Dressed to the nines, MIKE CROFTS plugs in and tests the smooth qualities of the EON Power System, an integrated, portable sound package.

The phrase 'plug in and play' (or a variation on those words) has emerged as a '90s cliché that's come to mean a compatible collection of components that can be plugged together and made fully operational with the minimum of fuss, time, and technical knowledge. For the first time, JBL hope to make such a cliché applicable to a PA system. Enter the EON.

The JBL EON Power System is an integrated, portable sound package, and given that it comes complete with microphones and leads, everything you need should, in theory, be supplied.

In more detail, the Power System consists of two JBL microphones, a ten-channel mixer, and two bi-amplified power speakers. Also included are four XLR balanced cables and three sensibly long mains leads, plus a giant-sized user guide (very nearly A3 size) which covers the whole EON range in five languages.

COMBINE AND MIX

The mixer, JBL's MusicMixer 10, has six mono microphone channels, each with trim, three-band EQ, effects send, monitor (pre-fade) send, pan control, and a channel fader. Microphone inputs are via XLRs and line inputs via jacks, and there is a useful signal present LED, which will recognise signals above a threshold of -30dBu and could be an invaluable troubleshooting aid, especially in the dark. Phantom power (14 Volt, for universal phantom devices only) can be applied to channels 1 to 6 by means of a single switch on the rear of the unit. The remaining four channels are grouped as two stereo input pairs, each having two-band EQ and equipped with line jacks and RCA phono sockets suitable for direct CD or tape inputs.

Moving on to the master section, the main left and right output levels are controlled by a single fader, with a rotary left-right balance control just above it; there is also a mono/stereo switch, with an indicator LED which signals mono operation. A 12-segment, three colour LED array indicates output level; it has a peak hold feature permanently enabled. Next to the main output fader is the monitor fader, with the effects return controls (main and monitor) logically placed just above. Main and monitor outputs are all nominally +4dBu via XLRs located in the top right-hand corner, and there is an additional sub-woofer output which provides a full-range mono sum of the left and right signals. The effects send and stereo returns are via unbalanced jacks. The headphone output has a separate level control, which is independent of the master fader. A fixed level tape output facility for direct recording is accessed by means of two RCA phonos.

SPEAKERS CORNER

The speakers supplied with the Power System are the EON 15P models. These two-way bi-amped powered speakers incorporate a 15-inch bass driver powered by a 130 Watt LF amplifier and an HF compression driver powered by a separate 50 Watt amplifier. As the power amps are built into the cabinets, cooling is necessary. This is neatly achieved by use of the bass ports as convection vents, which should not be obstructed for obvious reasons. The cabinets are made from grey polypropylene, with a sturdy-looking metal grill protecting the bass driver, and have built-in carrying handles and stand mounts. An excellent design feature enables the Power 15s to double as monitor speakers, by using the alternative built-in 'feet' which enable them to sit at an angle.

Each speaker has male and female standard IEC mains input/output connectors (which enable power to be cascaded to additional units) and a power switch which operates with a five-second safety delay — a discreet green LED on the front tells you that the unit is switched on. Below the male and female XLR (balanced differential) input sockets is a simple control panel, which incorporates another signal present LED, mic/line sensitivity switch, rotary level control, and overload LED. The sensitivity switch, which changes the input sensitivity figure from +4dBu to a quoted -60dBu, enables a microphone to be connected directly to the speaker if the mixer is not required.

One of the advantages of using moulded cases is that extra features can be designed in, rather than bolted on (or falling off, as is often the case). A useful example of this is that both mixer and speakers incorporate integral carrying handles, feet, and stacking points, plus a set of very practical cable grips which avoid the need to wind connecting leads around stands or gaffer them to table legs.

The two microphones supplied with the Power System are JBL model 50ES dynamic cardioids. They have a reassuringly solid feel and are finished in black with on/off switches. Also supplied are holders, but carrying cases are not.

The User Guide deserves another mention here, as it is a very comprehensive and informative document containing everything from simple 'get you going' instructions to detailed technical specifications and schematics. There is a troubleshooting chart (in similar format to the ones in Haynes Car Manuals), and even a section dealing with XLR and jack wiring conventions.

"All the mixer controls do just what you would expect, and the system is generally very well behaved and forgiving."

ROAD RUNNER

JBL's main marketing point is that here is a complete, 'ready to go' sound system, which will no doubt appeal to the solo performer or small combo with, in all probability, neither the time nor the inclination to spend more than a minimum of effort setting up their PA.

In carrying out a road test of this system, I was particularly interested in how the passive mixer/powered speaker arrangement would compare with the more traditional powered mixer/passive speaker setup. And more importantly, just how would JBL's 'plug in and play' claim stand up in the real world?

As things turned out, the circumstances of the road test conspired to present the perfect challenge. My plan was to use the system at a Friday evening dance band gig in Bedford. The event promised all the right ingredients, ie. only one vocal microphone needed, over a mainly acoustic band line-up of piano, trumpets, trombone, alto/tenor sax, clarinet, bass, and kit, with a second microphone for standup instrumental solos. Setting-up time would be strictly limited, as the band's performance was only one part of the evening programme, and with no time to spare, I would have to arrive all poshed up in my dinner jacket and black tie.

To cut a long story short, a number of things (including the carrier's van which should have delivered the EON system the previous day) went horribly wrong, and I found myself collecting the equipment from our office on my way to the venue. A brief moment of panic set in when Mick, our storeman, said 'your parcel's arrived', but the entire system had indeed arrived in a single large cardboard box and appeared to have been adequately protected against carrier abuse.

The speakers really are much lighter than they look, and can be carried one in each hand easily enough — the advertising material suggests that you leave this to your granny! The smooth grey cabinets are — for the soundest of acoustic reasons — rounded and somewhat irregular in shape, and whilst they would probably snuggle happily into the boot of your Morris Minor, they may not fit so easily into the traditional 'gear pile' wedged in the back of an Escort van. The shallow cardboard trays, in which the speakers had been packed face down, came in very useful here, and if re-created in a more durable material would make very useful transit cases. The mixer is very compact (about the same size as the instruction manual!) and is so light that Mick almost threw it away with the packaging! The really good news is that the whole lot fitted easily into the back of my small Citroen ZX estate, without having to fold down the rear seats — I was even able to pull the load cover across to keep out prying eyes.

TIME TO HALL BUT...

When I arrived at the hall, the evening's entertainment had already begun, and I was asked to set up the PA on stage so that when the band was to play, the curtain would open, and off we would go — simplicity itself. It occurred to me that this sort of application was exactly what JBL might have had in mind when they designed this system, and so, confident that years of product research and expert experience were surely on my side, I enlisted the help of our trombone player and set about connecting everything together.

From carrying in the component parts, still wrapped in plastic, to having everything in place and wired up, took less than ten minutes. Connecting everything together is simplicity itself — two microphone cables, two cables to the speakers, and three mains leads. It was obvious that there would be no opportunity for even a rudimentary sound check, so (following the advice in the big orange book) the level controls were conservatively set, and only the channel faders left down until the last possible moment. It just goes to underline the old adage that 'if all else fails, read the instructions', because it all worked just as it was supposed to from the moment the curtains opened and the musicians launched, most appropriately, into a medley based on 'Strike Up The Band'.

TAKING NOTES

The sound quality is, as you would expect from a manufacturer of this reputation, clean, clear, and controllable. All the mixer controls do just what you would expect, and the system is generally very well behaved and forgiving. The microphones sounded and felt fine, and the vocals came over the band with no trouble. The 15-inch bass speakers in the system were probably not tested to the full in this application, but there was certainly no lack of midrange power — I easily obtained a most acceptable sound on all the instrumental solos, having only to back off the low end for the tenor sax and boost the high EQ very slightly to give a bit more of an edge to the trumpet. There are no scale numbers on any of the mixer controls, giving the surface a clean, uncluttered no-nonsense look. The rotary controls are small but well-spaced, and the sliders felt quite smooth in operation. The only slightly disconcerting aspect of the mixer is its weight, or lack of it, and I felt inclined to hold it still with my other hand when unplugging cables.

The use of XLR connectors throughout the signal path is a welcome feature. This means that all the leads are interchangeable and extendable, and over the years, I have generally found cable-mounted XLRs to be mechanically reliable. Although it should be noted that if the mixer has to be set up at one side of the stage, you will need a fairly long signal lead to reach the speaker on the far side. Another point to remember when using a powered speaker setup is that a mains supply will be required on both sides of the stage.

"...I have never been packed up and ready to leave in such a short time after a gig!"

In my view, these speakers appear to be designed primarily for use with stands (as illustrated in the User Guide) as they are rather front-heavy and could be tipped forward without too much force when stood in their normal upright position, more especially so when stacked. When placed in 'monitor mode', they are much more stable, and the traditional practice of leaning spare PA cabinets against beer crates should quickly become a thing of the past.

The speakers' mains input sockets are located near the top of the cabinets, which means that cables of at least three metres (as supplied with the system) are needed to reach the floor when using stands. Even allowing for the lightness of the speakers, I would prefer to have someone on hand to assist with mounting and de-mounting them. I found that the built-in pole mounts were quite a bit wider than the diameter of my own Powerdrive stands, and the clamping screws had to take up a lot of slack and a certain amount of weight in order to hold the speakers upright.

It is also worth recording that I have never been packed up and ready to leave in such a short time after a gig! True, there weren't dozens of mic stands and leads to put away, but two of us took the entire system out to the car in just one trip — and I would have to admit to a certain sense of satisfaction as I drove away leaving the drummer still trudging in and out of the stage door.

OUT STANDING IN A FIELD

A couple of days later I set up the EON system in (literally) an open field trial, and fed it with various CD sources, including some Jurassic-type digital effects. The results were again clear and controllable, with plenty of clean highs and lows and a nice 'hi-fi' mid-range. For a full electric band line-up in the open air, a sub-woofer (for example, JBL's EON SUB/230) would provide some assistance at the very bottom end, but, as it stands, and in most sensible situations, this is a true full-range system.

A third and final test was to use the system at a rehearsal line-up of three-part vocals (two female, one male), acoustic guitar, double bass, and drum machine. The venue was a small hall, devoid of any audience and furnishings. In addition to the two JBL microphones, a Shure SM58 was used for the extra vocal part, and an SM57 placed close in front of the guitar. The vocals were clear enough across the range, although there was a noticeable difference in the sound of the SM58 compared with the JBLs, which exhibited a much more pronounced bass and top end response compared with the SM58's more compact sound. After a fair amount of mic swapping, it all (as ever) came down to a matter of personal taste, with the two female vocalists actually preferring the JBL for its 'bigger' sound. The guitarist asked for a 'bright and jangly' sound, which was easily achieved by heavy cutting on the low EQ with a more gentle treatment of the mid-range, and just a hint of top boost. The drum machine in use was a Yamaha PSS51, driven by Emagic Notator software, and fed into one of the mixer's stereo channels. The drum sound remained clean and well focused, even when driven fairly hard, and the 15-inch speakers delivered plenty of thump on the kick drum without any break-up apparent in the other parts.

THE ADS MINUS THE HYPE?

All in all, the EON Power System lived up to the manufacturer's advertising claims. The system literally took only a few minutes to assemble, sounded good, and the speakers especially look good in a distinctive, no-nonsense way. If I was using the system regularly for small club events, I would prefer a built-in reverb. JBL do make a selling point of the fact that all the system components are designed to work together and are perfectly matched etc, and given that many potential users (solo performers in particular) will want to add some reverb, then this philosophy could be extended to include a very basic integral unit having, say, just two settings. A final suggestion for the performer who has everything, is the addition of the EON 10P/230 ten-inch, bi-amped powered speaker used as a monitor, which would then give a truly comprehensive setup.

Compared with the alternative popular arrangement of powered mixer/passive speakers, the main advantage here is one of flexibility, in that the speakers can be used on their own. Another advantage is that the weight is more evenly distributed, as the power amplification is divided between the speakers — although each one therefore has to have its own power supply.

I personally didn't find the cabinets very easy to handle or store at first, but even after only three outings, they are beginning to grow on me, and the smooth polypropylene is certainly less destructive to my dinner jacket and hands than square wooden boxes. The user guide says that you can even sandpaper the finish if it becomes scuffed!

A final thought from our trombone player, who spends most of his daylight hours teaching music. He observed that this JBL system would be a splendid thing to have in establishments such as schools, colleges, hotel conference rooms etc. The fact that each speaker is completely self-contained and can be used with a direct microphone input means that the system could be shared between two small venues and brought together when needed.

Everything considered, if you need a serious, quality, portable sound system, which you can easily fit into the boot of your car and have up and running in minutes, JBL's EON system is certainly worth taking for a test drive.

1. Adjusts the level of the Input signal to match it to the mixer.

2. 'Shelving' high EQ, ie. boosts all frequencies above the nominal 12.5kHz operating point.

3. Peaking' mid-range control cuts or boosts only a range of frequencies centred on its 12.5kHz operating point.

4. 'Shelving' low frequency control, operating at 63Hz.

5. The Effects send auxiliary takes its feed after the channel fader, for sending to external effects.

6. The Monitor mix controls are independent of the fader settings.

7. Pan sets left/right positioning.

8. Channel fader controls the level sent to the main outputs.