ProAudio Review - April 2008 - (Page 44)

BROADCAST | REVIEW by Rob Tavaglione (using RJ45 connectors), a series of six dipswitches (for switching polarity and settings for digital inputs), an IEC power connector, and five LEDs indicating input selection. For further detail on the construction, design, and theory behind the LSR monitors, please see Russ Long's excellent and thorough review for PAR (found online and in both October 2006 print and digital editions). With such an understanding of the LSR system and the RMC calibration, I was set to disassemble my current 2.1 system, a pair of Event 20/20 nearfields and accompanying 20/20/15, 15inch, 250-watt RMS woofer. This system was comparable to the JBLs in many ways — internal biamplification, similar amounts of RMS power to the drivers, same driver sizes (except for the larger sub) and even tweeter construction (1-inch soft-dome silk) which had been a primary factor in selecting the 20/20s (a nonfatiguing top end is quite important to me). | IN USE Upon first powering up, the LSR4328s indicated that RMC calibration had not yet been performed, but I proceeded to do some listening anyway. Without the 4312 sub, the 4328s were full and admirable in their bass, but not fully extended in their response. Selecting Bass Management on my remote control engaged the sub, kicking in more of that below-60 Hz information I'm so finicky about; it completed the sonic picture for me. Engineers with smaller control rooms than my 17 x 25-foot space may find the 4312 sub unnecessary, especially if they are not frequently working on music with ample low-frequency information. This review is not aimed however at such applications, but indeed maximization of the control room experience, as close to a flat 20 Hz to 20 kHz as I can get. [From the manufacturer: “Although the LSR4328P and LSR4326P are flat to 50Hz and 55Hz, respectively, we recommend a subwoofer for any size room. Smaller rooms that do not have real bass traps may be more susJBL continues on page 46 ➤ JBL LSR4312SP Linear Spatial Reference Powered Subwoofer Room control, low frequency performance make LSR subwoofer ideal for studio use. The LSR 4300 series of monitors from JBL — including the 4326 and 4328 with 6- and 8-inch woofers, respectively — have been widely praised for their sound quality and modernistic networking features. They first gained my attention in 2006, when I test-drove a 4328 pair (sans sub) and found the monitors quite pleasing in both timbre and construction. I thought the RMC (Room Mode Correction, JBL's system of reducing low-frequency room resonances) was interesting, but ultimately useless to me as I had a 15-inch powered sub from another manufacturer that could not be controlled by the software. Philosophically and practically, I insisted on full-range monitoring, so I knew that I had to wait until JBL had an LSR sub that could truly complete the system. This brings us to today. | FEATURES The LSR 4312SP is the logical extension of the previous LSR models in every way. Matching in material and design, this selfpowered, 450-watt RMS, forward-firing, bottom-ported subwoofer (12-inch woofer, selfshielded, neodymium motor structure, response -6 dB at 27 Hz, -10 dB at 24 Hz, 116 dB continuous SPL) incorporates into Harman's HiQnet protocol, allowing adjustment of the sub's volume, bass management and RMC selection from either your computer or the supplied remote control. All of these controls are also found on the front panel of the 4312, which is simplistically attractive with its grill-free design and “soft touch” rubberpaint surface. The 4312 measures 19.75 inches high x 16 inches wide x 19.5 inches deep, and has an MSRP of $1,139. The rear panel is where the 4312's many I/O's are contained, including six analog inputs (L, C, R, LS, RS, and LFE) on XLRs (and their accompanying XLR pass-thru outputs), twochannel AES/EBU I/O, and, finally, S/PDIF in and out. There are two balanced quarter-inch inputs on the Left and Right inputs only, as well as a -10 dB gain selector at the LFE input. Additionally, there are two HiQnet connections APPLICATIONS Studio, project studio, audio post, and broadcast recording and mixing environments KEY FEATURES I/O includes six analog inputs (L, C, R, LS, RS and LFE) on XLRs (and their accompanying XLR pass-thru outputs), AES/EBU I/O, S/PDIF I/O, two quarter-inch inputs (L/R only); 10 dB gain selector at LFE in; two HiQnet connections with RJ45 connectors; six dipswitches (for switching polarity and crossover point), an IEC power connector, and five LEDs indicating input selection; measures 19.75 inches high x 16 inches wide x 19.5 inches deep PRICE $1,139 list CONTACT JBL Professional | ☎ 818-894-8850 ➲ www.jblpro.com/LSR 44 | ProAudio Review | April 2008 Subscribe to the Digital Edition of Pro Audio Review http://www.myparmag.com www.proaudioreview.com http://www.jblpro.com/LSR http://www.proaudioreview.com http://www.myparmag.com

Table of Contents Feed for the Digital Edition of ProAudio Review - April 2008

ProAudio Review - April 2008 Contents A Little More Recognition Please Studio News and New Products API 1608 16-Channel Analog Console TASCAM X-48 Digital Audio Workstation SSL Matrix Super Analogue Console Toft Audio Design Series ATB Analog Console KRK Systems Exposé E8B Powered Monitor Broadcast News and New Products ZOOM H2 Portable Digital Recorder Producing Surround Sound at 50th Grammy Awards JBL LSR4312SP Linear Spatial Reference Powered Subwoofer Audio Production For Gaming Euphonix S5 Fusion Digital Post Production Console NAB Hot Gear Soundcraft Vi6 Digital Live Production Console Go To A Show! Contracting News and New Products Studio Consoles Studio Wireless Microphones Alicia Keys “Superwoman”

ProAudio Review - April 2008

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