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Thread: JBL Pro for hi-fi purposes

  1. #1
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    Question JBL Pro for hi-fi purposes

    Hello,

    First post here and probably a laughable one...

    Has anyone ever tried a pair of JBL Pro for hi-fi purposes?

    For example, something like a JRX125 or a SRX738.

    What could be the drawbacks (besides but ugly looks)?

    They are cheaper than the consumer hi-fi alternatives...

    Thanks,
    Ricardo

  2. #2
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    The JRX and SRX series are light years apart! I imagine the SRX738 could be induced to get some decent sound, but I wouldn't even try the JRX, (and yes - I have experienced them).

    John

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    Quote Originally Posted by johnaec View Post
    The JRX and SRX series are light years apart! I imagine the SRX738 could be induced to get some decent sound, but I wouldn't even try the JRX, (and yes - I have experienced them).

    John
    Thanks, John. That puts the JRX out of the race.

  4. #4
    Webmaster Don McRitchie's Avatar
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    I would not consider a pro system (with the exception of monitors and possibly some installed sound systems) without an electronic cross-over that totally eliminated any supplied passive networks. Sound reinforcement systems are inherently designed for long throw sound projection. In a home environment, their spectral balance at nominal listening distances in the 8' -12' range would be completely off. In particular, PA systems are designed for maximum intelligibility, which often translates to enhanced mid range output and restricted output at the extreme ends of the frequency spectrum that is sometimes at cross purposes with intelligibility.

    With the high end pro systems, the drivers are generally high quality and could be adapted for home use. However, not only would any supplied passive network be inappropriate in the home, but the enclosure is likely tuned to enhance output in a narrower frequency range at the expense of bass extension.

    In conclusion, buying a complete pro system for the home seems to me to be a very expensive way to obtain drivers. The obvious exception is where you can pick up a used box at a bargain price, but even then, I would likely just salvage the drivers and throw away the box if I had to use it in the home.
    Regards

    Don McRitchie

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    Take a look at the JBL LSR 4000 series Studio monitors. You get a lot for your money.

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    Even i am planning the same ,i suggest studio monitors for hi fi purpose would be ok,take a look at the LSR 4000 & 6000 series,any PA systems will be loud generaly ment for outdoor.

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    Senior Seņor boputnam's Avatar
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    I too have had no luck using pro cabinets in anything but SR applications. That is as wrong as taking your home gear to a SR application.

    Quote Originally Posted by Don McRitchie View Post
    ...PA systems are designed for maximum intelligibility, which often translates to enhanced mid range output and restricted output at the extreme ends of the frequency spectrum that is sometimes at cross purposes with intelligibility.
    That is less commonly the case.

    Manufacturers are getting better at providing out-of-the-box solutions which meet the demands of contractors and engineers. This includes not only cabinet design incorporating all the issues you guys face here (to avoid cabinet resonance and ensure best performance of the woofers), but also careful driver, network and DSP mating which provides linear response over the entire spectrum. This is important because it enables houses and engineers to provide the best possible sound.

    SR engineers, including systems guys, FOH and monitor guys, all work hard to ensure they are achieving as flat a response as possible, avoiding resonances and nulls - we have very powerful measurement and correction tools, which are constantly evolving. Linear system performance ensures it is operating at it's greatest efficiency - this matters a great deal in mooting distortion, lowering power consumption and protecting gear.

    wrt intelligibility, this is not achieved by emphasizing the mid range output - that is at-odds with the awareness of / focus on the A-weighted SPL curve and the ear's increased sensitivity to that portion of the frequency spectrum. Those in-the-know monitor show SPL using the A-weighted curve which results in an overall lower SPL in the venue which protects the hearing of audiences. Late in a show, I actually tend to de-emphasize the mid range - as our ears fatigue they are increasingly sensitive to the area of the A-weighted curve and so less energy is required (desired) in that range. Subtle decreases there do wonders to the audience's perception of "loud".

    Converse to the need to emphasize the mid range, if the system is properly EQ'd to the venue, the LF "mud" is reduced requiring less overall gain and providing better balance and great intelligibility. When there is mud, all-too-often the engineer has to fight that with gain to get the vocals up in the mix. That is a losing battle with unsatisfying results for you, for the engineer and the artists.

    wrt intelligibility in the larger and outdoor venues, the advent of improved understanding and use of wave guides has enabled line arrays to deliver incredibly linear response at near constant SPL over great distances - truly remarkable for a cabinet to throw 100's of feet with only a de minimis drop in dB.

    There are some mic manufacturers who established their popularity by providing a mic with an enhanced mid range - the "presence hump". This worked well in many instances and is still a stallwart. However, this is a much less favored approach as the engineer is starting with a "colored" sound. Anymore, there is increasing demand for mic's with a flat response going through pre-amps and consoles with flat response, being fed to speakers providing flat response. That signal path enables the FOH engineer to provide the best possible representation of the band. This is not always successful, but I can tell you we work damned hard at it.

    Something not said here is that "Pro" drivers are also incredibly power hungry. High power capabilities enables pro drivers to provide the SPL that SR requires. These drivers operate best in this power range, and running them on amps appropriate for home use would not be good application.
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    Webmaster Don McRitchie's Avatar
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    Anymore, there is increasing demand for mic's with a flat response going through pre-amps and consoles with flat response, being fed to speakers providing flat response.
    The issue regards where is that flat response being measured. If you design for flat response at 10', the standard measuring distance for most home speaker manufacturers, the response will be wrong for 90% of the audience that a pro system is trying to cover. This is just a matter of physics as the dissipation of sound energy through air is dependent on both distance and frequency. That is why every passive network based PA speaker that I have listened to at home listening distances sounds overly forward.

    Don

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    Senior Seņor boputnam's Avatar
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    Quote Originally Posted by Don McRitchie View Post
    If you design for flat response at 10', the standard measuring distance for most home speaker manufacturers, the response will be wrong for 90% of the audience that a pro system is trying to cover.
    Yessir. And that's why systems guys measure system response at many points in every venue, and the FOH guy is positioned where he is, to ensure the system tuning is optimal for most of the audience.

    "Horses for courses", I think is the saying!

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    Hi Don,

    Nice of you to pop in and post.

    Without getting involved in specifics of the more recent and highly advances sound system I can see where Don is coming from.

    As a general principle and from a historical perspective systems like the Altec VOT that were front horn loaded over the midrange and HF had reduced bass output below 80 hertz on paper. (I recall reading this in Red Book by Don Davis that I no longer have..the subject is discussed thoroughly)

    But in a large venue like a cinema they seem to work. Back in those days they did not have wave guides and fancy boxes that can accurately direct sound to specific parts of the venue.

    The simplicity of such systems is an aspect of the more primitive/economical SR loudspeaker systems we have today.

    As Don points out its the distances these types of SR systems are designed for makes them a less satisfactory alternative to a home purpose consumer system.

    In comparison (from reading recent SR journals articles I have scanned through) in fixed installations at least there is a trend for using dedicated boxes for specific aspects of a venue like the front balcony, side stalls etc that are engineered and located specifically for coverage of those areas.

    The end game being a more competitive/attractive venue to attract hi profile performers. In this particular example an Altec fixed installation was replaced by a dedicated Meyer system.

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