Review of JBL Array 1000 Speaker at the RMAF 2008 Audio ShowHi All,
Just got back from the Rocky Mountain Audio Fest and thought I would share my impressions of the JBL 1000 Array speakers we used for our demo at the show. This was a dealer show so my dealer in Denver (Beyond Audio Video) was displaying Bryston with JBL and I was just there to help out with Bryston and Torus questions.
The room was the typical emptied out hotel bedroom about 18 feet by 12 feet and we had the speakers on the short wall about 6 feet into the room. The speakers were about 8 feet apart and the sweet spot was a chair about 8 feet from the speakers and 4 feet from the back wall.
The electronics utilized were the Bryston CD Player’s XLR digital out to the Bryston External DAC XLR in. The DAC XLR Stereo Balanced out feeding the BP-26 Balanced XLR stereo inputs then Balanced outputs on the BP-26 to the Balanced inputs on the Bryston 28B’s. The sensitivity switch on the 28B’s was set to 2 Volts.
The JBL 1000 Array’s are a 3 way system (compression midrange and tweeter horn with dynamic paper cone woofer) and reasonably efficient at 89 dB. The 89 surprised me a little because Horn systems typically fall into the very high efficiency ratings of 102-104 dB. I assume the sensitivity is a function of matching the compression horns (midrange and tweeters) to the standard 10 inch cone woofer. The 1000 Array features newly designed Bi-Radial horn compression drivers mounted vertically in a freestanding configuration (no box). This design was chosen to eliminate enclosure diffraction effects to provide more stable imaging, along with a wider, more three-dimensional soundstage.
http://jblonstagesupport.com/home/products/product_detail.aspx?prod=1000%20ARRAY%20BG&Language=ENG&Country=US&Region=USA&cat=BFS&ser=PTSOK, enough with the technical!
The first thing you notice when listening to the Array 1000’s is the incredible DYNAMIC range … it is really something. The first thing I thought of was ‘man’ these are the exact opposite of my 2905 Quads. The macro and micro dynamics (dynamic contrasts) are there with a passion. I have owned Horn speakers in the past (Klipsch and Avantgarde) and was always aware of their ability to sound effortless when it came to dynamics but not having listened to horns for a while you tend to forget how vibrant they really can be. The concern I have with most horn systems is that although they are capable of incredible dynamic output on the plus side of the ledger, the negative side of the ledger was always the coloration typical of most horn systems. By coloration I mean that ‘throaty sound’ that makes you feel the voices and instruments are coming at you though cupped hands. It’s a function of the horn size and material used and will vary in intensity from system to system. I was also surprised to learn that the crossover point between the woofer and the mid horn was 900 Hz. This is fairly high up and one would assume that having the crossover point so high would affect the voice quality (voice fundamentals start at about 250 Hz). Most 3-way loudspeakers I am aware of crossover from a 10 inch woofer to the midrange at about 400 Hz. The reason you want the crossover between the woofer and the mid in a 3-way system as low as possible is that it is difficult to get the fundamental frequencies and all the related harmonics of that frequency to integrate seamlessly using two distinct drivers with different radiation and material characteristics. Also the midrange to tweeter crossover on the 1000 Array is at 8000 Hz which is higher up than most 3-ways by over a full octave.
I have to say though that the sonic integration of the three drivers was excellent. There is still a bit of the so called ‘throatiness’ but to a much less extent than other horns systems I have heard. Male and female vocals were well defined and believable. One recording we had (courtesy of a show attendee) was a commonly used recording of a vocal group called the ‘FairChild Four.’ This is a recording of 4 distinct voices spread across the sound stage and everyone, without fail, said it was the best they had ever heard this recording reproduced. The bass was also very well delineated and had great punch and control with no sense of detachment from the rest of the sonic picture. The ‘electronic techno’ music with repetitive bass lines had excellent transient control. At no time did I feel we needed a sub to flesh out the extreme low end. There were times when I felt the male and female vocals where a bit too chesty to the point where the voice sounded contained within the speaker but I am really nitpicking at this point.
The speaker also has a great soundstage. You assume a horn would tend to ‘beam’ or ‘project’ the sound at you to the point where the soundstage size shrinks in comparison to more typical wide dispersion dome midrange drivers. Not the 1000 Array’s – the stage was deep and wide with no sense that the sound was coming at you from that strange looking little metal structure on the top of the box. The stage started at the speaker and move back and away from you. Interesting side point was that if we set the sensitivity switch on the back of the 28B’s to 1 Volt the stage moved forward a bit which was interesting as some listeners preferred the more up-front sound.
Jazz recordings sounded absolutely superb. You kind of expect it with a horn system though as brass instruments have a presence, clarity and resonance through horn speakers that tell you they definitely share the same family heritage. Big band was BIG and BOLD. Saxophone and trumpet were ‘in the room’ with an incredible sense of air moving through brass. One jazz recording of a bass clarinet had to be heard to be believed.
But, and I can not stress this enough, the aspect I admired most about the 1000 was the sheer ‘joy of listening’. This speaker has the ability to draw you in big time. Talk about toe-tapping ability. The sound has an immediacy which reminds one of live venues. Many times when you listen to a speaker or audio system (especially if your involved in the audio business as I am) you find yourself assessing the merits of the system rather than feeling the system. I was in a room for 3 whole days with Jay Paul Apodaca my 35 year old (just a kid) Denver dealer and he has eclectic tastes in music to say the least. I found myself totally sucked into these new musical experiences. My old tried and true demo disc’s also sound great but the experience of hearing totally alien music and enjoying the experience was enlightening. I found myself just getting into it rather than assessing or evaluating. I hated to leave after 3 days!
So how does this JBL 1000 Array fit in to the plethora of loudspeakers on the market? If your listening experiences with ‘live’ performances is mainly with ‘amplified’ music then there is a very close approximation of texture, dynamics and tonal balance when listening to the 1000’s. If your main experiences with live performance is ‘acoustical’ in nature (unamplified classical concert halls or intimate unamplified close up listening) you may find the JBL’s a little too ‘commercial’ sounding. For me I have a pair on order and l‘m excited about putting them up against my Quads, Maggies, and Thiels in a more familiar setting.
james
