Recording - March 2017 - 28

JBL Celebrates 70 years Of Monitor Design
different trends on the West Coast and the East Coast. But all over
LA, there were 4311s on the console tops.

improve the response of the mix position, just by tackling that one
dominant room node.

Let's skip ahead a bit... in the Nineties, JBL
was more focused on sound reinforcement and
installation, but with the LSR speakers in the
2000s, there was a real renaissance of popularity
of JBL speakers in a lot of small studios.

Jumping ahead even further, I'd like to talk about
the revolution that JBL has made with the 3
Series and 7 Series monitors-the M2 mastering speaker with its phenomenal sound and the
tremendous amount of technology that went into
the waveguides, that has translated down into the
LSR305 and 308, which are these extraordinarily affordable,
great-sounding speakers for small studios and home setups.

PC: The team here gets down to the micro level of what allows
us to provide better performance in the name of solving problems.
What are those problems? Sometimes we're looking for more output,
sometimes we're looking for lower distortion. But in the case of LSR,
we were attacking directivity and neutrality in the room, that
became a major battle cry. LSR actually stands for Linear
Spatial Reference, and what it means is that not just on axis,
but off axis, the speaker is a linear neutral reference.
MG: You have a broad sweet spot, a listening window,
where it's not just the guy right in front of the speaker, but it's
also the people on the left and right who are getting that same
sound. But all that energy that's being dumped in the room and
reflecting off the room's surfaces is causing secondary impressions in
your hearing... and that's a flat and smooth spectrum as well.
PC: The use of a waveguide and the marriage of the high frequency and low frequency drivers via a complementary crossover topology allows the response to be more linear in the
working space. It's the best chance for a speaker to deliver
neutral response in a broad range of spaces. The LSR
speaker line started with the 3-way LSR32...

You know, Peter, we actually have a set of the LSR32
prototypes here in the offices of Recording.
PC: Oh, get out!

They appeared on the cover of our magazine in 1998,
and they have been doing yeoman service ever
since. We've had them for almost 20 years.

PC: They're wonderful speakers. Launched in '98, and
we relaunched that line in 2004 as the 6300 Series. The
active models were, I believe, the first speakers introduced
to the market that had tools dedicated to compensating for the
effect of room modes. We call that RMC, Room Mode Correction.
In the 6300 Series, it was a manual process using a supplied
meter, a CD to help you find problems, and detented settings on
the back of the speaker that adjusted the speaker performance to
compensate for dominant room modes, whose effects have
long plagued engineers.
In 2005, we launched the first speaker with an automated measurement and calibration process-the
4300 Series, so named as an ode to the original 4310
and 4311. They measure the environment via a microphone plugged into one speaker while networked together
to share the mic. Then, using DSP, they automatically correct for
the low frequency anomalies in the room. We could significantly
28

RECORDING MARCH 2017

PC: In 2011 and 2012 we started a project to look at nextgeneration solutions. We have a very broad palette of transducers and we have a very broad palette of acoustic technology,
and we wanted to build a large-format flagship-a 2-way
monitor that could deliver much greater output and extended
response in a small footprint, doing the job of a large 3-way
or 4-way. That would be our "space program," and out of
that space program would come some new technologies that
we could use to develop speakers at a range of price points. They'd
perform better than anything we had done before, and-our expectation was-better than anything that existed in the market.
The result of that was the M2 Master Reference Monitor, a twoway 15" floor-standing speaker. It leverages every bit of new
technology that's happened in the last five years: particularly driver technology, and something called the D2-a
dual voice coil, dual diaphragm compression driver. But
the real magic in the system-and this is part of the space
program-was the waveguide.
If we go back to the concept of Linear Spatial Reference,
the key to achieving linear response from room to room, or at any
place in the room, is making sure that the speaker is delivering
natural response... not just on-axis but also off-axis. Typically you
can sit at the mix position and listen to a soffit-mounted system,
and if it's tuned properly, you'll hear all the frequencies.
But if you walk off to the side, you notice that the high
frequency in some rooms falls off, or the high-frequency
SPL can actually be greater at 2-4 kHz than on-axis.
Our new wave guide was invented by an engineer
named Charles Sprinkle, who had been working on this
for consumer products. We talked about it; could it solve our
problems in the studio? Charles said with excitement, "Well, it
should...!" And he developed one which was large enough to
carry the weight of the D2 compression driver.
We tried it, and as an ex-recording engineer, I wasn't used
to hearing what this system delivered, which was tremendous detail-depth, height in the imaging. And you could
walk almost anywhere in the room and hear the same
thing! Now the low frequencies would change because
the room itself was in control there... but for the high bass,
all the way up to the highest frequencies, you could be anywhere in the room, almost 60 degrees off-axis, and still hear what
somebody is hearing in front of the speaker. Frank Filipetti had



Table of Contents for the Digital Edition of Recording - March 2017

Contents
Recording - March 2017 - Intro
Recording - March 2017 - Cover1
Recording - March 2017 - Cover2
Recording - March 2017 - 1
Recording - March 2017 - 2
Recording - March 2017 - 3
Recording - March 2017 - 4
Recording - March 2017 - 5
Recording - March 2017 - Contents
Recording - March 2017 - 7
Recording - March 2017 - 8
Recording - March 2017 - 9
Recording - March 2017 - 10
Recording - March 2017 - 11
Recording - March 2017 - 12
Recording - March 2017 - 13
Recording - March 2017 - 14
Recording - March 2017 - 15
Recording - March 2017 - 16
Recording - March 2017 - 17
Recording - March 2017 - 18
Recording - March 2017 - 19
Recording - March 2017 - 20
Recording - March 2017 - 21
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Recording - March 2017 - 25
Recording - March 2017 - 26
Recording - March 2017 - 27
Recording - March 2017 - 28
Recording - March 2017 - 29
Recording - March 2017 - 30
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Recording - March 2017 - Cover3
Recording - March 2017 - Cover4
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