If you yearn for portable powered speakers without the hernia factor, here is a new compact, multiple input amp/speaker combination from the JBL EON range. Martin Walker tries it out for size, weight, and performance.

The JBL EON 15PAK is another unit from the EON Range whose mini PA system was reviewed in the November issue. The 15PAK is a new model more specifically designed as a stage monitor for general PA or keyboard use. It has three inputs, one of which can be used at either mic or line-level; the other two are line-level only. It also features a four-band equaliser, sockets for connecting external effects units, a direct output suitable as a clean feed to another mixing desk, and a headphone output (useful for silent setting up, or for tweaking analogue synth sounds between numbers!).

The casing is extremely rugged and durable, constructed of moulded polypropylene. The front baffle not only acts as an integral strengthener for the cabinet, but also functions as a huge heatsink for the integral power amplifiers. It is made from Die Cast Aluminium (an excellent combination of lightness and strength). The outward appearance is completed by a heavy-duty metal speaker grille that should survive many years of the proverbial roadie's boot. Although overall dimensions are extremely compact at 420 x 723 x 482mm (WHD), there is a 15-inch bass speaker with neodymium magnet powered by an integral 130 Watt amplifier (neodymium results in a powerful speaker with significantly lower weight), as well as a high frequency horn with a titanium driver powered by a separate 50 Watt amplifier, using an electronic crossover.

BLIND REVIEWING

Although I knew that the PA version of this range had already been reviewed, I deliberately chose not to read the review before I looked at this new model. Every reviewer has a different set of experiences and parameters when looking at a new piece of equipment, so it seemed an interesting proposition to review first and then compare notes afterwards to see how the JBL range appealed to two different people. If a piece of equipment is intended primarily for live use, it is not just how it sounds that is important. Factors such as build quality and portability are just as important when items will often be on the move.

First impressions were good. Once out of the packaging, the 15PAK has a good solid handle for general lugging about. Since this is placed at the centre of gravity of the unit, it feels 'under control' when being carried, and I was quite at ease carrying it up several flights of stairs (what we reviewers do in the cause of thoroughness!). It weighs 47lbs (a bit over 3 stone), which for a unit of this power is excellent. However, once placed on the floor, things get a bit more difficult. The single handle is placed on one side, and there is nothing much else to get a grip with on the other side (the 'grasping detail' provided is too smooth and contoured), so trying to move it about to achieve an ideal monitoring position is more 'pull and shove' rather then 'lift and position'. In addition, most of the weight is near the front, so there is a tendency for the unit to fall forward unless you are careful to support it.

The cabinet is designed for two positions of floor use. The first is vertical, and in this position, you can use the moulded cups on top of the casing to stack another 15PAK on top, or (if your pocket permits) in a larger array for bigger venues. For a single unit, this position will be fine as long as it can be raised up from floor level, but it is obviously designed for stand use — there is a large (35mm) moulded socket underneath for this purpose. I suspect that this is what most people will opt for, since by itself the horn only ends up about knee high. Harman Audio (the UK distributors) told me that they sell a JBL tripod stand (model number MTA 21465 at £99 inc VAT), which is adjustable from between about two feet to almost 10 feet high; many other manufacturers also sell stands that will fit this standard socket.

The second cabinet position is tilted back to a very shallow angle of 25 degrees to horizontal for stage monitor (wedge style) use. I personally found this angle far too close to horizontal. Whilst fine for use as a vocal monitor wedge when you are standing within two to four feet of the unit, for keyboard use it is often difficult to end up close enough to have the speakers pointing directly at you, especially if you prefer to play sitting down. I suspect that many people might prefer an angle more like 45 degrees, but of course, there is nothing to stop you propping the unit up slightly to achieve this.

PLUGGING IT IN

Once powered up, there is a welcome five seconds muting before the speakers kick in (to prevent large cone excursions more commonly known to you and me as thumps). The input sockets and controls are easy enough to find your way around and are grouped into two main areas. In the upper panel, there are three input sockets, each with its own level control, and a master volume control. The first input is for balanced or unbalanced use and features an XLR socket, with an associated mic/line switch, which is recessed to prevent accidental operation. I found that a small screwdriver was ideal for this purpose. A mic indicator also lights up if the higher sensitivity has been selected. These are both welcome features — the thought of a line-level keyboard suddenly being accidentally run through a mic level input is frightening on a unit of this power. The other two inputs are both on standard quarter-inch (6.35mm) unbalanced jack sockets. Sensitivity is quoted as -60dBu for the mic input, and +4dBu (1.23V RMS) for all three line inputs. The latter does seem a little insensitive (some keyboards and effects units operate at the lower -10dBV levels, 0.316V RMS), but I didn't find any problems getting enough level from the speakers in practice. There is also a useful Signal Present LED to show that sounds are arriving OK.

In the lower of the two panels, there is a peak indicator for the power amplifiers: occasional flashes are OK, but sustained lighting will probably mean that distortion will be heard through the speakers. The block diagram of the system shows that both signal present and peak LEDs are connected to both input and output amplifiers — this is far more useful than a simple overload indicator at the output, as the peak light can also be used to set up sensible input levels as well. A four-band equaliser follows. The frequencies are not given in the manual, but I measured low-mid at 400Hz and hi-mid at 2.5kHz — fairly typical and sensible selections. I would describe the EQ as controllable rather than savage, which is a far more usable option in a live context, where gentle tailoring to suit the acoustics of the particular venue is all that is needed.

By the side of the equaliser are three more sockets. The uppermost is a TRS (Tip, Ring, Sleeve) stereo quarter-inch jack socket for the connection of external effects units. If you are suffering from feedback, then a third octave graphic EQ is far more effective than the in-built four-band type, and one could be connected here. The middle socket of the lower panel is a line output, which is unaffected by the master volume control (useful for sending a fixed level to a further on-stage PA system or FOH mixer), and finally there is a headphone socket (stereo quarter-inch jack) which mutes the loudspeakers. There is also a sensible set of protection measures built-in, including a high-pass filter, which cuts out any subsonic signals from your keyboards that would otherwise flap your cone while contributing little to the sound.

A SOUND INVESTMENT

The 15PAK certainly sounded clean and punchy. The long-term continuous SPL (Sound Pressure Level) is quoted by JBL as 121dB at a distance of 1 metre. Since 120dB is generally regarded as the threshold of pain, you shouldn't have any problems getting enough level! Although the bass end still has some output at 47Hz (the -10dB point), the measured -6dB response goes down to 60Hz, and this is more what you would expect from a unit of this size. Although some smaller hi-fi speakers claim to go down lower than this, it is at the expense of ultimate volume, as small and deep normally means lower output level, much higher weight, and also a much bigger amplifier to compensate. JBL have taken a conscious design decision to make this unit efficient for live use, and really low bass from a cabinet of this size is not sensible in a live situation anyway. The compression horn mid/high assembly also works well and sounds smooth, whilst providing a controlled dispersion over its frequency range. This is quoted as 90 degrees horizontal and 60 degrees vertical, which is nicely judged, giving a good spread across the audience (assuming that the speakers are at head height or a few feet above), without wasting power sending music at the ceiling and floor where it will simply create more reflected sound to muddy the direct signal.

"Why take a separate amp and speaker to the gig when you can set up and go with a 15PAK?"

TARGETING THE MARKET

Having been impressed by the design and sound of the 15PAK, you will probably be wondering whether it is right for your particular requirements. The all-in-one concept can not be beaten for convenience, and operationally, there is plenty of level available, the EQ is useful, and three inputs will probably be sufficient if you are working with just a couple of keyboards and a microphone. However, with any more equipment than this, you may find the JBL EON PA system easier to use, since it uses a separate mixer whose controls will be more accessible.

The 15PAK has all of its controls on the back. This is fine with the unit pointing at the audience in a general PA application, but it will be tricky to alter anything if you are using stands, with the 15PAK at the other end of a long pole, and equally difficult when used for backline or wedge style monitoring. If you are relying on the three integral inputs instead of using a separate mixer, easy access will be important — feeling about in the dark behind a speaker unit for the appropriate control is certainly not ideal. Of course, using a pair of 15PAKs set well apart on the stage for stereo, the problems become even greater, as not only are the controls a lot further from you, but also a change to one will normally mean that you need to make an equivalent change on the other.

It was at this point that I decided to finally read Mike Crofts' review of the PA version. Reassuringly, his general conclusions seem remarkably similar to mine — sound and basic design good, light but front-heavy cabinet, ultimately a supremely convenient package to use in a live context. Why take a separate amp and speaker to the gig when you can set up and go with a 15PAK? If you need more inputs, I would suggest the cheaper Power 15 with identical amp and speaker design, but without the extra inputs and EQ, and put the money saved towards a small separate mixer for easier access to controls. If you need a compact, great-sounding, lightweight, and portable amp/speaker for small PA, keyboard or monitoring use, have a long hard look at this.

EON 15PAK £799 each inc VAT.

Harman Audio, (Contact Details)