Ever notice how things just keep getting smarter? It seems like most every device these days has a computer "brain" buried somewhere inside it. Now even loudspeakers, which used to be among the least sophisticated components in any sound system, are sporting more electronics and digital logic than yesteryear's scientific calculator.
JBL's EVO sound system is among the "smartest" audio equipment money can buy, boasting self-powered speakers that track down and eliminate feedback, set their own EQ, adjust their sound for volume and component temperature, and even communicate with an outboard controller over a standard mic cable. This is the pinnacle of sound system EVOlution, as JBL puts it, and they may not be far from the mark.
The System, The Centerpiece
JBL designed the complete EVO system ($11,499 list) to be a turnkey solution for auditoriums, churches, clubs, and other venues up to 500 seats. The emphasis with EVO is on integration, automation, ease-of-setup and ease-of-use. Folks will pay a little more, so the reasoning goes, for a system guaranteed to connect up and sound excellent right out of the box.
The EVO system includes a pair of EVOi.324 speakers, the EVOi.net controller with calibrated setup microphone, 16x4 Mixer Station mixer, mixer patch cables, two complete UHF wireless mic systems, six handheld dynamic microphones, four boom mic stands and nine mic cables. To say JBL has covered all the bases would be an understatement-while opening the EVO packaging, one may be surprised to not find boxes labeled "Music Minister," "Sound Engineer" and "Worship Band."
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| Besides powered speakers, mixing console and microphones, the JBL EVO system features a built-in Lexicon effects processor, selectable EQ settings, two complete wireless microphone systems, feedback suppressor and much more. |
Though not quite "self-aware" (as JBL put it), the real centerpiece of the EVO system is the EVOi.324 speaker itself. It weighs just 65 pounds and stands about 40 inches tall, but the EVOi.324 is packed with big sound and plenty of big ideas. Each molded plastic enclosure holds two 14-inch drivers, one reproducing bass frequencies and the other covering bass and mid frequencies. These dual-voice coil drivers use an ultra-efficient neodymium magnet assembly, allowing them to shed 80% of the weight of a traditional magnet structure while handling twice the power.
Between the bass/mid drivers sits a large-format horn (three-inch voice coil) with a similar lightweight neodymium magnet structure. This horn is mounted to an aluminum waveguide integrated into the speaker's front baffle. Dispersion from the horn matches that of the cabinet itself-80 degrees in both the horizontal and vertical axes.
Building such a compact, light speaker with these components is impressive enough. JBL went a step further, however, and loaded the EVOi.324 with 1,300 peaks watts of internal amplification. Each 14-inch driver has its own 600-watt (330-watt continuous) class-D digital amplifier, and the horn has a 100-watt (50-watt continuous) amplifier. These amplifiers will drive a single EVOi.324 to sound pressure levels of greater than 120 dB. A switch-mode digital power supply eliminates the heavy transformer, and greatly increases the efficiency of the EVOi.324's electronics.
The simplicity of the EVOi.324's back panel hides the complexity beneath-a single XLR input, IEC power cable connector and green LED are all you'll find there. A large, smooth aluminum panel acts as the amplifiers' heat sink. A round aluminum bar spans the back panel, acting as a convenient handle (complete with foam grip). Hardware for suspending the cabinets is included, as well as adjustable feet for free-standing use.
What you don't see when looking at the EVOi.324 is all the internal digital signal processing (DSP). Thermal modeling allows the speaker to know how hard its components are being driven, as well as how much heat they're producing. It can then compensate to maintain consistent sound over the speaker's full operating range. These functions work whether or not the speaker is attached to the EVOi.net controller.
The EVOi.net controller is the key to unlocking the real power of the EVOi.324's DSP. Unlike systems that require special data communication cabling, the JBL controller uses BiDAT (bi-directional data over audio transceiver) technology to communicate with the speaker directly on the XLR audio cable.
With the controller connected, the EVOi.324 will detect and suppress feedback with six "fixed" and six floating notch filters. The EVOi.324 will change its sound with four EQ presets-Neutral, Speech, Music I and Music II. The speaker will even generate pink noise and run a full diagnostic self-test.
Attach the calibrated condenser mic (provided) to the EVOi.net controller, and the EVOi.324 will analyze its frequency response in the room and adjust for flattest output. This "Auto EQ" curve is superimposed over the chosen EQ preset. If a long hall or venue requires a rear speaker cluster to cover the furthest listeners, the rear EVOi.324s will configure themselves for the proper delay time and level. Achieving these optimized speaker settings, which could take an hour or more with a traditional system, is as simple as pressing a few buttons on the front of the EVOi.net controller.
Though most users of the EVO system will leave the controller in place, the EVOi.324 speakers retain all settings after the controller has been removed (only the floating feedback suppression is disabled). Any balanced audio source capable of +10 dBm levels will then drive the EVO speakers to their maximum output with the appropriate auto EQ curve, EQ preset, fixed feedback suppression, delay time and delay speaker level intact.
Mixer, Mics and More
The EVOi.sys part of the EVO system includes everything beyond the speakers and the EVOi.net controller. Much of the EVOi.sys gear is packed into a small rack enclosure that carries the mixer, wireless mic receivers and speaker controller. A single power supply powers all this equipment, and there's even room inside the enclosure for all eight of the EVO system's mics.
The EVO system's 16x4 audio mixer offers 16 input channels, a main stereo bus and stereo subgroup bus. Each input channels offers a 1/4-inch line input, XLR mic input, direct output for recording and insert point. Controls include input trim (no pad switch); switchable 100 Hz high-pass filter for eliminating rumble and wind noise; 3-band EQ; four auxiliary sends; mute, solo and assign switches; and a smooth 100-mm fader.
In addition to the 16 channel inputs, the EVO mixer offers four stereo returns. You can mix these returns into the main stereo output or sub output, as well as Aux 1 or Aux 2. A stereo two-track input is handy for playing back music into the main or sub outputs, but you can't route the two-track signal to the stage monitors.
One very nice feature on the EVO mixer is its built-in Lexicon effects processor, which is permanently assigned to the Aux 4 send. You can choose from 16 different effects programs with the twist of a knob, and each program offers two user-adjustable parameters. User changes to the parameters are stored and recalled automatically when you return to a previously altered program. A footswitch jack allows muting of the effect.
Effects programs include gated, room, plate, hall and chamber reverbs; chorus; delay; echo; and several dual-effect programs (delay and bright plate, for example). The two editable parameters depend on the program, with most offering control over reverb or delay time and effect timbre. Changing one of these involves pushing the appropriate PARAM 1 or PARAM 2 button and rotating the parameter adjust knob (a two-handed operation). A ring of red LED's around the parameter knob shows the current setting.
Other niceties on the mixer include true 48-volt phantom power, inserts on both the submix bus and stereo master bus, stereo monitor output and headphone jack (each with its own level control). AFL (after fader listen) buttons on each of the aux outputs let you solo up the mix being sent to that output; the Aux 4 AFL button lets you hear and see the signal level going to the internal effects processor. It's good to keep close tabs on this level, as the effects unit can return quite a lot of noise to the mix if it's not getting a strong enough input signal.
JBL didn't skimp on the wired EVO microphones, partnering with a well-known Austrian manufacturer for all the system's mics (hint: three-letter acronym, starts with "A"). The six wired mics are all of the handheld dynamic variety, with supercardioid pickup pattern and frequency response optimized for vocals. The same high-quality element appears in the handheld wireless mic.
EVO includes two wireless mics, one handheld and one lavalier belt pack. The latter uses a compact condenser element with extended frequency response and omnidirectional pattern. The lav also includes clothing clip and tie pin, and a versatile belt clip that will hold the transmitter four different ways.
Apart from the differences in physical configuration, the two wireless mics share much in common. Both operate in the UHF band, and both offer 15 switch-selectable frequencies. A small gain knob allows adjustment of audio signal level from the diaphragm, and companding noise reduction improves noise performance. A plastic cover protects mic mute and power switches from accidental movement. Both operate around eight hours on a pair of AA batteries.
The UHF receivers are simple but functional, with two LED's tracking RF (radio) level and AF (audio) level instead of full multi-element meters. Recessed knobs on the front panel allow adjustment of squelch, receiver channel and output level. The true diversity system switches automatically between the receiver's two small front-mounted antennas to reduce dropouts. These antennas rotate, but do not extend. Audio output is on 1/4-inch unbalanced jack (line level) or balanced XLR jack with mic/line level switch.
Rounding out the EVO system are the four boom microphone stands and nine microphone cables. These components are rarely included in such packages, and their presence here is a nice touch. Again, JBL was generous with the mic cables-six are 50 feet in length, and the other three are 100-footers. The longer mic cables are for the run between the mixer and the two speakers, as well as between the controller and setup microphone.
Impressions
With so much functionality packed into one system, it would be easy to fill this whole magazine with observations about the EVO's setup and operation. Since that isn't practical, we'll hit on some of the most notable aspects of the system's performance.
First off, the most important aspect of any sound system-its sound. Suffice to say EVO has the clear, full, confident sound of a truly professional-quality system. The EVOi.324 speaker's frequency response is broad and flat, with excellent treble "air" and good bass response into all but the deepest register.
This absence of very deep bass isn't much of a surprise when you consider two factors: 1) the relatively small volume of the cabinet, and 2) what JBL calls a 14-inch woofer in the EVO doesn't offer much functional area beyond that of a 12-inch driver. Hence adding a subwoofer makes a definite improvement in the EVO's sound, but a sub won't be a must-have for most church applications. At this price point, though, throwing in a powered subwoofer would have been a very nice gesture.
Perhaps most impressive is the system's ability to adjust its frequency response to match the room with one push of the Auto EQ button, and then enhance that response with a push of the EQ Select button. In Neutral mode, the EVO system has the uncolored, natural sound of a flat speaker. Speech mode emphasizes mid and presence frequencies for improved intelligibility. The Music I and Music II presets really make the system come to life, adding deep bass, mid-bass and treble in different proportions. The end result is a wonderful "hi-fi" character that complements live bands and pre-recorded music alike.
Systems that sound great at moderate volumes are relatively easy to come by; those that still sound great when pushed hard are considerably tougher to find. Thanks to excellent design and active thermal modeling, EVO sounds fundamentally the same whether it's idling at 80 dB SPL or rattling the light fixtures at 120 dB. Only a slight increase in top-end "shrillness" reveals that the speaker is working hard.
It's worth noting that the EVO speaker's Class-D power amps put out roughly the same amount of heat-which is quite a lot-regardless of how hard they're being driven. Parts of the speaker's aluminum back panel are too hot to touch after the speaker has been on for a few hours.
As those who push the EVO system hard will learn, the speaker benefits from a very clean, transparent limiter. It controls peaks with minimal artifacts, allowing the speaker to deliver a few more dB at the upper limit of its output range.
Aesthetically, the EVOi.324 speaker has a clean, classy look. The speaker is available in white or black, and can be readily painted. Options for hanging EVO speakers are numerous, including hanging them vertically or horizontally, using an Omni-Mount system, and more.
Though the EVOi.324 speakers and EVOi.net controller "steal the show" where the EVO system is concerned, some other parts of the package are very nice as well. The EVO mixer (essentially a Soundcraft Spirit FX16) offers excellent sound and plenty of flexibility for smaller churches. Its only real shortcoming is its inability to route the two-track return to the monitors for performance background tracks.
The mixer's built-in Lexicon effects unit is first-rate, with thick, versatile reverb algorithms and useful delay and chorus effects. The Lexicon effects sound so good, one can almost forgive them for making parameter adjustment a two-handed operation.
In the wired mic department, EVO scores high marks. The supercardioid dynamic EVO mic offers good gain before feedback, and has a strong output (thanks to high sensitivity). Sound character of the EVO mic is very flattering to male and female voices alike-its top end is open and very clear, with an almost condenser-like quality. Resistance to handling noise and breath "pops" is very good.
The EVO's handheld wireless mic uses the same AKG element as the wired mics, so its sonic character is a perfect match. Unfortunately, the mic's construction leaves much to be desired. It's plastic barrel looks and feels cheap, and results in a fair amount of handling noise.
Getting at the mic's mute and power switches requires unscrewing the lower part of the case, removing a plastic ring and reattaching the case section. This leaves an ugly gap in the mic's barrel. Once revealed, the mic's switches are poorly labeled and tricky to operate. Factor in the mic's rather unimpressive range as tested, and you've got what is easily the weakest part of the EVO system.
Somewhat better is the belt-pack wireless lavalier mic-though mostly plastic, it has a higher-quality feel than the handheld mic. A swiveling cover protects the mic's mute and power switches from accidental movement, and the mic's switches are somewhat easier to operate. The supplied AKG lavalier element is a high-quality omnidirectional condenser with a crisp, balanced sound.
EVOlution in the Church
The benefits of self-powered speakers have been known for years; now JBL is introducing us to the advantages of speakers with both brains and braun. In short, EVO uses cutting-edge technology to deliver a sound system that's easy to set up, simple to operate and offers excellent audio quality.
The EVO system has a few weak spots (the handheld wireless mic, for example), but the EVOi.324 speakers and EVOi.net controller are certainly not among them. With the speakers priced at $3,499 each and the controller at $999, the real stars of the EVO system can be had for well under $8,000. This may seem steep at first blush, but considering all the system is capable of-from feedback suppression to automatic EQ-makes the high price point more easily justified.
Are there other self-powered speakers out there that can rival EVO's sound at a lower price point? You bet. Are there any that offer as much automation, convenience and innate processing power? Not yet.
Churches looking to stay on the cutting edge of speaker technology should definitely give this system some serious consideration. With EVO, JBL appears to have taken us to the next level in loudspeaker EVOlution.
