console
178:
163:
95:
66:and simplifies setup.
35:
492:digital analog noise.
415:Boyce, Teddy (2014).
383:. Course Technology.
214:in general, is their
212:digital audio systems
181:Further information:
169:
158:
89:
29:
379:Evans, Bill (2011).
108:inch (6.35 mm)
665:"CAT Box Stage Box"
644:Electronic Musician
443:Shea, Mike (2005).
183:Audio over Ethernet
151:Digital stage boxes
44:sound reinforcement
179:
164:
96:
36:
722:Audio engineering
426:978-1-4602-3890-5
390:978-1-4354-5494-1
268:Allen & Heath
251:fiber-optic cable
224:digital-to-analog
220:analog-to-digital
171:Allen & Heath
48:recording studios
734:
706:
705:
703:
701:
694:speakerplans.com
686:
680:
679:
677:
675:
661:
655:
654:
652:
650:
635:
629:
628:
626:
615:
609:
608:
606:
604:
598:
589:
583:
582:
580:
578:
568:
559:
553:
552:
550:
548:
538:
530:
524:
523:
521:
519:
509:
501:
495:
494:
475:
465:
459:
458:
440:
431:
430:
412:
395:
394:
376:
110:phone connectors
107:
106:
102:
742:
741:
737:
736:
735:
733:
732:
731:
712:
711:
710:
709:
699:
697:
688:
687:
683:
673:
671:
663:
662:
658:
648:
646:
637:
636:
632:
624:
617:
616:
612:
602:
600:
596:
591:
590:
586:
576:
574:
566:
561:
560:
556:
546:
544:
536:
532:
531:
527:
517:
515:
507:
503:
502:
498:
488:
467:
466:
462:
455:
447:. McGraw-Hill.
442:
441:
434:
427:
414:
413:
398:
391:
378:
377:
362:
357:
339:
332:
309:touring systems
304:
207:in some cases.
205:Ethernet switch
189:
153:
122:multicore cable
104:
100:
99:
84:
56:multicore cable
32:multicore cable
24:
17:
12:
11:
5:
740:
738:
730:
729:
724:
714:
713:
708:
707:
696:. October 2015
681:
656:
630:
610:
584:
554:
525:
496:
486:
460:
453:
432:
425:
396:
389:
359:
358:
356:
353:
331:
328:
317:front-of-house
303:
300:
298:) also exist.
152:
149:
126:rack-mountable
83:
80:
71:XLR connectors
52:mixing console
15:
13:
10:
9:
6:
4:
3:
2:
739:
728:
725:
723:
720:
719:
717:
695:
691:
685:
682:
670:
666:
660:
657:
645:
641:
634:
631:
623:
622:
614:
611:
595:
588:
585:
572:
565:
558:
555:
542:
535:
529:
526:
513:
506:
500:
497:
493:
489:
483:
479:
474:
473:
464:
461:
456:
454:0-07-146957-5
450:
446:
439:
437:
433:
428:
422:
418:
411:
409:
407:
405:
403:
401:
397:
392:
386:
382:
375:
373:
371:
369:
367:
365:
361:
354:
352:
350:
349:
344:
337:
329:
327:
325:
320:
318:
314:
310:
301:
299:
297:
294:, Behringer,
293:
289:
285:
281:
277:
273:
269:
265:
261:
256:
252:
248:
244:
240:
235:
233:
229:
225:
221:
217:
213:
208:
206:
202:
198:
193:
188:
184:
176:
172:
168:
161:
157:
150:
148:
146:
142:
138:
133:
131:
127:
123:
119:
116:(inputs) and
115:
111:
93:
88:
81:
79:
77:
72:
67:
65:
61:
57:
53:
49:
45:
41:
33:
28:
22:
698:. Retrieved
693:
684:
672:. Retrieved
668:
659:
647:. Retrieved
643:
633:
620:
613:
601:. Retrieved
587:
575:. Retrieved
570:
557:
545:. Retrieved
540:
528:
516:. Retrieved
511:
499:
491:
471:
463:
444:
416:
380:
346:
342:
340:
324:control room
321:
305:
296:Klark Teknik
236:
209:
190:
134:
117:
113:
97:
76:twisted pair
68:
39:
37:
175:Cat 7 cable
141:signal flow
716:Categories
571:FOH Online
487:0521370957
355:References
343:drop boxes
330:Drop boxes
286:etc.) and
280:Soundcraft
264:EtherSound
60:sound desk
313:foldbacks
290:(used by
274:(used by
260:Behringer
130:road case
40:stage box
21:state box
348:subsnake
255:EtherCON
228:Ethernet
92:DI units
649:16 June
618:Midas.
603:17 June
577:16 June
547:17 June
518:17 June
216:latency
137:preamps
118:returns
103:⁄
700:8 July
674:8 July
543:. 2009
514:. 2009
484:
480:–473.
451:
423:
387:
284:Yamaha
276:DiGiCo
253:. The
249:, and
239:Cat 5e
160:DiGiCo
82:Design
625:(PDF)
597:(PDF)
567:(PDF)
541:Aviom
537:(PDF)
512:Aviom
508:(PDF)
302:Usage
292:Midas
288:AES50
272:AES10
247:Cat 7
243:Cat 6
232:delay
114:sends
64:stage
702:2019
676:2019
651:2019
605:2019
579:2019
573:: 37
549:2019
520:2019
482:ISBN
449:ISBN
421:ISBN
385:ISBN
222:and
201:ADCs
199:and
197:DACs
185:and
46:and
478:471
315:or
266:or
718::
692:.
667:.
642:.
569:.
539:.
510:.
490:.
435:^
399:^
363:^
282:,
278:,
245:,
241:,
145:DI
38:A
704:.
678:.
653:.
607:.
581:.
551:.
522:.
457:.
429:.
393:.
338:.
105:4
101:1
94:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
