Description
<h1 style="text-align: justify;"><strong>J48</strong> by RADIAL Engineering is an <strong>Active Direct Box</strong> with <strong>48V Phantom Power</strong>, designed with ultra-low distortion circuitry, <strong>high headroom</strong>, and dynamic range. It preserves the sound of the connected instrument without coloration, with the ability to handle extreme transients without distortion. <strong>J48 is</strong> the ideal tool for touring, live concerts, and recording studios <strong>.</strong></h1><p style="text-align: justify;"><strong><img alt="J48 by RADIAL Engineering is an Active Direct Box with Phantom power, designed with ultra-low distortion circuitry, high headroom and dynamic range, it neutrally maintains the sound of the connected instrument without coloration" src="/images/uploads//J48_1200x630_01.jpg" title="J48 by RADIAL Engineering is an Active Direct Box with Phantom power, designed with ultra-low distortion circuitry, high headroom and dynamic range, it neutrally maintains the sound of the connected instrument without coloration"></strong></p><h2><strong>Main Features</strong></h2><ul> <li><strong>Ultra-low Distortion Active Circuitry </strong></li> <li><strong>Excellent Headroom and Dynamic Range</strong></li> <li><strong>Maintains the Natural Sound of the Instrument</strong></li> <li><strong>48V Phantom Power</strong></li></ul><h3><strong>Higher Rail Voltage and Headroom</strong></h3><p>Most active (battery-powered) guitars and basses produce up to 7 Volts when played at maximum volume, which can easily overload normal active Direct Boxes that can only handle up to about 3 Volts. The J48 uses a newly designed switching power supply that increases the internal rail voltage so it can handle up to <strong>9 Volts</strong>, resulting in improved signal and greater headroom. This additional headroom significantly reduces all types of distortion, allowing the natural timbre and character of the instrument to shine through.</p><p><img alt="The J48 uses a newly designed switching power supply that increases the internal rail voltage so it can handle up to 9 Volts, resulting in improved signal and greater headroom" src="/images/uploads//J48_1200x630_02.jpg" title="The J48 uses a newly designed switching power supply that increases the internal rail voltage so it can handle up to 9 Volts, resulting in improved signal and greater headroom"></p><p style="text-align: justify;"><strong>Radial J48 is an active Direct Box</strong> that exclusively uses 48V phantom power and produces an extremely wide and linear response from 20Hz to well beyond 40kHz. Low distortion is ensured by a unique digital switching power supply that increases the internal operating voltage, adding headroom and improving signal handling. The J48 is ideal for both live and studio use, with a robust and durable metallic construction. It features a -15dB input pad to handle particularly strong signals, 180º polarity reversal for feedback control on stage, and a ground lift to reduce hum and noise caused by ground loops. Special features of the J48 include the Merge function, which combines left and right signals into a single mono signal without phase cancellation. To minimize feedback with acoustic instruments, the J48 has an 80Hz high-pass filter (low-cut) that can also increase headroom by eliminating unwanted low frequencies. The innovative and characteristic design of Radial products protects switches and connectors, while the internal I-beam architecture eliminates stress on the circuitry, protecting sensitive components from potential torsional damage and ensuring trouble-free performance for years. The back features a non-slip pad that provides mechanical and electrical isolation, ensuring greater stability on stage.</p><h2><u><strong>J48 Applications</strong></u></h2><h3><strong>Overview</strong></h3><p style="text-align: justify;"><strong>Radial J48 is a professional Direct Box</strong> equally useful in the studio and live, designed to convert a high-impedance instrument output into a low-impedance, mic-level signal compatible with console inputs. It also balances the signal, allowing the use of cables up to 300 meters long without noise and without appreciable signal loss. Unlike classic Direct Boxes that simply use phantom power to manage an internal buffer, the J48 converts phantom power from DC to AC; subsequently, thanks to a unique switching power supply, it increases the internal operating voltage, ensuring greater headroom. In this way, the active amplifier (buffer) is not always at maximum: we do not have to trade frequency response for dynamic range. The result is a response curve that starts at 10Hz and extends well beyond 40kHz! This ensures that the natural timbre of the instrument is maintained without degradation or the introduction of artifacts.</p><h3 style="text-align: justify;"><strong>Connections</strong></h3><p>As with any electronic audio device, make sure all levels are at zero and/or power is off before making connections. This will prevent power-on transients or capacitor discharge from damaging speakers.</p><h3><strong><strong>Setup with Standard Instruments</strong></strong></h3><p><strong><img alt="As with any electronic audio device, make sure all levels are at zero and/or power is off before making connections. This will prevent power-on transients or capacitor discharge from damaging speakers." src="/img/media/images/html/GRAD8001120_dee0.jpg" title="As with any electronic audio device, make sure all levels are at zero and/or power is off before making connections. This will prevent power-on transients or capacitor discharge from damaging speakers."></strong></p><ol> <li style="text-align: justify;">Connect a ¼" cable from your instrument to the J48 input.</li> <li style="text-align: justify;">Connect a ¼" cable from the Thru connector to your amplifier. This parallel connection can be easily tested by raising the volume of your amplifier. Always perform a test at low volume to ensure that connections and cables are working correctly.</li> <li style="text-align: justify;">Connect an XLR cable from the J48 output to the input of a microphone preamplifier on your mixer. Make sure 48V phantom power is on. Virtually all mixers today are equipped with 48V phantom power. This ingenious system sends a DC signal to the J48 that powers the internal amplifier and does not interfere with the AC audio signal path.</li> <li style="text-align: justify;">Slowly raise the mixer volume and check at a low level that the signal is present. If you experience noise or hum, try lifting the ground. Start playing. If distortion occurs, lower the source volume or press the input pad.</li></ol><p style="text-align: justify;">After making the connections, turn on the sound system. Make sure 48V phantom power on the console is activated before raising system volume levels. To check phantom power, press the 80Hz high-pass filter on the J48 while looking at the LED. It should flash once to tell you that phantom power is present. The LED does not stay on. This feature is designed to distribute all available phantom current to the audio circuit. You are now ready for the audio test. Play your bass or acoustic guitar. You should hear your instrument in your stage amplifier, if connected. Slowly increase the audio level. If you experience hum or noise, try activating the Ground Lift on the J48: this often helps eliminate hum caused by ground loops.</p><h3><strong>Using the J48 with an Acoustic Guitar</strong></h3><p>One of the most common applications for the Radial J48 is with an acoustic guitar on stage. The J48 is designed to be used alone, with PA and monitoring systems, or in combination with the PA system and instrumental stage amplifiers. On large professional concert stages, monitors or stage sound are usually controlled by a monitor engineer or the front-of-house (FOH) engineer. In this case, the J48 is essentially invisible: the guitar connects to the J48 and the rest is managed like a microphone. An instrument amplifier is optional.</p><p><img alt="On large professional concert stages, monitors or stage sound are usually controlled by a monitor engineer or the front-of-house (FOH) engineer. In this case, the J48 is essentially invisible: the guitar connects to the J48 and the rest is managed like a microphone" src="https://www.algameko.com/images/uploads/j48-app-1.jpg" title="On large professional concert stages, monitors or stage sound are usually controlled by a monitor engineer or the front-of-house (FOH) engineer. In this case, the J48 is essentially invisible: the guitar connects to the J48 and the rest is managed like a microphone"></p><h3><strong>Eliminating Feedback</strong></h3><h3><img alt="The J48 is equipped with a Low-Cut (high-pass filter) that gradually reduces bass frequencies below 80Hz, eliminating low-frequency resonance" src="https://www.algameko.com/images/uploads/GRAD8001120_02_9b1c.jpg" title="The J48 is equipped with a Low-Cut (high-pass filter) that gradually reduces bass frequencies below 80Hz, eliminating low-frequency resonance"></h3><p style="text-align: justify;">The biggest challenge with acoustic instruments is achieving sufficient stage volume before feedback. To eliminate feedback, the J48 is equipped with a Low-Cut (high-pass filter) that gradually reduces bass frequencies below 80Hz, eliminating low-frequency resonance. If you notice that feedback is more present in some areas of the stage and less in others, try using the polarity switch, which will change how the PA system and monitor wedges interact, improving the sound and eliminating resonant feedback hotspots. Some musicians prefer to have their own amplifier on stage to set the sound according to personal needs. However, this can be counterproductive in achieving good sound in the hall: for example, adding reverb on stage might seem good, but when playing in an arena with a lot of echo, more reverb means completely losing the acoustic guitar. The same applies to EQ: cutting the mid-range frequencies on stage might seem ideal, but the signal sent to the PA should be flat to allow the FOH engineer to mix the sound so that it stands above the drums and other instruments.</p><h3 style="text-align: justify;"><strong>Using the J48 with a Bass</strong></h3><p style="text-align: justify;">As described earlier, just like an acoustic guitar, an electric bass can be used 'direct' or in conjunction with a bass amplifier. This applies to both studio recording and live performances. The advantage of a direct setup is simplicity. No amplifiers to carry around, no phase issues, just 'plug & play'. The combination of direct feed from the Radial J48 with the sound of a mic'd amplifier is a more common approach, especially in a live event. With this setup, the bassist can create the sound and hear what they want on stage, which is extremely important for creating the right groove with the drummer. But even when it comes to EQ, what might sound good on stage doesn't necessarily sound good in the hall. This is why most musicians send the direct bass sound before it goes through the amplifier, allowing the FOH engineer to work with an unmodified sound and optimize the EQ for the room. Polarity inversion can sometimes help time-align low frequencies, reduce resonance, and make mixing easier.</p><p style="text-align: justify;"><strong><img alt=" an electric bass can be used 'direct' or in conjunction with a bass amplifier. This applies to both studio recording and live performances. The advantage of a direct setup is simplicity. No amplifiers to carry around, no phase issues" src="https://www.algameko.com/images/uploads/j48-app-2.jpg" title=" an electric bass can be used 'direct' or in conjunction with a bass amplifier. This applies to both studio recording and live performances. The advantage of a direct setup is simplicity. No amplifiers to carry around, no phase issues"></strong></p><h3><strong>Using J48 with Keyboards</strong></h3><p>The Radial J48 can handle higher levels than other active DIs, making it perfect for keyboards and especially suitable for older vintage keyboards with limited output, such as a vintage Rhodes Piano. When using the J48 with highly dynamic instruments like digital pianos, samplers, and drum machines, it is recommended to engage the -20dB pad in the circuit, reducing the possibility of overload distortion.</p><h3><strong>Merge Function</strong></h3><p>An interesting feature on the J48 is the Merge function, specifically designed to handle many left/right keyboard outputs relative to the available channels on the mixer. By pressing the Merge switch, you can transform the input and throughput into two inputs, allowing you to passively mix the left and right signals into a mono output. This saves valuable setup time and eliminates the need to reprogram all sounds to mono.</p><p style="text-align: center;"><img alt="By pressing the Merge switch, you can transform the input and throughput into two inputs, allowing you to passively mix the left and right signals into a mono output" src="https://www.algameko.com/images/uploads/J48.jpg" title="By pressing the Merge switch, you can transform the input and throughput into two inputs, allowing you to passively mix the left and right signals into a mono output"></p><h3><strong>Using the J48 in the Studio</strong></h3><p style="text-align: justify;">Don't let the small size of the J48 compared to large and flashy studio Direct Boxes fool you. We've tested most of these expensive devices, and the J48 usually outperforms them when it comes to delivering fantastic audio. We're not saying that some of these studio DIs aren't useful; it can be fun to add personality to an instrument by introducing effects like tube distortion or radical EQ curves. The J48 was not designed to do this: its job is to send the most accurate signal possible to the recording system and allow the engineer to make artistic decisions from that point. With the advent of digital recording, 'extra tracks' open the door to creative options like never before. If you're recording bass or an acoustic or electric guitar, it's good practice to always record a track directly from the instrument. This way, you can capture a magical performance that cannot be recreated and insert it into the mix later. The Radial J48 is perfect for this. All you have to do is connect the instrument to the J48 and the Thru-put to the amplifier. The XLR output feeds your recorder, which you can safely use to capture tracks and save them for future use.</p><p style="text-align: justify;"><img alt="" src="https://www.algameko.com/images/uploads/j48-app3.jpg"></p><h3><strong>Re-amping - Using Radial J48 and Radial X-Amp</strong></h3><p style="text-align: justify;">Re-amping, or re-recording, is a process that involves recording a clean track and then playing the clean track through a re-recording device like the Radial X-Amp using effect pedals and amplifiers. This technique, usually used with electric guitars, is now also employed with bass, keyboards, percussion, and even vocals! For applying the technique with guitar, first set up the guitar and amplifier as usual, except the guitar should be connected to the input of the Radial J48 and the Thru-put to the guitar amplifier as indicated. The XLR output of the J48 will feed the mixing console of the recording system. As soon as the guitarist starts playing, record their amplifier using a microphone and simultaneously capture the clean direct sound of the guitar through the J48. Once the track is recorded, you can send the guitarist home and get to work! Here's the point: after acquiring the recording, managing a messed-up note is easy if the signal is clean, but doing so with a distorted guitar track is difficult, if not impossible. Furthermore, having a guitarist play and play and play again before the microphones are set up around their amplifier can often take hours. A tired guitarist doesn't play like a fresh one! Capture the performance, then worry about the sound later. With the dry track recorded with the J48, you can now send the guitar signal to the Radial X-Amp. The X-Amp is fundamentally a line-level to guitar amplifier signal converter and distribution amplifier. It allows you to pre-record the balanced line signal to process it with guitar amplifiers or effect pedals. Press Play on the recorder, and then, through the X-Amp, send the signal back into the effects and various amplifiers. While you are playing back the track, a collaborator moves the microphone around the room until it sounds good.</p>This is the magic behind Re-amping.</p><hr><h2><u><strong>J48 Technical Specifications</strong></u></h2><ul> <li>Audio circuit type: Proprietary analog with Low-noise op-amp</li> <li>Frequency response: 20Hz ~ 20kHz</li> <li>Dynamic range: 109dB</li> <li>Total harmonic distortion: 0.002% @ -5dBu</li> <li>Intermodulation distortion: 0.003% @ -3dBu</li> <li>Phase deviation: +10º at 20Hz | 0º at 1kHz | -1º at 20kHz</li> <li>Input impedance: 220kΩ - ¼" input</li> <li>Output impedance: 200Ω - XLR output</li> <li>Equivalent input noise: -103dBu</li> <li>Residual noise: -99dB below 0dBu</li> <li>Maximum input level: +10dBu</li> <li>Features</li> <li>Input pad, Mono Sum, 180° polarity inversion, Ground lift, HPF</li> <li>Input connectors: 1/4"</li> <li>Output connectors: Balanced XLR, 1/4" Thru</li> <li>General specifications</li> <li>Construction: 14-gauge steel chassis and outer shell</li> <li>Dimensions (L x W x D): 84 x 127 x 48mm - 3.3" x 5.0" x 2"</li> <li>Weight: 720 g - 1.55 lb</li> <li>Power supply: 48V phantom – Proprietary digital switching power supply</li> <li>Conditions of use: Dry locations only between 5°C and 40°C</li></ul>
