The words “portable sound system” can conjure up a lot of bad memories. Thankfully, the systems of today are far better than those of 15 years ago, and thanks to the new JBL SRX800-Series, they can sound great.
Portable setups have many demands on them, from the quality of the audio reproduction to the ease of connectivity to the ease of handling. Having hauled my share of portable systems around, I can attest to it. The SRX800 passive speakers are up to the task.
One Loudspeaker, Two Set Ups
The SRX800 line is available in both passive and active set ups. The active speakers are substantially more intricate with the premium JBL user-configurable DSP, V5 Tunings compatible with Vertec and VTX touring systems, and HiQnet Network control options via iOS and Android applications. They also allow for audio connections with XLR and TRS cables.
Contrast the active speakers with their passive line. Like its brother, it does include the touring-grade JBL transducers and enclosures and has full integration into Harman's HiQNet Audio Architect. Though passive, it includes having tunings and presets available for Crown I-Tech HD and XTI 2 amplifiers as well as dbx Venu360 signal processors to make up for the lack of on-board DSP. Also, in place of the XLR and TRS connection, it offers only a Neutrik Speak-on connection.
The passive series is available in three loudspeaker models. The SRX812 and SRX815 are two-way speakers with 12-inch and 15-inch woofers with JBL's Differential Drive Technology for reduced weight while maximizing power amp efficiency. They also use three-inch voice coils and dual ferrite drivers designed for low distortion and extended low-frequency response. The crossover frequency is at 1.9 kHz and they can also be run in bi-amp mode.
The 812 and 815 have one side angled for use as floor wedges. Although in-ear systems are all the rage, every tech should know how to set up and mix floor monitors.
The speakers have a 90x50 coverage pattern, a frequency response of 57Hz-20kHz, and a frequency range of 41Hz-20kHz. The system power rating is 2600W peak, 1300W program, and 650W continuous.
The third model, the SRX835 is mentioned on the JBL web site but the only details show the words Coming Soon. Based on the image, it appears to be a three-way speaker, but that's a guess. It could shoot confetti; I have no idea.
Putting on a live recording of Randall Williams' song, "Memories of East Texas," I stood in the sanctuary and closed my eyes. He was in the room.
A Look Inside
The model provided for testing was the SRX812. Upon opening the box, the presence of a non-conventional handle was clear. JBL claims to offer ergonomically designed handles for a non-fatiguing grip, and I'm happy to report they're successful. Pulling the speakers from the boxes and moving them around stage was easy and comfortable on the hands.
The enclosures are 18mm plywood with Obsidian Duraflex finish (black) with a powder-coated grille made of 14-gauge perforated steel with acoustically transparent black cloth backing. Considering the more grotesque portable speaker designs available, these look like they mean business. The speaker measures a respectable 16.87 x 16.31 x 25.11 inches (429mm x 415mm x 638mm), which is to be expected.
Speakers can be pole-mounted or use the 12 available M10 suspension points. In light of some questionable pole-mountings I've seen (a broom handle, for crying out load), please purchase professional-grade poles designed for mounting speakers.
Testing
The two SRX812s were placed on the stage in a 1,300-seat room, 35 feet apart to represent spacing expected in a venue running a portable system. Our church's standard in-house DSP settings were used, with a few minor adjustments. Our format is contemporary worship music and matched up well with what I'd be testing against. For building an ideal portable system, a DSP setting should be configured to work with a specific set of speakers and to meeting the audio requirements. Full disclosure: this was not the case for this part of our evaluation.
A single pair of these speakers did have the capacity to fill the whole 1,300-person room with sound, though with a congregation singing along, two speakers wouldn't have been enough.
The beamwidth of 90x50 provided good coverage for most portable venues. Having the two set up for such a room, walking the area within that expected size showed good coverage and frequency representation. When walking outside that beam, the reduced volume and frequency clarity was noticeable.
Six music tracks were played through our system and audio quality was judged accordingly. When judging sound quality, it's best to know the material being played—and to play a variety of genres to compare the sound to what is expected. I listen to all genres (except when driving with my wife).
The first test was with an audio track of comedian Jeff Allen. Might I add, the best jokes that sanctuary has ever heard. Allen's voice came through clear, and his voice is on the deeper gravelly side, so it was good to hear the clarity throughout several listening points in the room.
The next two tests jump to the electronic genre (house, techo, trance, etc.). Not necessarily common in a house of worship but a great way to test the clarity of low-end frequency reproduction. The first song sounded good, although as one might expect from a relatively small 12-inch, two-way loudspeaker, there was a noticeable lack of punch in the low end. The second, a song by Kill the Noise, had good low-end clarity. Because of the breadth of frequencies used in this genre and the musical arrangement, it was clear that the SRX812s were quite good, but a subwoofer would have helped.
The fourth test left me speechless. Putting on a live recording of Randall Williams' song, “Memories of East Texas,” I stood in the sanctuary and closed my eyes. He was in the room. The warmness of his voice flowed through the air. The sound of his acoustic guitar rang out. I opened my eyes and the stage, of course, was empty.
Fifth was the symphonic piece, “The Black Rider,” from Lord of the Rings. About 1:10 into the song the tone turns dark and the song fills with heavy chants, low strings, and woodwinds. Again, as one might expect from a relatively small two-way system, the frequency response charts (main tuning and speech) for the SRX812s show a steep roll-off below 60 Hz, and it was noticeable in this song. They are pretty flat from around 100 Hz to 20kHz except for a slight dip at 900 Hz and 16 kHz.
Church audio systems, even portables, are used for everything from the spoken word to music to performances. A fact many of us know, and we find ourselves tested on it at least once a year when we get a request for something out of the ordinary. The SRX812s are two-way speakers and that design does present limitations.
The sixth and final test was designed for testing the style of music heard in contemporary churches. Instead of going with current music from Hillsong, Chris Tomlin, or Crowder, I went with my all-time favorite. As the speakers pumped out the classic Michael W. Smith song “Agnes Dei,” I listened intently for the song's musical nuances. It sounded good—really good.
A Wrap
Overall, the audio reproduction was excellent with both clear speech and warm mids and highs heard through the music samples. However, it seemed the low-end quality depended on the type of music. For acoustic and contemporary Christian genres, the lows were good. Putting it to the test with other styles showed its limitations.
JBL states, on its product page, that the speakers are good for a “light-duty main PA.” I like the clarity in the mid-range for the spoken word and the sound of the mid-range and higher frequencies for music. Add in the upcoming SRX818S subwoofer and the pairing would make this an excellent portable loudspeaker system.
