Compact Line-array systems so far have a proven track record with small acoustic acts and singer songwriters, but you’re unlikely to see one of those systems used as a traditional PA for bands, DJs, and ensembles
PRX ONE is designed to bring compact line-array technology to those who may have asked themselves the same questions, but how does it stack up against a traditional PA? What are the pros and cons of each system and can the PRX ONE (which you can carry with one arm) finally replace that van full of gear?
So let’s start with a shopping list. If you wanted a high-quality PA with modern appointments including signal processing such as compressors, graphic EQs, effects etc, what would you need to buy?
*/** You could of course use a digital mixer to cover all of those areas – but they do come at a cost and many performers choose to use analogue components instead.
The above is a fairly standard PA setup that you might find in bars, clubs, and pubs being used by performers up and down the country. It would weigh over 100kg, take 30 minutes to put together at the venue, and would need at least 6 trips to and from the car upon arrival at the venue.
So, if you wanted all of the same features as the system above but in a compact, line array column speaker, what would you need to buy?
And that’s it! The PRX is your subwoofer, high-powered tops, digital mixer, effects processor, and even speaker pole all folded into a package small enough for your car boot.
I’m sure you’re still sceptical... so let’s break down the technical differences between the two solutions and discuss how PRX ONE stacks up against a traditional system.
So how can a skinny speaker column go toe to toe with a big traditional PA system?
The idiom of many hands make light work is surprisingly applicable when it comes to speakers and live sound reinforcement. When you go to a music festival nowadays, you often see big curved arrays of multiple speakers on each side of the stage rather than a single, Marty McFly-sized speaker aiming into the crowd – the same principle applies to the PRX ONE vs traditional PA systems.
PRX ONE works like the festival line array technology by positioning its multiple speaker drivers to cover specific areas of the audience. Drivers towards the bottom of the array cater for the immediate audience, whereas drivers towards the top cater for audience members further back – each is carefully calibrated, tuned, and timed to provide consistent volume and coverage throughout your audience/adoring fans. By coupling multiple drivers together you also get a key benefit of line arrays with less loss of level over distance compared to a point source box.
A point-source speaker, like those found in powered tops, blast sound out from it’s center from a single point– hitting the front row with maximum volume and petering out towards the back row. “Can you hear me at the back?” You cry, “...not with that traditional PA we can’t” they respond...
Another key difference between a column speaker and a standard point source box is the dispersion. Dispersion is a measure of the pattern in which the sound emits from the speaker and is generally measured in degrees. A typical point-source speaker has 90° horizontal dispersion – that means the audience members standing 45° off axis from the speaker will still be able to hear a representative audio signal.
Step beyond that and the sound will begin to sound distant and lack high-end. PRX ONE has a horizontal coverage of 130° which means people standing 65° off axis from the speaker will still be able to hear everything clearly. This also applies in the vertical axis.
So a standard point source box is 50° vertically, whereas the PRX ONE (and column speakers in general) has a much narrower vertical dispersion of 30°. The great benefit of this is your focusing more of your output level over a narrower area. This means you get better direct sound, as well as less noise/reflection from the room with sound firing up into the ceiling (who wants to waste energy up there!). PRX ONE achieves this by using its unique A.I.M. technology to make sure that the vertical frequency response is consistent.
With a wider coverage and a more consistent volume front to back of the audience in comparison to a traditional PA, the PRX ONE will simply provide more even sound in terms of volume and frequency response to a larger audience – without deafening the front row!
Typically, speakers boasting a ‘built-in’ mixer usually feature something that doesn't resemble any mixing console we’ve ever used - they’re rarely something you could use to run a gig!
That’s not the case with the PRX ONE however! Featuring a 7 channel Soundcraft-designed digital mixer, it has more than enough mix power to effortlessly process, refine, and perfect the sound of microphones and instruments connected to it.
It features compression and EQ on every channel, Feedback Suppression, Sub Harmonic Synthesis, Reverb, Delay, Chorus, and a Limiter that you can use to shape your mix and make you sound your best. But more than that, this processing is genuine processing from legendary brands such as dbx, Lexicon, and Soundcraft. Effects at this quality level would cost an arm and a leg to match in the analogue domain and it’s actually impossible to do in digital unless you’re JBL and part of the Harman family!
With a traditional PA, this level of high-end functionality and processing power is only achievable with a digital mixer or analogue console alongside a 19" rack full of outboard processing – not traditionally car boot-friendly!
With connectivity including 4 XLR Combi inputs (For Mic, Line, or Hi-Z instruments), 2x ¼" line inputs, a stereo 1/8” auxiliary input, and even Bluetooth streaming, you can easily connect a small band/ensemble up to the PRX ONE and mix the performance wirelessly using a tablet. JBL have even made creating the mix easier thanks to built-in presets on every channel.
It’s easy to downsize a PA, but how do you do so without losing quality, volume, and impact? Is the PRX ONE the answer?
As we've covered, PRX ONE emits sound further, wider, and more consistently around the venue than a traditional PA and does it so efficiently that it doesn’t rely on sheer volume from the front. With a low frequency response of 35Hz and a maximum SPL of 130dB, the PRX ONE would easily have enough juice to get the party rocking at any small to medium-sized venue. Having only a single 12” Bass Reflex subwoofer might also be an advantage. Using two subwoofers in a small environment like many do can lead to issues with phase cancellation, power alleys and general acoustic irregularities interfering with the low-end.
A single PRX ONE however actually provides a more even low-end coverage across the audience plane as there will be less influence on standing waves and room nodes to cause havoc with your low end. And of course, with its much wider dispersion, it can cover the same size audience horizontally as two speakers either side of stage.
Ultimately, the beauty of any compact line array like the PRX ONE is its ability to be dismantled and in your car in seconds... long before your drummer has even loosened his first cymbal collar! When you combine that ease of portability with the power you are getting from such a small device the PRX ONE certainly packs a punch and is should certainly a consideration if you’re a DJ, Band, Solo Act or Ensemble looking for something compact but with serious power! Less time setting up means more time performing and less time packing away means more time at the bar.
This new blog is presented by the team at Sound Technology Ltd, a leading distributor of musical instruments and pro audio equipment in the UK and ROI.
