Is your band finally ready to take to the stage and get your music out there? Well, you're going to need to invest in some quality live sound equipment. Okay, we know that PA gear isn't as sexy as a new electric guitar, bass, or drum kit, but it is a big part of your live sound - arguably the most important. Luckily, you'll be able to hit the road running, as Sweetwater is currently offering up to 35% off a range of live sound equipment.

It may seem strange, but all of us at MusicRadar get excited when we see a sale focusing purely on live sound gear - not because we are crazy into large black boxes, but because it means local bands can instantly improve their sound without draining the band bank account.

One of the best deals we've spotted in this mega sale is $804 off the ever-popular Midas M32R Live digital mixer. As well as 16-channel faders and one master fader, you also get a pre-installed Klark Teknik DN32-LIVE expansion module, which gives you 32 channels of recording and playback. If you've had your eye on the Midas M32 but really need a more portable solution, this could be the mixer for you!

Next up is $125 off the Mackie Thump215XT. This modern PA speaker is incredibly versatile. It can be used as a stand-alone system for the budding singer-songwriter; a pair could easily be used as the front-of-house speakers for a full band; and, when turned on their side, they could even be used as monitors.

We've also spotted a cracking offer on the Samson mics, which gets you two outstanding mics for only $299. We're big fans of Samson microphones at MusicRadar. For us, they offer pretty great value for money, and sound great too.

Obviously, that's not all that's on offer, so it's worth taking the time to browse through the entire Live Sound Month sale to see if your band could use any of the items on offer. You have until 31 March to grab a bargain.

Related buyer's guides 

• Best vocal mics: vocal microphones for the studio and stage
• Protect your hearing with the best earplugs for musicians
• The best in-ear monitors: IEMs to suit all budgets
• The 10 best consoles for live mixing: gig-ready boards

Guitarists spend a lot of time thinking about electric guitars, thinking about amps, thinking about which overdrive pedal is going to be the one that unlocks everything for them, revealing the tone they have been seeking all these years.

It might be no exaggeration to say that we can often spend as much time thinking about about this as we do playing. Josh Middleton, frontman/guitarist of Sylosis can relate. He’s been there, too.

But speaking to MusicRadar about the UK metal stalwarts’ forthcoming album, The New Flesh, out 20 February via Nuclear Blast, Middleton says we should be paying more attention to our guitar speakers – because that’s where your tone lives or dies.

“The speakers are so important when it comes to like a good tone,” he says. “Because you can have a great amp, but if the speaker sucks, it won’t sound good, whereas you can have an okay amp and an amazing speaker, and you’ll get a better sound.”

And it just so happens that Middleton has a great cabinet loaded with four great speakers. This oversized Mesa/Boogie 4x12 is pretty special, and no small amount of research went into sourcing it. Middleton has former Periphery bassist and now progressive metal über-producer/engineer Adam ‘Nolly’ Getgood to thank for it.

“It’s from the year 2000. Quite nerdy info, but it was my friend Nolly, who I actually bought the cab off,” says Middleton. “He was into looking at serial numbers and stuff, and we were really obsessed with all these old Andy Sneap productions from back in the day, and he spoke to Andy Sneap, and this cab is one serial number way from Andy Sneap’s.”

Andy Sneap, for the uninitiated, is the co-founder of and guitarist of UK thrash icons Sabbat guitarist, whose History Of A Time To Come (1988) remains an unimpeachable genre classic, and who has gone on to become one of metal’s most respected producers, with credits including Amon Amarth, Judas Priest, Megadeth and more.

Sneap’s body of work, whether engineering/mixing or as producer, is a big influence on Middleton and how he produces Sylosis.

This cab, coming off the Mesa/Boogie production line next to Sneap’s in 2000, loaded with four Celestion V30 12” drivers, is the secret sauce. “It has the sound of all the stuff I grew up listening to,” says Middleton.

Speaking to Guitar World in 2020, Middleton admitted that he had fallen down the rabbit hole when it comes to speakers. And as any speaker geek worth their salt will tell you, not all are created equal – and sometimes the same make and model will vary in quality from year to year.

“I’ve gotten really nerdy about ages of speakers,” he told Guitar World in 2020. “There was a period where V30s where sounding incredible in Mesa cabs, between 2000 and 2005.”

This is the cabinet we hear on The New Flesh. Middleton’s rig was simple. He used his ESP/LTD JM-1 signature guitar, a Horizon-esque double-cut loaded with a pair of Fishman Fluence Modern humbuckers.

There was his trusty Maxon OD-808 doing its Tube Screamer thing. All this was going into a Peavey 6505 (“with barely any mids!”), into the cab…

But there’s a catch. What Middleton used for the recording was an impulse (IR) response of the cabinet, a precise engineered virtual capture of the cabinet and the Shure SM57 and Sennheiser MD 421 microphones in front of it. It sounds exactly the same, only it allowed Middleton to record his guitar parts at home and still stay on speaking terms with the neighbours.

“It’s my cab and it is how it would sound, but I moved house since doing the last record and I don’t have a home studio,” he says. “I just couldn’t make noise at home – and tracking guitars is loud!”

Middleton makes a great point. For all the time spent obsessing over the brands of strings we use, our electric guitar pickups, making sure we have the best quality guitar cables we can afford (still important), speakers arguably get the short end of the stick.

If you have a 1x12” cabinet, be it standalone or in a combo, it can be a relatively cheap mod (you’d pay about 150 bucks for a Celestion V30 these days), and not that difficult to do at home.

Just remember to follow the instructions carefully, unplug the amp first, match polarity and impedances and, if swapping out a speaker on a tube amp, let the tubes cool down first and don’t turn it back on until the speaker has been installed (that load has to go somewhere... Also don't be opening the chassis – there's no need, there are lethal voltages, and that's a job for the pros).

But a 4x12” is a more considerable investment, and that’s where the digital transformation of guitar gear offers players options. Sure, you can use your quote/unquote real amp, keep that pedalboard stocked, but with IRs readily available – and cheap – you don’t have to be limited anymore.

And maybe, after all this time, what was really missing from your metal rhythm tone was an IR for an early 2000s over-sized Mesa/Boogie slanted cab loaded with V30s.

You can read our full interview with Josh Middleton, coming soon to MusicRadar.

When, late last year, Popumusic announced PartyStudio - “the world’s first wireless MIDI synthesizer speaker” - the obvious question was: why?

After all, ‘the world’ has been getting along just fine up to now with synths/keyboards that either have speakers built in or need to be connected to an external speaker setup. Do we really need a third option?

Seeking answers - and with the PartyStudio now being the subject of a Kickstarter crowdfunding campaign - we decided to find out.

Get this party started

Our PartyStudio came bundled with the PartyKeys - a 36-note Bluetooth-compatible MIDI keyboard that lights up (it looks not dissimilar to Roli’s Lumi) so that, in certain modes, you can see which notes you should be playing. This ‘Music Expert Package’ can currently be bought/pledged on Kickstarter for $528, which is a pretty hefty investment. If you just want the speaker, you can pledge a minimum of $299, while the keyboard on its own is $199.

Both speaker and keyboard have built-in rechargeable batteries, and getting them working together is just about as simple as it could possibly be. With both units powered on, and their lights dancing, you just need to hold their respective NFC tap zones together and wait for the connection to happen.

As soon as this is done, you can start playing the 128 built-in sounds, which are solid rather than spectacular. Think ‘90s GM sound module’ - you get a little bit of everything (pianos, organs, guitars, synths, brass, woodwind, FX etc) at a workhorse level.

You can scroll through these using one of the two top-mounted push dials. What this controls depends on where you’ve positioned the corresponding slider - you can also adjust the part’s volume and transpose it in semitones.

A tap of this dial takes you into Play & Sing mode, which only works if you have the companion keyboard. Here, the keyboard is divided into a one-octave chord selection area at the bottom and a two-octave playing area. Press a root note with your left hand and the keys will light up to show which notes to play with your right to create the chord.

A second push-dial on the top of the speaker is used to operate the rhythm machine. This offers 50 patterns and several great-sounding kits (both acoustic and electronic) and, in terms of being a practising companion, is the PartyStudio’s biggest highlight. You have the option of adding fills just by tapping the dial, which is a nice touch.

For the drums, the slider selector also enables you to reconfigure the dial to control the volume and BPM of your beat, and as with all other modes, info is displayed on the front-mounted touchscreen (tapping this reveals further options). Dragging the edge of this to the left or right adjusts the overall volume.

There’s also a further ‘Exploration button’ on the top of the screen, which allows you to access PartyStudio’s setup and configuration settings.

With 70W of power (via two 10-watt high-frequency drivers, two 25-watt mid-low speakers and a rear passive radiator) the PartyStudio has enough oomph to fill a small-to-medium sized room, though it does lose a bit of detail when you really push it loud. What’s more, the vibrations from the bass port are such that you need to make sure the device is on a firm footing or the sound can distort a little.

As you’d expect, you can also use the PartyStudio as a standard portable Bluetooth speaker - one that sounds a cut above many that we’ve heard, it’s worth saying - so you can stream music from your phone to jam along with or just listen to.

What makes this a PartyStudio, though? That’d be the fact that you can connect up to three wireless MIDI devices, with each being capable of playing a different sound. There’s also a further USB MIDI connection round the back - it’s hidden under a very snugly fitting rubber cover that also conceals a USB-C App connection socket and a 3.5mm audio output - meaning that an additional wired keyboard can be connected as well.

You can navigate through each keyboard’s parts on the touchscreen, with colour coding being used to differentiate them and each having its own settings. As such, you can create your own PartyStudio ‘band’ - providing you have enough compatible keyboards, that is.

The life of the party?

Which brings us back to that original question: why the PartyStudio? If you’re on the hunt for a decent (and powerful) portable Bluetooth speaker anyway and quite fancy having some playable stock keyboard sounds and serviceable drum patterns built into it, then it sort of makes sense, but where things get tricker is when you start to compare it to the many portable keyboards that are available. They might not have such powerful built-in speakers, but there are loads of options out there if you just want basic sounds and rhythms, and many of them come at a fraction of the cost of the PartyStudio.

And then there’s the question of whether your keyboard sound source really needs to be in the speaker. Yes, this does mean that you can connect a wireless MIDI keyboard and play with low-latency, but to get the most out of the PartyStudio you need to be in reach of its controls anyway (to change sounds and rhythms, etc), so being wireless doesn’t feel like a massive advantage (unless you also have the PartyKeys, that is, as this enables you to to make certain setting changes via a combination of button and key presses).

There are also a few things that we feel the PartyStudio is missing. A wider selection of sounds would be much appreciated and, although the acoustic and electronic drum kits sound pretty good, a greater variety of patterns feels like a must.

Finally, there’s currently no option to record anything on the unit itself. Having a phrase recorder of some sort (ideally with an overdubbing option) would make the PartyStudio a far more appealing proposition, as you’d be able to get bass and drum grooves going (for example) and then jam over the top of them with another keyboard sound. Better yet, there could have been an analogue audio input on the back so your guitarist mate could have plugged in and played along, too.

On the plus side, the PartyStudio does have OTA update support, and Popumusic assures us that more sounds and rhythms will be added in due course. If this happens and a few other tweaks are made, the device might start to really deliver on its potential.

If you want to join the party right now, you can do so by heading over to the PartyStudio Kickstarter page and making a pledge. The campaign has already reached its funding target, and ends on 16 January. The PartyStudio will be shipping from next month.

What is it?

IK Multimedia has led the way in studio speaker technology, especially with its iLoud Micro monitors, which have proven that bigger does not always mean best, and redefining what you can expect from small monitors. They were some of the first true micro studio monitor releases, and are still going strong in Pro form.

The company’s bigger iLoud Precision range was released in late 2022 and was an attempt to enter the higher-end studio monitor market, with three in the range: the 5 and 6 two-way active speakers and the MTM three-way. This range has now been updated to MKII, and we have the new middle Precision 6 on test here.

All the models feature an updated version of IK’s ARC room calibration system, so the speakers can be tailored to your studio (see below), and you get an ARC microphone included to set this up. With specs right up there with pro monitors, and this additional technology updated, the new MKIIs look set to pick up from where their predecessors left off, but, incredibly, for quite a bit less outlay.

Performance

The Precision 6 MkIIs have a very similar feel to the originals, with a very solid design and quality construction. They feature lots of connections, including a combi line input and an input for the ARC mic. There’s USB (for the software) plus manual frequency tweaking by way of three frequency switches, one of which extends the bass down to 39Hz.

Plenty of options, then, and when you tie these in with the ARC system, you have speakers that should slot in any studio, from a casual setup to a pro suite. Four isolation pods are included with each speaker to help cut down vibration when in place.

Without the room calibration system engaged, we found the speakers to be pretty good right out of the box. Close monitoring revealed a tight and punchy response which initially lacked some low end, but we tweaked the LF extension to 50Hz and then Full to experiment, and setting up is always going to be a personal process.

Trusted mixes are the way to go, and auditioning some of our latest with the MkIIs was a revealing process. Again, before calibration, we noted a forward low mid – something we often experience in our room – a flat mid-range and quite a vibrant high end, possibly thanks to the newly designed tweeter (which reduces distortion), or again down to our room.

The imaging was fantastic, with a wide response making it super easy to pick out mix elements that were getting lost on our reference speakers. After calibration – a process that takes around 20 minutes – some of the high-end forwardness was removed, but not to the detriment of the mix, as it certainly felt flatter and more accurate. At the low-mid end, that perceived forwardness was also reduced, and the bass felt much tighter and was the most noticeable result of the process – and very much needed!

Differences can be subtle, though, so, depending on your room, calibration might not at first deliver obvious results, but it should translate to your mixes. In our case, mixes sounded fuller at the higher end and tighter in the bass region as we weren’t overcompensating, so a very good result all round.

Overall, the ARC system has improved notably since the last iteration – although it is a little lengthier to carry out. The speakers themselves seem more polished in their sound and more refined – detail in the mix was evident, and the soundstage was wide. They sounded excellent before, if we’re honest, and after ARC, just tighter and controlled. We’re not claiming too much extra drama, but certainly more polish.

Interestingly, ARC X also allows you to set your speakers up to emulate the response of 20 sets of famous studio speakers, including obvious yellow coned KRKs and white Yamahas, plus many more obvious and not-so-obvious brands. This will be a useful tool if you have your own favourites, as you can then set the IKs up to emulate all of their foibles, but its main use will be to allow you to test your working mix on emulations of other speaker systems, so it’s a very useful feature indeed.

Verdict

The original Mk 1 Precision 6s were more expensive (at around £999 each) but still made all the right noises to our ears, so to get a tighter response, updated room correction software, and other new specs for less outlay, is obviously a no-brainer.

However, the studio monitor market has never been hotter, with so many models vying for your cash and that cash being relatively low compared to even five years ago – technology is moving at such a pace in this market that you are now getting the quality of £5k-10k speakers for less than two.

So you’d be wise to check out our roundup of the best studio monitors before you take the plunge, but you can rest easy that these Precisions will feature prominently in future ‘best of’ features. They offer superb technology for the money, and even though they might seem expensive for IK products – a company that has always boasted value in both hardware and software – these are exceptionally well priced for what they deliver.

It is the case that with studio monitors, the more expensive ones do deliver more, but nowadays it’s only a fraction of what it might have been a decade ago. These Precision 6s, for example, are snapping at the heels of speakers that cost much more (see our alternatives), and while they might not hit 100%, you’re getting mid-90s for 20% of the cost! Or at least that is one way of looking at it (especially if you have the kind of gear FOMO that we have, where constant upgrading can get in the way of actual music making).

Whatever your perspective, though, these are a great, if not overly dramatic, update to IK’s Precision range and are yet another nail in the coffin of expensive studio monitors. When it comes to arguably the most important items in your recording studio, the iLoud Precision range proves that you really can get pro-quality results at semi-pro cash.

The ARC X software

Room correction software is the latest and greatest 21st-century innovation for studio monitors. It essentially allows your speakers to self-adjust according to the acoustic character of your room, so if your studio is particularly boomy, for example, they will counter this by removing frequencies in that range. You then hear a flatter response, so you don’t over-compensate (in this case by removing the frequencies pre correction) to result in a lifeless mix.

To set the analysis up, you use the supplied microphone in different positions and then record the speakers spitting out a test tone that covers the complete frequency range. Depending on what the mic picks up, the speakers then compensate for peaks and troughs.

You set up your room/speaker layout, adjust levels and the mic input (you can use other measuring mics), and then perform the test. In practice, the process is very easy – we had it set up and testing in 20 minutes – especially with the latest ARC X update to the software (free to download via the IK app and also available as a plugin) that ‘monitors’ in three dimensions, as you now set the microphone up at different heights.

The results appear as two main lines – blue for how the speakers were and orange for the calibrated response (which should be flatter). You’ll hear more of a difference if your room is perhaps not set up so well acoustically in the first place. Ours, for example, had severe troughs at the lower mids that we are aware of, and the system picked them up.

ARC X is a big improvement over the original software, with lots of extras we haven’t covered, and is well worth checking out if you are an IK owner or not.

Hands-on demos

ikmultimedia

Alternatives

Specifications

What is it?

Fiio is best known for its portable audio products such as IEMs and the R7 desktop streamer. Its first desktop monitor, the SP3, caused quite a stir, and we now have their new larger SP5 on the test bench.

The SP5 is a rear ported two-way desktop-sized nearfield and is available in black or white. Built around a 5.25” composite fibre LF driver and 1” silk dome tweeter, the SP5 features a die-cast aluminium enclosure. It also employs a primary and secondary speaker configuration, so is accordingly sold in pairs. Unlike many of the primary/secondary style speakers, however, each SP5 unit has its own twin class-D amplification (60W LF, 20W HF) and its own mains power connector.

The two-part die-cast aluminium enclosure is somewhat reminiscent of Genelec’s smaller speakers, such as the 8030C. Even so, and much like the SP3, the SP5 has a very distinctive ribbed surface finish. This is both stylish and eye-catching, but does seem an odd choice for the wave guide area, which on most speakers is smooth.

The SP5 has an impressive selection of inputs, including analogue (phono, mini jack, XLR), USB (up to 96kHz) and Bluetooth 5.1, and supports a wide choice of high-resolution Bluetooth codecs. It also includes a dedicated handheld remote control for switching sources and adjusting volume. You can also pair your mobile device via Bluetooth and use Fiio’s multi-device control app.

In terms of onboard controls, there’s a front panel multifunction push button encoder with a multicoloured halo. This is used for source selection, on/off and volume. Meanwhile, on the back, you have three mini switch EQ options (bass, treble and low bass) as well as a USB-C connector, RJ45 ethernet connector, ground lift and channel select (left/right). This switch selects whether the primary speaker is the right channel (the default) or the left channel.

Performance

The SP5 enclosure is weighty and has heavy-duty integrated rubberised feet, which we found ideal for desktop or meter bridge positioning. That said, there’s no tilting facility and you also won’t find any stand mounting points, both of which are limitations.

Connecting up the SP5 depends somewhat on which audio connections you’re using. In most cases you connect your stereo source to the primary speaker, and use the enclosed phono to phono cable to supply the secondary speaker. For an XLR connection you connect directly to each speaker. Whichever connections you use, the speakers also need to be connected via the included Ethernet cable. This allows control of both monitors from the primary unit.

For testing, we positioned the SP5 pair directly on our desktop, connecting them up via phono, USB and Bluetooth. Selecting the audio source requires referencing the manual, which explains the various halo colours. Alternatively, and much simpler, is to grab the included remote, which has dedicated source selection buttons.

Sonically, we found the SP5 did need a bit of breaking in and sounded quite brittle out of the box. With a few hours on the clock and with flat EQ settings, it clearly has a pronounced mid-range and sounds quite light in the low frequencies. However, the stereo image is good and the sweet spot quite broad. Nevertheless, we did feel the need to increase the low frequencies, selecting both the +3dB bass setting and the 50Hz low boost, which is a compensatory curve designed to help extend the very low frequency delivery. In contrast, we found the higher frequencies good in the flat setting. With these settings, we achieved a workable monitoring balance. That said, and much like a number of smaller nearfields, the low mid frequencies feel lacking. Couple this with the very forward mid-range, which we found quite fatiguing on guitar-heavy music, and we feel the SP5 lacks a bit of finesse.

Verdict

The SP5 is a pretty capable desktop nearfield, and its input flexibility and control options give it very broad appeal. It’s not cheap, however, and faces some stiff competition from a number of more established brands.

Alternatives

Specifications

I probably lust after music gear more than most. Yes, of course I realise that it's not just about the hardware or software you use that makes your music great, and that your creativity, imagination and musical chops are the main factors that open the doors up to successful music making. But as I lack all three of those, I more than make up for it by buying gear, and if I can get the same gear that my heroes use, then all the better.

My particular heroes started out as Kraftwerk, after seeing them at the Hammersmith Odeon in 1981, at the tender age of just 14. That gig changed my life and put me on a path to writing about synths, bands, synth bands, and more synths, which I've been following for the last four decades. And when I met/stalked the band's co-founder, Florian Schneider, at Superbooth a few years ago, I told him just that, during the only conversation I have ever had with a famous musician where I would describe myself as resembling a giddy teenager. (Luckily, security was called and I was led off before I could make too much of a fool of myself.)

So when Florian died in 2022, I wrote this about him, and when an auction of many of his possessions took place this month, including a wide array of instruments and studio gear, I was the first to turn up, credit card in hand. The only problem was, it was my first ever auction, and it would end both brilliantly (gear) and terribly (bank balance).

“Never meet your heroes,” they say. That's wrong, they've all been lovely. They should have said, “never buy your heroes' gear” instead.

To say I got a little overexcited is an understatement. This article is the result, not only because I learned some hard lessons so you don't have to, but because I've had to un-retire, thanks to the bill I now have to pay. So here's the story of how I went to an auction to buy some studio chairs, but came back with loads of the contents of a legend’s studio instead.

Starting sensibly

A wise auction goer – which I thought I was to start with – goes through the entire auction catalogue and decides way before what items to focus on. And with more than 450 in this case, there was a lot to get my head around.

The first ever synthesizer that Kraftwerk bought, an EMS Synthi A Suitcase, was an obvious target, but had a selling estimate of between $15 and £20k, well out of my price range.

So I set my sights on some cheaper items, in what can only be called a random scattergun approach that covered drum machines, synths, outboard gear, even mixers. I recently sold a lot of studio gear so pretty much have to start again from scratch, so why not use some of an ex-Kraftwerk member's gear to do just that, I thought?

This meant I was looking at simple 16-channel mixers, controller keyboards, even sunglasses that lit up (yes, really). As an ex-middle-aged-man in lycra, I even considered a road bike (from the band's Tour De France video), but not the VW Camper that ended up selling for over $40k.

The sensible point I am trying to make is that I plan to actually use the gear, something that Schneider wanted to happen to all of his equipment after he passed away.

So far so good. I made a list of some 43 items I was interested in, even putting my maximum bid next to each. I also chose a couple of items I thought only I would be interested in, including four studio chairs with a sleek, industrial design, that were used in Kraftwerk's legendary Kling Klang Studio. How much closer to the band could you get than by having something each of them sat on while recording?

Before the auction started, then, I was armed with a budget, a list, and some maximum bids. The auction was streamed live with – thankfully – an auctioneer who didn't talk like those ones that sell livestock. The process was clear, calm and collected. Unfortunately, I wasn't.

One… two…

I first realised that things would go too far north price wise when a 1930s Telefunken Volks-Trautonium Pre-Synthesizer sold for $38,400, well above its top estimate of $7k. And that Synthi A? Well that went for $115,000, trouncing its maximum estimate of $20k.

By this time I was also annoyed that I hadn't gone for Schneider's oscilloscope, which appeared in several early pictures of him like this one on the back of the Ralf & Florian album.

That went for a shade under $4k, a price that would eventually seem reasonable in the grand scheme of this auction. Instead, I thought I would take a stab at one of the vocoders that Kraftwerk used – after all, Kraftwerk pretty much invented the robot voice, so these could be fabulous buys. That thought quickly evaporated when one went for a mere $256,000.

Now was the time not to panic so of course, I did, although thankfully the auction would end up being around six hours long and it would be some time before my next targets came up: three drum machines which I had put a £3k limit on each, not expecting them to get close.

The first, a 1979 Korg Rhythm 55, sold for $4,500, and the TR-606 for $4k. That left a Korg KPR-77, which Vintage Synth Explorer kindly describes as a '606 wannabe', but I snapped it up in my first purchase for $2k. Even though they sell for a fraction of that, it is an analogue drum machine from the '80s that Kraftwerk used, and it was half the price of the others, so I was feeling OK. Yes, I'm putting a positive spin on things.

Price wise, things were now getting even tougher. Those 16-channel mixers I mentioned sold for $900 and $1,500, way above my $600 maximum bid. Luckily, no-one seemed to notice a third one sitting in a studio rack lot that I did manage to get for around $1,700 – one of the few items to sell under its estimate – and that also included two other effects and a Yamaha FM synth.

At this point I was happy with my lots. I pretty much had what I wanted: a drum machine, synth and a mixer, albeit not quite the classic gear you'd necessarily associate with the big K. Perhaps I should have departed at this point with a relatively decent bank balance still intact.

Then it went crazy

Prices started to go sky-high after this, with a short wave radio I had my eye on selling for over $10,000, and a couple of Korg PS synths that I had fantasised about getting shifting for around $20k each. Then the 'Ruhe' electric Kling Klang 'Recording' studio sign (which I had thought would be popular) sold for nearly $20k while the studio clock – another item I thought I could snaffle up while no-one noticed – sold for $16,000.

Even a dentist's chair, one of many odd items to feature (including a giant plastic fly) sold for $1,600, although that is about the price of a filling in the UK now, so could be considered 'a bit of an earner'.

Then it was time for the studio chairs. I wanted them so much I even broke my own 'maximum bid' rule, but, alas, was unfortunately outbid by another eagle-eyed studio boffin. After a promising start, things were starting to go wrong.

The next item to catch my eye was a 1950s filter, but that went for over $5k. After way too many saxophones, we arrived at three sets of studio speakers, two of which were actually employed at Kling Klang and have appeared in a couple of rare KK photos.

The first, a set of cinema-style speakers, sold for close to $30k, so I wasn't too confident on my target, some classic JBLs that the band used in Kling Klang from 1980 onwards. However, by this time, I was panicking that I didn't have any actual Kling Klang gear, so when these stalled at my maximum bid, I bought them.

The lesson here is to check the size of the gear you buy… before you buy it. At 80kg a piece and a metre tall, these are not your average nearfields, and will likely cost the same again to ship them to me, but with second-hand prices for the individual speakers being anywhere between $5k and $10k I still think I might have got a bargain, although ask me again once they have arrived.

Synths!

And so we actually get to the point of what I wanted: a synth. Yes, I'd bought a TX81z as part of that rack lot, but that FM module is hardly a Moog is it? Luckily, there were two further options that I was targeting. The first was a reverse key Korg Poly 800, an 8-voice polyphonic analogue synth that is a hidden gem to my ears, and sells for silly money (as in silly cheap). Importantly, it was also the first synth I ever played back in the '80s, so to get Schneider's would be a full circle moment for me, and in more ways than one. Luckily, it snuck in at just under my maximum bid so I managed to get it.

Finally, I had Schneider's Roland XP-80 as my last synth target. Again, this is an undervalued beast, basically a Jupiter 8 in rack form. With those synths selling for anything north of $10k, I was willing to go up to $6k but managed to get it for $4.5k (plus fees).

Lessons learnt?

I ended up with three synths, two pieces of outboard gear, a mixer and some (very large) speakers – a haul that could be construed as a studio, of sorts. Yes, I'd clearly overpaid for some items, and possibly underpaid for some, but there's a big BUT coming right at you… or me. Fees are the killer. In this case you had to add a mighty 28% on top of the selling price for the auction fees, and then there's the small matter of getting the stuff shipped. I've spent a lot, well into five figures from my pension pot. That might increase rapidly with Trump's tariffs and those shipping fees.

I'd say, then, that buying gear from any auction can be a way to snap up bargains, but you need to factor in all of those extras before deciding on your maximum bid – in this case basically doubling the sale price – to get that gear to you.

Obviously, the iconic ex-owner is going to be a future factor in these prices, and is likely only to add value, but in this case, I am also finding comfort in the fact that Schneider wanted his gear used, and I will certainly do just that, even though my pension has vastly diminished and I might end up on the streets busking with it.

Oh, and if you fancy some enormous speakers…

We’ve seen plenty of synths with built-in speakers, but how about a speaker that has a built-in synth? That’s the seemingly unlikely premise of Popumusic PartyStudio, which is billed as “the world’s first wireless MIDI synthesizer speaker.”

It sounds like a crazy idea, but if you think about it, it does make a certain amount of sense. Assuming you’ve got a Bluetooth MIDI keyboard that can run on battery power (which, we’ll admit, is a bit of an assumption) all you need to do is pair this to the PartyStudio and you can start playing. “No complicated setups. No software. No cables. Just play,” is the tagline.

There shouldn’t be any issues with latency (under 16ms, according to Popumusic), as the audio itself is being played directly from the speaker. What’s more, you can link up to three wireless MIDI devices simultaneously, each triggering a different sound, which opens up the possibility of multiple people jamming together. You can also use one additional cabled MIDI connection if you’re not completely wedded to the idea of being 100% wireless.

The possible downside is that there are only 128 sounds (we suspect some kind of General MIDI offering), but these should cover the ‘stock’ bases (piano, strings, synth, guitar, etc) and Popustudio suggests that more sounds could be added via over-the-air Wi-Fi updates. There’s also a built-in drum machine with 50 rhythm patterns and customisable tones, which means that the PartyStudio could be a practice tool.

When it comes to control, Popumusic has chosen to keep things simple: two knobs, two buttons, two switches and a touchscreen. This isn’t one for hands-on tweaking, then, but that’s not really the point.

The speaker itself has 70 watts of power courtesy of two 10-watt high-frequency drivers, two 25-watt mid-low speakers and a rear passive radiator. In keeping with the ‘party’ vibe, there’s also a light-up colour strip that pulses with your music. There's a built-in rechargeable battery that we're told has a life of up to eight hours.

The PartyStudio has an official price of $499 but is set to launch on Kickstarter soon for the early-bird price of $299. Find out more on the Popumusic website.

After 60 years of blasting out stadiums worldwide, Marshall is bringing its distinctive sound skills and styling a little closer to home.

Say hello to their Heston 120, the legendary wall-of-sound maker’s first altogether more civilised foray into the high-fidelity world of soundbars. Yes, expect less of the ear-shredding SPL and more of the room-filling DSP as it promises to bring "a long-awaited rock 'n' roll flair" to the living room audio market.

In this day and age of ever thinner TVs with increasingly vanishing frames the need for a decent pair of speakers has never been more vital. And, aiming to capitalise on its reputation for both high fidelity and old school rock ‘n’ roll styling, Marshall reckons that it's come up with the ultimate package that any music or movie fan will love.

First of all there’s that sound, with Marshall promising that the Heston will deliver deep, rich, and clear sound audio, complete with a powerful bass that belies its slim styling. Its soundbar has been tuned for low frequencies, producing lifelike audio, and special effects for a big impact.

Plus, the Heston 120 can cope with whatever hi-tech sound standards you throw at it being both Dolby Atmos and DTS-X compatible and fitted with 11 individual speaker drivers aimed in different directions to more precisely place surround sound anywhere within your room.

And adding one to your TV couldn’t be simpler with a single HDMI eARC connection to your TV or home cinema amp, or add one to your streaming music setup with HDMI pass-through. And, of course, if you simply want to blast out of your phone, Bluetooth is included.

Luxe Familiar

The whole thing looks more than a little like a shrunken Marshall amp head with the same knurled metal knobs, wraparound leather-style tolex and a brushed metal front panel that you might find on one of its legendary cab-top myth makers.

And should things get a little too rock 'n' roll next time you’re busting out Loose Women, Marshall assures us that – just like its road-worn, long-life, heavyweight amp brethren – the Heston 120 is completely repairable with replaceable parts.

Rather more hi-tech, however, is the Heston’s range of digitally signal processed audio moods, including Music, Movie, Night and Voice, each finetuned to spin a subtle EQ to better present your chosen entertainment. And should the idea of walking over to tweak its amp-inspired easy-access volume and tone knobs be a little too much like the old days, you can sit back and take control via the Marshall app instead.

The app will even listen to your room during the Heston’s simple setup procedure, eliminating the need for a front-of-house sound guy.

Plexi and you know it

“We know that soundbar owners use their soundbar to listen to music, yet most soundbars are not built for both music and TV. This gave us a reason to exist and an opportunity to really shine with our legacy in music and audio” says Anders Olsson, Senior Product Manager at Marshall Group.

“We spent hundreds of hours finetuning Heston 120. It was important to us that we spent equal time and effort on both TV and music, not one over the other. Everything inside is tailored and engineered to have very specific roles to give you an optimal audio experience, no matter what you’re watching or listening to,” added Ed Camphor, Audio Technology and Tuning Lead at Marshall Group.

I believe in a thing called cash

And to better announce its new home-focused, retro-inspired speaker, Marshall has dipped into the mists of time to pull out Dan and Justin Hawkins of The Darkness, who welcome viewers of a new YouTube video into their Heston 120-equipped home for a nostalgic rejig through old MTV Cribs territory.

And should MTV’s turn-of-the-century, through-the-keyhole glimpse into the homes of the rich and famous have passed you by, don’t worry: Marshall has even squeezed in an appearance by the hot-right-now Nova Twins. Phew.

“We had a blast inviting Marshall into our home. No one has ever seen where the Hawkins bros live - Justin and I are basically hermits, living in total silence (apart from when we listen to our majestic Marshall soundbars that fill every room),” offers Dan Hawkins.

Thunder approaching…

While we’re certain that Marshall can keep the Hawkins brothers happy as regards audio fidelity, there's the small matter of those that love lots of bass. Fret not: The Heston Sub 200 subwoofer is coming later this year, alongside a more affordable stripped down Heston 60.

Heston 120 is available for pre-order now and will go on sale on 3 June on the Marshall website and be at select retailers including Currys from 16 September. It’s yours for £900.

We’ve all wanted the neighbours to turn the volume down from time to time. Well, at Essigfabrik, a DJ and live venue in Cologne, Germany, the management has no choice but to go completely silent.

Incredibly, the venue has just had its entire sound system – worth over €100,000 and weighing several tons – lifted from under its nose.

The absence of the venue’s complete soundsystem mercifully wasn’t discovered by a resident DJ or band but came to the attention of its cleaners who, upon arriving for to the usual pre-gig ashtray and latrine duties on Monday, arrived to find that something else had been cleaned out…

It’s believed that the world’s heaviest theft took place between 9:30 am Sunday morning and 10:30 am Monday morning.

Needless to say the now absent system was entirely bespoke to the venue, comprising multiple speakers and amplifiers, with their reflections and delays fine-tuned to sync and to sound great within the popular leisure space. Its cost (and the value of the venue’s loss) is estimated as being over €100,000.

"I assume that the burglars either had no idea or knew exactly what they were doing," the venue’s managing director Sergeo Sotric told local paper Kölner Stadt-Anzeiger. “Due to its size and complexity, the system cannot be dismantled by laypeople and, above all, is difficult to sell.”

A "Hollywood-worthy" crime

Sotric has left it to police to determine whether the system was “stolen to order” but does not rule out the possibility that it may already have been transported to Eastern Europe, where they have "no access” before assessing the scale of the break-in as being "Hollywood-worthy”.

Essigfabrik – which translates to "vinegar factory" – has a capacity of 1,200 and serves as a DJ and band venue, having hosted Trentemøller, Truncate and Young Fathers in recent years.

But fear not if you were heading to Essigfabrik tonight. The venue has been successful in borrowing an alternative system and will be continuing ‘business as usual’ with its planned program of DJ sets and live appearances.

Upcoming gigs from Caliban and Tarja Turunen will not be affected, the venue promised.

Police believe that the system was carefully dismantled on-site and then removed in a van. Or, presumably, multiple vans given the size and weight of the items involved.

So if your neighbour’s van just went up in smoke and they’ve started playing their music a little louder than they used to, please be sure to call the proper authorities.

A question often raised by music producers is, “Do subwoofers really make a difference?” Quickly followed by “Do I need one?” and then, “If so, which one should I buy?

In short, yes, subwoofers do make a difference, and the chances are you will probably need one. If you’re producing music for a live environment, creating sound design or post-production for any visual medium, then you need a sub. The next step is ascertaining what size works best for you and how it will fit into your existing monitoring setup.

Luckily for you, Kali Audio has two options for you to choose from and deciding which one works best for you couldn't be simpler.

The current subwoofer range from the Californian speaker maker, AKA Project Watts, consists of the WS-6.2 and the WS-12. Both models share similar features and the same Kali Audio DNA, but there are some big differences you should consider before making a purchase.

Before we dive into choosing which one is right for you, let’s take a quick glance at the main features of each model:

How big is your space?

The two main areas to look at here are the size of the room or studio and your current monitoring setup.

If you operate mostly in stereo, your studio is on the smaller side, with space at a premium, then the WS-6.2 is the sensible choice. Here, your existing monitoring setup is most likely to consist of a pair of nearfield two-way monitors with driver sizes up to eight inches making the WS-6.2 an ideal pairing.

However, if you have larger nearfield and perhaps midfield monitors, or you’re primarily dealing with multichannel audio and therefore a larger studio space, then go for the WS-12. Nice and simple, but there’s more…

Another consideration is how a sub will fit into your existing monitoring setup. Connecting a pair of monitors to either the WS-6.2 or WS-12 is easy; you’ll just need some extra cables. Both models feature the same stereo XLR/TRS combi jack and RCA inputs to connect to an audio interface or mixer, and stereo XLR outputs to connect your monitors.

The built-in crossover for each model takes care of how the frequency of the signal is distributed from the source to the stereo monitors and the sub itself. With the WS-6, it’s very straightforward as the signal is fixed to crossover at 80 Hz, so you can easily ‘set and forget’.

The WS-12, however, gives you 13 different frequency options ranging from 50 Hz up to 110 Hz at 5 Hz increments, allowing you to fine-tune your signal crossover for larger spaces and speaker setups.

What about multichannel audio?

So far, you’re sorted if your monitoring setup is stereo, but “what about multichannel audio and what if I have my own crossover?” we hear you cry. Well, Kali Audio has you covered for every eventuality. Both models can be switched to LFE mode to slot into a multichannel setup, such as 5.1 surround or Dolby Atmos. And if your monitoring setup has an existing crossover that you would prefer to use, then you can set both subwoofers to the External setting.

Another reason to choose a Kali Audio subwoofer for your low-end monitoring needs is the addition of switchable bypass on both the WS-6.2 and the WS-12 models. Both subwoofers are equipped with a ¼-inch jack socket, which allows you to connect a footswitch (sold separately) and easily bypass the sub, engaging the full frequency range of your existing monitors, making mixing and monitoring so much easier.

If you want to find out more about the Kali Audio subwoofer range, then head over to the Kali Audio website now.

Wireless audio was once the stuff of magic until the development of Bluetooth. So why is it that it’s not everywhere in music production and DJing? Well, put simply, Bluetooth sucks for anything other than music listening. Try to mix or produce anything using Bluetooth and you’ll quickly discover that the latency is utterly unusable.

But the future is bright. Imperceptible, ultra-low latency wireless audio has long been out of reach for musicians, DJs and producers. Until now…

AlphaTheta has developed a new wireless protocol called SonicLink, which has a greater range than Bluetooth and latency figures 20 times faster at just nine milliseconds.

While an emerging technology, ultra-low latency wireless audio over WiFi isn’t new. However, AlphaTheta’s approach with SonicLink will change the way you mix and produce music within its DJing ecosystem.

AlphaTheta’s current range of SonicLink-equipped products deliver everything you need to go fully wireless, whether that’s in the studio, performing live or just out and about.

HDJ-F10 TX

The HDJ-F10s are AlphaTheta’s flagship do-it-all DJ headphones, complete with Bluetooth and SonicLink connectivity. They are perfectly set up to be just as at home on the commute as they are in the DJ booth.

The closed-back F10s feature 40mm drivers that can deliver a very wide frequency response of 5 Hz – 30 kHz at 32 Ohms. You also get Active Noise Cancellation and Transparency listening modes that will help you tailor your monitoring experience, depending on the noise levels around you. While ANC completely blocks out all external noise, the Transparency mode allows some of the natural ambience of your surroundings in, so at least you’ll still be able to hold a conversation.

The HDJ-F10 TX package includes the F10 headphones but also comes with its own transmitter (HP-TX01), much like the Wave-Eight. However, this transmitter only works with the F10s, which can also be said of the Wave-Eight and its transmitter.

The range is the same as the Wave-Eight at 15 metres, but it benefits from a slightly longer battery life at 9 hours. Bluetooth, however, can last up to anywhere around the 30-hour mark, depending on conditions and that’s even with ANC activated.

WAVE-EIGHT

The Wave-Eight is quite possibly the ultimate portable DJ speaker. A battery life of up to 8 hours, IPX4 waterproof rating, a retractable handle, and wheels are just the half of it. Combined with a wireless all-in-one system such as the Omnis-Duo and you can DJ anywhere.

Not only that, Wave-Eight can be configured with up to three speakers to create a complete sound system. A single unit will provide a basic mono setup, whereas two can create a stereo system, and you can add a third to use as a sub, courtesy of the low-cut and subwoofer options within the onboard EQ control.

This portable party PA also features inputs of two XLR/TRS combo jacks, a 1/4″ TRS jack, a 3.5mm stereo mini jack and a single XLR output

The SonicLink transmitter can be neatly stored and charged in a protective side compartment. The unit has an RCA input to connect your mixer or DJ controller for wireless connectivity with the Wave-Eight speaker system with an unobstructed range of up to 15 metres.

AlphaTheta XDJ-AZ

Finally, in the SonicLink lineup, we have the latest all-in-one club-ready controller, the XDJ-AZ.

As well as inheriting the same layout from the flagship CDJ-3000 and DJM-A9, the XDJ-AZ also features compatibility with rekordbox CloudDirectPlay, StreamingDirectPlay, rekordbox and Serato DJ Pro for Mac/Windows.

This is the first AlphaTheta product that features an integrated SonicLink transmitter, giving you one less thing to worry about. You can directly pair your HDJ-F10 headphones to the AZ, giving you the freedom to roam the booth when playing live.

To find out more about the Wave-Eight, HDJ-F10 TX, XDJ-AZ and SonicLink, head over to the AlphaTheta website.

You can spend a fortune on software instruments, hardware synthesisers, vintage guitars, high-end microphones and classic studio effects, but if you are listening to the whole lot mixed together through a rubbish set of studio monitors, all that cash will have been wasted.

While we've explored various other vital elements of a home studio, we've no qualms about stating that your studio monitors are its most important items. This article explains why that is, and what to look out for when choosing and setting up your studio speakers.

On a very broad level, monitoring your music is simply listening to it and analysing it for ways in which it can be improved. Think of it as 'next level listening' as you'll need to hear your music in a very different way compared to listening to it purely on an 'enjoyment' level.

Monitoring your music is really about getting inside of a mix, hearing each component and how it contributes to the final mix (or not), the space the mix covers (either in a stereo field or surround sound) and the range of frequencies occupied by each instrument or voice.

You need to get the balance right for all of these component parts, so let's see how a decent set of monitors can help.

What is monitoring?

What is monitoring?

Monitoring is fundamentally about hearing and absorbing a piece of music as a whole, and assessing whether it is balanced, dynamic, and powerful where it needs to be.

But it's also about breaking a tune down into its different parts and mastering how to use your monitors to correctly adjust volume, pan and EQ.

Firstly you need to listen to your instrument and vocal levels to make sure that none are too loud and overpowering, or others not contributing to the mix.

This will then feedback to the mixing process - see this Start Here for more on that - where you can adjust track levels accordingly. While doing this, make a note of the dynamic range of your music, can you hear the quiet parts, or are the loud parts too extreme?

Next up you want to use your monitors to check the stereo (or surround) spread of your music.

A good set of monitors will 'display' your music across a wide stereo image so you can hear and place each track in this space for greater clarity and a wider, more interesting user listening experience. Again, you can go back to your mix and adjust your pan positions according to what your monitors reveal.

Finally, use your monitors to check EQ levels. A good set of monitors should translate the EQ information: the bass, mids and high frequencies of your mix back to you with accurate clarity so you can check that your low-end isn't too muddy, your mid-range vocals cut through the mix, and your high end frequencies are lively and vibrant.

If your bass is too heavy, for example, this will translate to your listener's playback system so correctly adjusting EQ in your mix is vital.

All of these factors - checking levels, space and EQ - rely on your monitors being accurate and honest, the most important consideration of the next phase of our monitoring guide.

What do I need to know about monitoring?

What do I need to know about monitoring?

The first stage of successful monitoring is to buy a set of studio speakers that are accurate and designed for honest studio monitoring.

They need to convey your track's true stereo spread, levels and EQ in all of their glory so that you can mix accurately and your listener's will experience what you intend them to hear.

Good studio monitors will detail everything so that you can mix accordingly; bad ones might have a coloured bass, or other frequency issues.

If this is the case, for example, they might emphasise your bass frequencies - meaning you respond by pulling back the bass while mixing to compensate. This can result in a thin and 'bass light' playback on your listener's systems. Not good!

So how do you know if a monitor is accurate or not? One straightforward way is to audition monitors at your local dealer using music that you know well to check that it is translating your favourite tunes accurately.

If this is not practical, you can use many of MusicRadar's buyer's guides to monitors. In which, we pick the best speakers for you across a variety of budget ranges. We've got the best budget studio monitors here, the best for under $/£500 here and the best overall can be read here

However, in order to check whether a set of monitors delivers a decent sound, you can also check its tech specs. The frequency range of a set of monitors (measure in Hz) determines which range of frequencies it plays back.

The human listening range is 20Hz to 20kHz so you'll want it to cover this, but don't be too disappointed if the stated level doesn't go right down to 20Hz.

Most studio monitors go down to 40Hz or thereabouts which is a very good response for most of us. At the high end, many go beyond 20kHz as even higher frequencies do make an impact on what we hear.

Basically the wider the stated response, the better your speakers.

Next check the response shape - if it is flat with a low variation in dB (this will be quoted as +-XdB where the lower the X the better) then that means there is little variation or 'colouring' in the response shape, so the bass levels won't be artificially boosted like in our example above.

Setting up monitors

Setting up monitors

Once you have chosen a set of studio monitors it's time to set them up. We have a more detailed set up feature here, but the basic idea is to set them up in an equilateral triangle where the distance between the left and right larger bass cones is the same as the distance between the speakers and your head, while the tweeter (smaller cone) should be level with your ears.

Don't place your monitors too close to the back wall - you're looking at between 30cm and a meter away from the wall; don't go less than 10cm.

It's quite feasible to monitor your music on a decent set of headphones (see our feature here) and the same 'accuracy' considerations apply.

The bottom line is that whatever you choose - 'phones or speakers - they need to give you an honest appraisal of your music's mix so you can adjust it and your listener's hear your music exactly as you intended.

10 key monitoring points

10 key monitoring points

1. It used to be that the more you spent on a set of studio monitors the more accurate they would be - great for perfect monitoring and mixing. However, over the last decade, studio monitoring technology has improved vastly so that you can buy great (and accurate) monitors for hundreds rather than thousands of dollars/pounds/euros. Check our guide for buying speakers on a budget.

2. Your room can impact on how well your studio monitors sound so it's likely that you'll need to make sure its acoustic is set up accurately – we have advice on doing this here. However, you can also work with a bad room by adjusting your monitors to compensate for it. When you set them up, you can adjust their position (see above) and EQ to make up for your room's inadequacies. It's therefore always good to play back your well known reference material through your speakers when you first set them up, and then adjust their EQ and position to play it back accurately.

3. Advances in any studio monitor technology also help with a room's acoustic problems. Many have frequency responses that are 'self adjusting' or 'self calibrating'. That means that they take a reading of your room (usually by way of a microphone recording the room response) and adjust their frequency response (maybe reducing the bass or increasing the treble ) to compensate for your room. This is not as complicated nor costly as it sounds, with cheaper monitors from IK Multimedia and KRKoffering the technology at the low price end, while Genelec delivers a high end version, which has refined it with its One range.

4. We touched on the bass (large) and treble (small) cones that play back those specific frequency ranges above. There is also a third mid-sized cone or driver that focuses on the middle frequency ranges. If you can afford a set of more expensive three-driver speakers that features this third driver then you will likely get a more accurate mid-range playback, but many 'two-way' speakers still offer a good 'crossover' response with just two bass and treble drivers.

5. Whatever speakers you choose, loud doesn't mean better. You should never monitor at high levels when mixing, mostly to save your ears but also to make sure your listeners can hear all the mix detail, even at lower volume levels.

6. If you produce bass-heavy music, where you need to get a good picture of low frequencies up to around 50-60Hz, it's possible that you'll need to add a subwoofer to your setup. Check the frequency response of your main set of speakers, and if they only go down to 60Hz, audition a sub to go with them which will fill in that low frequency gap. Subs aren't essential if you have a good set of main speakers but it very much depends on the genre of music you are mixing in.

7. It's a similar story with surround monitoring. If you are lucky enough to have projects where you are mixing in surround sound, you will likely need a speaker system, or array, that conveys all the 3D sonic information, although some headphones can deliver a good surround 'binaural' response.

8. A surround system will typically be a 5.1 system with five standard speakers (three at the front, two at the back, and a subwoofer). Obviously the cost increases but one important factor is that they speakers are all matched (the same) for a more accurate response. Surround monitoring is therefore more expensive so we'd recommend mastering a standard stereo (2.1) system before immersing yourself in surround sound.

9. Using standard hi-fi speakers is not usually a good idea for studio monitoring as hi-fi speakers are often coloured to make the music sound artificially better. Small hi-fi speakers in particular might have bass enhancement to make up for their size, in which case you will hear more bass when you mix with them, resulting in that weedy mix translating to other systems.

10. Having two sets of reference monitors can also be a good idea: one relatively accurate set and one cheaper set with more of a 'hi-fi' response, the thinking being that if you can get your mix sounding good on both, you'll have all bases (and basses!) covered.

Further reading

MusicRadar Further Reading

The best place to start is with our pick of the very best studio monitors you can buy right now

On a budget? No sweat, some solid monitoring options are laid out here for a fraction of the price.

Not sure which ones to get? Here's how to choose for your needs.

You've got your monitors, but how do you set them up? We explore the process here

Getting your monitors positioned correctly is vitally important, as this article illustrates

Even more guidance on improving your home monitoring set-up and positioning can be read here

Getting your monitors connected to an interface can be a bit confusing for newbies, let's illuminate the process here

An older, but still fundamentally accurate, guide to perfecting your monitoring set-up via 6 tips is here

What makes for a good monitoring environment? We dig in here

If you're after a straight-to-the-point overview of how to set-up a new pair of monitors, this article will serve you well.

IK Multimedia iLoud Micro Monitor Pro: What is it?

Micro Monitor Pro is the latest addition to IK Multimedia’s iLoud studio monitor range and brings to the table a new and enhanced version of the brand's smallest Micro Monitor.

The big news, and much like the iLoud MTM MkII, is that the Micro Monitor Pro incorporates IK’s ARC calibration system and supports IK’s X-Monitor control software. To that end, although available as individual monitors, if you buy a pair of speakers they come bundled with the ARC calibration mic. This allows you to take full advantage of extra functionality including easy matching to the acoustics of your space, and emulation of famous monitor types.

The Micro Monitor Pro is a 2-way front-ported design with 3” woofer, 1” tweeter and integrated desktop stand, and on first impressions, it looks a lot like the original Micro Monitor. However, a quick look around the back reveals a noticeably different feature set.

One key difference is each speaker is self-contained (the original Micro Monitor uses a master and remote configuration). Each monitor includes its own Class D amplification and DSP-powered features, allowing it to be used, adjusted and calibrated without connection to a computer. To facilitate this on the back you’ll find a bank of four soft buttons that cycle around the various EQ options (HF, LF and high-pass filter) and access the operation Mode (Flat, Desk or Calibrate).

In keeping with the Pro tag, audio inputs are on both RCA and XLR, meanwhile, the volume is conveniently set using a regular control knob. Impressively for units of this size, they are also powered directly from the mains, so no messing around with external PSUs. Rounding things off is a soft power button and USB-C socket (1.5m USB-C to USB-A cables are included in the box) for computer connection and use of X-Monitor.

IK Multimedia iLoud Micro Monitor Pro: Performance and verdict

Setting up the Micro Monitor Pro is pretty straightforward. The integrated stand allows them to be positioned flat or with the front raised, and there’s also a stand mounting thread on the bottom for more adventurous installs.

The monitors can be used without room calibration by setting the Mode to either Flat or Desk. The latter setting applies desk compensation EQ, which cuts the lows and boosts the mids (-3dB at 250Hz, +4dB at 1.2kHz), and in practice, this makes a pretty noticeable difference. In both Flat or Desk modes you can also make modest adjustments to the overall EQ, with shelves at 100Hz and 8kHz. Rounding things off is an 80Hz high-pass filter option for use with a subwoofer.

In keeping with their design philosophy the Micro Monitor Pro delivers a big sound and you can really feel the bass port doing its work. This can be a bit too flattering at times and prioritises the punchy low frequencies over the low mids. Nevertheless, the mid-range is well-defined, and overall they sound very engaging.

Of course, the big attraction is you can finesse things further using the room calibration and X-Monitor software. First up, calibration can be done using just the monitor. All you need to do is plug the ARC mic into the XLR input, place the mic at the listening position and hold down the calibration button to start the process. This takes a few minutes for each speaker and the results are stored onboard.

Using X-Monitor requires you to connect both monitor USB connectors to your computer. X-Monitor is a powerful remote control app that handles a whole host of features such as more extensive EQ, EQ presets and speaker emulations, including the white coned classics. It identifies the connected speakers and imports any existing settings including calibration. When you run the calibration from X-Monitor it uses a four-point process. This takes quite a bit longer to do, but the results are more accurate.

One of the great things about using X-Monitor is it displays both analysis and correction curves, so you can see what it’s correcting. What’s more, changes made using X-Monitor, including EQ, remain active even when the monitors are no longer connected to your computer. Excellent and powerful stuff.

Verdict

Overall, the iLoud Micro Monitor Pro is quite an achievement. There is plenty of tech crammed into a small space, and coupled with the room calibration and support software, it makes for the most flexible mini monitor we’ve tried. They’re not cheap, but all in all, offer excellent value.

MusicRadar verdict: The Micro Monitor Pro is a big-sounding monitor considering its size. Add in the integrated room correction and software support and you have a very flexible and portable tool that’s ideal for a multitude of users.

IK Multimedia iLoud Micro Monitor Pro: The web says

"We always loved these monitors in their first incarnation, because they looked just like desktop multimedia speakers but sounded more like reference studio monitors, making them a great choice if you have little room or need something portable yet value great audio quality. Now with digital calibration, they just got even better."
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IK Multimedia iLoud Micro Monitor Pro: Hands-on demos

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IK Multimedia iLoud Micro Monitor Pro: Specifications

• KEY FEATURES: Type: 2-Way, front ported, bi-amped, digitally controlled compact studio monitor with DSP tuned bass reflex.
• Drivers: LF 3” custom-made composite cellulose fibre, HF 1” silk dome.
• Features: integrated calibration and DSP control.
• Amplifiers: 30W LF, 20W HF Class D.
• Crossover frequency: Digital linear phase at 2.5kHz.
• Frequency Response: 50Hz to 20kHz +/-2dB.
• Peak SPL: 107.3dB free field, 1m distance, weighted pink noise.
• Main EQ: +2/-3dB 100Hz low-shelf, +2/-2dB 8kHz high-shelf, high-pass filter 50 or 80Hz.
• Desk Correction EQ: -3dB at 250Hz, +4dB at 1.2kHz.
• Connections: XLR, RCA, USB-C.
• Mounting: Integrated stand and bottom stand mounting point.
• Size: 206 x 106 x 158mm.
• Weight: 1.37kg.
• CONTACT: IK Multimedia

Positive Grid has launched Spark Edge, an all-in-one guitar amp and PA speaker that is compact, portable, feature-packed and might just have everything that the busking musician needs. The only thing it can’t control is the weather; that one is on Mother Nature.

Looking very much like the smaller and more compact sibling to the Spark Live, Spark Edge has 65-watts under the hood, and can be hooked up to the mains or powered by a rechargeable battery pack. A heavy duty carry handle is built into the design.

Anyone familiar with the ground-breaking Spark range will not be surprised to learn that guitar players are especially well served here. But like the Spark Live, this is a PA and amplification solution, so there is something for everyone, offering a similar complement of four channels to accommodate electronic keyboards, bass guitar, drum machines, vocals and whatever else you wish to put through its dual XLR / 1/4” combo inputs.

Channel 1 presents you with an abundance of options for both acoustic and electric guitar tones, with 36 amp models and 50 effects. Channel 2 is served by a complement of amp models for vocals, bass, acoustic guitar. While Channels 3 and 4 have stereo inputs for hooking up your keyboards, drum machines and so forth.

All these sounds are processed by Positive Grid’s Sonic IQ Computational Audio acting as its brain, and rendered via atypically inventive speaker design comprising woofer, tweeter and reflex ports – it is a calling card of Spark amps that they sound bigger than what you might reasonably expect.

Spark Edge has a 120° sonic spread, dynamic range compression that adjusts for loudness and clarity automatically, and Virtual Bass Augmentation to add some physicality to that low-end. The 150-watt Spark LIVE impressed MusicRadar with a performance that belies its size.

Spark Edge also shares the AI-driven features of its forebears. With Spark AI on-hand to help dial in a tone, it is a little like having your own guitar tech with you.

Hook it up to the accompanying app and you can access the Smart Jam feature and design custom backing tracks to play to. And the ever-helpful Spark app also offers the Auto Chords feature, presenting real-time chord display on your smartphone, which could come in handy when taking requests from the general public.

Hey, that’s the risk buskers take. Auto Chords could save some embarrassment if the chords progression to Boulevard Of Broken Dreams momentarily escapes you.

Of course, buskers were early adopters of the looper pedal and shouldn’t be disappointed here by a looping function that allows you to layer loops and apply them to over 100 different drum patterns.

You can send external audio to Spark Edge via Bluetooth and mix backing tricks with the onboard volume control. The amp/speaker can be used upright or tilted, and if you are playing somewhere with a PA system you can send your signal (mono or stereo) to the PA an use Spark Edge as a monitor, and you can expand the system by connecting to another Spark Edge or hooking it up to the Spark CAB FRFR speaker. Other options include limited edition grille panels (sold separately).

There is no word on prices just yet, but there will be early bird pricing available, and you can learn more and sign up for updates at Positive Grid.

Mackie ShowBox review: What is it?

Mackie hasn’t been a name I’ve ever closely associated with the ‘portable PA system’ market, but the ‘ShowBox’ changes everything. Bose impressed me with the S1 Pro +, which included the ability to house and charge two wireless receivers. And while that system sounded great, I did find the controls and effects to be a little restrictive. The last thing a live street performer wants to do is to spend time messing with the back of their speaker, trying to adjust the levels or control the feedback. The ShowBox includes a ‘breakaway’ mixer which pops out of the back of the speaker and connects via a supplied ethernet cable. This conveniently fits on to any mic stand with a simple supplied adaptor.

The system allows for two microphone XLR inputs and two instrument inputs with an additional stereo line input for the likes of keyboard and/or drum machine. You can really let your imagination run wild with the number of uses for the ShowBox. Not only that but external devices such as phones or tablets can also be connected via auxiliary and Bluetooth. Effectively, what you have here could be the easiest and most versatile mobile karaoke system ever seen.

What sets this system apart from every other portable solution on the market is the breakaway mixer. Each channel can be individually controlled and managed, allowing for fine-tuning of EQ, effects, compression, gain, volume and more. An SD card slot can be found on the rear, which allows for single-button recording of your entire performance. The ShowBox also doubles as an audio interface and can be connected directly to devices for live streaming.

Mackie ShowBox review: Performance & verdict

If I were to review the ‘Showbox’ as simply a portable, battery-operated PA speaker, I would say this is a good, well-made product. The sound is warm, clear and well-rounded. It doesn’t have the power and throw of something like the Bose S1 Pro + or any of the ‘column’ array PA alternatives, but as a portable solution, it does a fantastic job.

It is the addition of the ‘breakaway’ mixer which elevates the Showbox to something that I haven’t seen any portable PA system do before. Having access to all the channels and controls at my fingertips is, frankly, a brilliant and entirely welcome concept from Mackie. The mixer feels solid and satisfyingly tactile. The buttons and knobs are chunky, clicky and, best of all, easy to use. One-touch recording, muting and looping enable the most amateur performer to feel confident in their performance. 

Channels 5 & 6 incorporate the Aux, Bluetooth and Stereo Line Inputs, and cleverly, Mackie has allowed all three of these to be used at once. One could argue that this technically makes this a 7-channel mixer.

Each channel has its own effects, which can be controlled independently of all the other channels. Quickly tapping the knobs will let you mute the effects and easily compare the before and after sound. The more time you spend with the breakaway mixer, the more you will fall in love with its effortless simplicity and brilliance. I really can’t stress enough how impressed I am with this new and entirely unique feature. 

So impressed am I by the breakaway mixer, I’m left scratching my head at why this kind of external control has not been implemented before for the standard Mackie series of mixers. If Mackie decides to start selling a 12-channel passive mixer with a breakaway controller like this, which I can hang off a mic stand, I will happily give them my money now.

With the entire system weighing in at less than 10kg, the ShowBox is an excellent choice for travelling performers. The speaker can be pole-mounted or angled like a floor monitor. The slightly textured plastic finish feels nice and robust, and the inset handle is comfortable and ergonomic. 

My only major criticism of the ShowBox is that it doesn’t quite have the amplification of some others I have tried. When pushed hard, the vocals started to sound a little crushed and distorted. Additionally, the music playback didn’t have the warmth and richness of either the Bose S1 Pro + or the column array alternatives available. 

As is a gripe of mine with most of these portable solutions, the padded soft case does not come as standard. Given the most obvious practical applications of the ShowBox, I would say the soft case is an absolute necessity for this device. Mackie also offers an optional 2-button footswitch, which I would suggest is only necessary if you plan to use the looper function heavily.

Final verdict

Mackie has produced a fantastic product with the ShowBox. I fully expect to be seeing these appearing on the high streets soon, being used by aspiring Ed Sheeran and Sabrina Carpenter wannabes alike. Isn’t it great when you get the feeling that some companies actually listen to the wants and needs of their customers? Take a bow Mackie.

Mackie ShowBox review: Hands-on demos

Scott Uhl

Aaron Short Music

Landon Bailey

Mackie ShowBox review: Specifications

• Built-in/Breakaway mixer: 6 channels with effects
• Speaker/Drivers: Custom 8”
• Inputs: 2 x XLR, 2 x ¼” Jack, Stereo ¼” Line Inputs + Aux & Bluetooth
• Amplifier: 400 W
• Battery life: Up to 12 hours
• Orientation: Horizontal or vertical
• Dimensions (HxWxD): 500 x 300 x 249 mm
• Weight: 9.53 kg
• Contact: Mackie

U2's astounding recent residency at the newly constructed Las Vegas Sphere was not only a visual spectacle; the immersive 40 live dates were also a showcase for the futuristic spherical venue’s revolutionary live sound capabilities, harnessing beam forming and wave-field synthesis technology.

But behind such a notably audacious live event, at the world’s biggest spherical building, came years of preparation. In an interview for U2.com, the band’s long-standing live sound engineer, Joe O’Herlihy, shared the preparation he undertook to integrate the band’s setup into the mind-boggling new space, and remembers being blown away by the results: “The sound in The Sphere is absolutely phenomenal,” said Joe, who has been on the road with the band for over 40 years.

O’Herlihy shared that Bono began thinking about the then in-development Sphere – and its Immersive Sound System, developed by Berlin company Holoplot – in August 2021. “[Bono asked] if I could go over to Berlin and see if I could break it.” Joe said, of the system. “That has been my brief since year dot. To be perfectly honest, I tried my level best and I couldn’t break it.”

“I went to Leipzig, to the Congress Messe where there was an exhibition of the sound system – the first time they’d put together sixty of these boxes. They had industry types like myself give it a listen. I was scheduled to have a brief demo, but I was so enthused by the whole thing that I actually stayed for the week.”

This incredible setup, dubbed the 'Sphere Immersive Sound' system, is based on Holoplot’s X1 Matrix Array of speakers and encompasses 1,586 fixed speakers, with 300 mobile modules. 99% of which are hidden from view behind the venue's colossal wraparound video screen. The system offers vast control over the sound dispersion in both horizontal and vertical fields. Overall, it comprises 167,000 speaker drivers, amps and processing channels.

Joe brought multitracks of numerous different U2 recordings from various venue types, including outdoor stadiums, the Sydney Cricket Ground and an indoor dome in Seoul, Korea. “I did that to get an idea of the sonic value of all of those. We also played the biggest arena in the world, (the Phillipene Arena in Manilla.)”

These multitracks gave Joe various acoustic situations to work with, but when it came to stress testing the system that promised ‘perfect acoustics’ he was astounded “I ran extremely loud and I ran extremely hard to see if I could break it or now. The sub-bass and all of that energy was second-to-none.”

Joe dubbed the resulting sound a “low-end heaven” which, when delivered at full-pelt gave unprecedented results. “You have to take into consideration that this system was brand new, and hadn’t been used any venue anywhere, so it was a big chance to take. But things like the vocal intelligibility of Bono’s voice… it was almost like he was singing [close to your face]. You feel up-close and personal.”

Coming out of that initial test, Joe wrote Bono and The Edge an email, “My opening line was, ‘this is going to be quite a biblical report’, because this is what happened. My parting shot on it was – 'you guys definitely have to the best the first band into the The Sphere, because this is the future.'”

Thankfully the band agreed with Joe's assessment and U2’s Achtung Baby Live residency spanned an extended run of 40 concerts between 29 September 2023 to 2 March of this year, pulling in over 663,000 people. The concerts were a phenomenal success, and sold both the concept of the venue (which also utilises a 16k resolution wraparound LED video screen to provide a fully immersive experience for concert-goers). It would become the fourth highest grossing concert residency of all time. “We’ve always pushed and pushed, and [decided] we were going to be the first,” said Joe.

Further residencies at The Sphere have included Phrish, Dead & Company and – currently – The Eagles, who have extended their residency until February 2025.

M-Audio has launched its new Forty Series of studio monitors. With audio streaming and DSP-powered sound shaping, the Forty Sixty and Forty Eighty models both aim to offer flexibility for musicians and creatives working in a variety of spaces and settings.

Both sets of Forty monitors come equipped with DSP that facilitates adaptable sound profiles based around a 5-band EQ, allowing users to adjust the response of the monitors to suit their working environment. These settings can be adjusted using M-Audio’s associated Forty Series Control app, while front panel switches allow users to quickly switch between Flat reference mode, a Hype setting for a more flattering home listening response, and a Custom EQ configuration.

M-Audio also promises that the Forty Series monitors come equipped with ‘professional grade’ A/D converters for “superior sound quality with low noise and exceptional signal accuracy.” The monitors also feature Bluetooth 5.0 connectivity, for both audio streaming and communication with the Forty Control app.

Of the two models, the smaller Forty Sixty features a 1-inch high-frequency driver and 6.5-inch woofer. The larger Forty Eight models feature a 1.25-inch high-frequency driver and 8-inch woofer. 

“We designed the M-Audio Forty Series with today’s musicians, producers, and creators in mind,” said John Boudreau Director of Product Management. “Our goal was to deliver precision sound, adaptability, and seamless connectivity that meet the evolving needs of both home and project studios. With Bluetooth 5.0 streaming and DSP-powered customization, users can tailor their audio to any space, ensuring they always experience professional-grade sound, no matter where they create.”

The Forty Series monitors are available to order now, priced at $199 for the Forty Sixty and $299 for the Forty Eighty. Find out more at the M-Audio site.

Anker Soundcore Boom 2 Plus: What is it?

While the trend in recent years has been for small yet powerful Bluetooth speakers, Anker’s Boom 2 Plus very much bucks that by looking more like one of the ‘80s boomboxes that (almost) give it its name.

It’s a chunky thing with a big and proud handle (plus a detachable shoulder strap), but then this isn’t a speaker that’s here to mess about. Its 4-driver combination delivers a maximum of 140W of output - there are dual 50 woofers and dual 20W tweeters - and the large capacity battery promises up to 20 hours of playback (volume depending, obviously).

The Boom 2 Plus offers 30W of fast charging, too - meaning that it can be fully loaded up in three hours - and if your other devices are running short of juice, you can use it as a power bank.

And then we come to a couple of bonus features: the Boom 2 Plus has lights on either end that will sync to the beat of the music it’s playing, and as well as being IPX7 waterproof, it can float. So, not only do you not need to worry about it getting rained on, but you can also invite a good drenching by chucking this thing in the pool.

Anker Soundcore Boom 2 Plus review: Performance and verdict

Pairing the Boom 2 Plus with your phone or other device is easy - press the Bluetooth pairing button on your speaker and then select it in your Bluetooth settings. Other self-explanatory physical buttons include power on/off, volume up/down and play/pause.

Three’s also a button for turning on (or off) the light show, while the PartyCast button enables you to pair the Boom 2 Plus with one or more other Soundcore speakers that have this function, meaning that audio and video can be synced on all of them (you only need to connect your phone to one speaker).

If you happen to own two Boom 2 Pluses, you can also put them into TWS (True Wireless Stereo) mode, which sets one to play the left channel and the other the right. The final button is used to trigger the BassUp 2 feature, more on which in a moment.

You can dive a little deeper into the Boom 2 Plus’s settings via the clean and concise Soundcore app. It’s worth installing this right away as it’ll enable you to download the latest firmware update, and also to adjust the EQ and light modes.

Which brings us to the Boom 2 Plus’s sound, which is meaty, to say the least. It screams ‘party speaker’, with a definite focus on bass; but not, happily, at the complete expense of detail.

In fact, we actually preferred the sound when we switched to the Balanced EQ preset - you can also create your own custom profile across nine bands - which does away with any bass boosting and offers a clearer picture across the frequency spectrum.

If you do want the music to hit a bit harder, pressing the BassUp button takes the low-end level skywards while keeping the rest of the selected EQ profile the same. It can feel a little overpowering and unrefined at times, but there’s an impressive absence of distortion (and with a name like ‘BassUp’, you can’t say you weren’t warned).

We can confirm, too, that not only is the Boom 2 Plus waterproof, but it does indeed float. It was quite happy bobbing about in a hot tub, though standing it on solid, dry ground is definitely preferable for optimal sonic performance.

Cranked up, the Boom 2 Plus can fill a small-to-medium sized room nicely and, while no substitute for a dedicated rig, the lights certainly add something to the atmosphere. There’s also a 3.5mm aux input - plug in a portable DJing setup and you’ve got yourself a one-box house party setup.

The only downside is that, while the Boom 2 Plus is great to chuck in the back of the car and carry around - the handle and shoulder strap definitely come in handy - its comparatively heavy weight means that you may think twice about packing it in your suitcase and taking it on a plane. We considered it over the summer, but doing so would definitely have meant an excess baggage charge, so we opted for something smaller.

As such, the Boom 2 Plus might not be the best choice if you only want to buy one Bluetooth speaker, but if you already own a smaller device but fancy something with a bit more grunt for those times when you want to make a bigger musical and visual statement, it’s great.

MusicRadar verdict: It might not be the most refined of listens, but the Boom 2 Plus is built for power rather than subtlety, and could easily be the life of your next party - indoors or out.

Anker Soundcore Boom 2 Plus: The web says

"With its durable build, customizable light show and plenty of low-end on tap, the Soundcore Boom 2 Plus makes for an excellent party speaker, rain or shine." SoundGuys

Anker Soundcore Boom 2 Plus: Hands-on demos

Patrick Rambles

Max Tech

Anker Soundcore Boom 2 Plus: Specifications

• KEY FEATURES: 140W output (Dual 50W woofers and dual 20W tweeters), 30W fast charging and built-in power bank, IPX7 waterproof and floatable, BassUp feature, beat-synced lights, 3.5mm aux input, shoulder strap
• CONTACT: Anker

JBL IRX ONE: What is it?

The IRX ONE is certainly a triumph in design and form factor. Everything packs neatly into itself, allowing for a truly portable and lightweight All-In-One solution. The speakers consist of an 8” Sub in the bass unit, with six 2” tweeters in the C-shaped column. It boasts an extremely wide sound coverage of 160 degrees, giving the illusion of warm, punchy and clear stereo sound.

A 3-channel mixer caters for both mic and line inputs, with the addition of Bluetooth technically making this a 4-channel system. A global EQ knob allows for the sound to be catered for different situations whilst not giving any specific tailoring options for individual channels. Setting the system up could not be any easier, with two additional spacers included for the column speakers. Additional features such as ‘ducking’ and feedback suppression are included, along with basic bass and treble on the individual channels. 

Control for the Bluetooth option is virtually zero, meaning the levels would need to be set on the chosen device itself. That being said, connecting the Bluetooth is quick and easy, and the sound quality is excellent. 

Weighing in at a mere 15.5 kg, it is clear that JBL has done away with any and all superfluous features to keep this system at a size and weight to suit everyone. The carrying handle, which doubles up as the top flap to gain access to the column speaker and mixer, is comfortable and ergonomic.

JBL IRX ONE: Performance & verdict

JBL should be applauded for its thoughtful design and execution of the IRX ONE. I don’t think I’ve come across a system so easy and sleek that I had it set up and running within three minutes of getting it out of the box. The sound quality is truly excellent, and the C-shaped line array offers fantastic coverage, which truly fills the room with a max offering of 118 dB. 

The frequency range is equally impressive for its size, from 40hz to 20khz. Clearly, this won’t be competing with a full-range stereo PA system, but I can think of a number of scenarios where this system will shine. Religious institutions, fitness instructors, school mobile DJ’s, Karaoke and Sports Days would all benefit from the IRX ONE. 

As a matter of course, I always run a number of staple songs through systems such as this to test out the various sonic capabilities. The thumping kick and bass of Daft Punk’s ‘Around the World’ sounded surprisingly strong, with no apparent signs of distortion or crackling even when pushed. The pop sparkle of songs such as Everywhere by Fleetwood Mac sounded vibrant and suitably lush. 

The ‘ducking’ option on the Bluetooth channel makes it a doddle to inform the owner of the VW Passat that their car is blocking someone in. Additionally, the feedback suppression (AFS) is surprisingly effective. No matter how hard I tried, with the microphone pointed directly at the speakers, the IRX ONE would not squeal. I can see this being particularly useful for acoustic guitars and vocals.

Sadly, there are drawbacks to the IRX ONE. Most notable for me is the distinct lack of fine sound detailing for each channel. A global EQ setting doesn’t really cut it for high-end music reproduction, but it does a valiant job. 

I expect that for most people, the main drawback of this system will be the lack of any digital effects such as reverb and delay. The 3-channel mixer does deliver lovely rounded, clean and warm tones, but the absence of effects to create ambience is disappointing. Of course, there is always the option of plugging an external mixer into one or more of the provided inputs, which would give the user so much more to play with. 

I plugged a Mackie ProFX12 into the first two channels and didn’t experience any issues. It’s a real shame that these options could not have come built-in to the IRX ONE. As it stands, if it were me using this system, I would have to travel with a few more items to get the absolute most out of it.

I see this portable PA System occupying a very specific space within the current offering of column PA solutions. The IRX ONE is not trying to compete with the versatility and power of something like the Yamaha Stagepas 1K MKII. For just shy of £700, the IRX ONE is a whopping £300 less expensive than the admittedly fantastic Yamaha option. Crucially, the JBL is a huge 8kg lighter than the Yamaha. 

If making life easier and preserving the lifetime of your back is important to you, I would advise against overlooking this effort from JBL. An inconspicuous, fantastically priced and great-sounding workhorse, the IRX ONE is an easy recommendation. 

JBL IRX ONE: Hands-on demos

Performer Magazine

JBL IRX ONE: Specifications

• Speakers: 8” Bass Reflex Woofer, 6 x 2” high-frequency driver, 2 x Spaces for a variety of line array heights
• Max output: 118dB
• Frequency range:  40hz to 20khz
• Horizontal dispersion: 160°
• Bluetooth Connectivity: Yes
• Weight: 15.5kg
• Contact: JBL

One thing that has been striking about amp modelling for me is how much difference speakers make. Trialling IRs and Universal Audio's speaker emulations makes a startling difference to how amp models sound and it made me realise how much I'd overlooked this impact with physical tube amps. I'll often look to change anything but the speaker.

It's something the Gaslight Anthem's Brian Fallon highlighted in our interview last year as a much-overlooked part of your signal chain, and I remembered him quoting Weber Speakers owner TA Weber when he said, "Speakers have the last word". But trying different options out in real life isn't exactly easy. 

It involves more money, as well as time to fit and trial different speakers. The convenience to switch out elements of your signals chain is one of the great things about modelling. Still, I couldn't help wondering how different combinations would sound in a real valve amp side by side. Well, step forward Landon Bailey.

Landon regularly makes excellent videos on all types of guitar subjects on his YouTube channel and this one is a real ear-opener. Using a Revv D25 valve combo as his platform he tries five different 12-inch speakers to illustrate his point about how much difference they can make. 

A Celestion Ruby, Greenback, Jensen C12Q, Emience Cannabis Rex and the amp's stock Celestion Vintage 30. You need to see the video above to hear for yourself but for fairness and accuracy, Landon re-amps a clean signal through the amp with each different speaker so we can hear the exact same example of his playing with a Heritage H535 through each one.

Landon's diligence in using a reliable testing method to go down the rabbit hole is appreciated and he's even provided links to the WAV files for those who want to hear more detail that YouTube streaming can provide. 

Spoiler: The differences really are significant between these speakers as he tries them with clean playing on max volume and the amp's gain and boost. One speaker really doesn't work on high volumes and clips, three emerge as Landon's favourites. But you may feel differently. 

"I just know from playing different speakers over the years, some sound good and some don't," reflects Landon. "It's a personal preference." I guess you just have to go and find yours! 

Subscribe to Landon Bailey's YouTube channel.  

• How to replace guitar amp speakers

Kali Audio LP-8 Second Wave: What is it?

So impressed were we with Kali Audio’s second-gen LP-6 monitor, we found it hard to fault on performance or price. Its bigger brother, the LP-8 (the LP stands for Lone Pine), boasts a very similar spec but costs a little more, so which should grace your studio?

First, a recap of our earlier LP-6 review. Both monitors are reboots of Kali’s original LP series, hence the tag ‘Second Wave’, also a nod to the two sound waves found in the logo.

These updated monitors use a new Class D amplifier platform that provides a 12dB reduction in noise, thin paper woofer cones for a faster transient response and robust DSP for smoother, accurate high frequencies. Kali also uses an oversized, high-output, dual-layer voice coil, specifically to cut distortion. Not everything is new, the 1-inch tweeter remains the same, as does the wide front port that has already earned a great reputation for its lack of extraneous noise. 

The LP-8’s enclosure is made from medium density fibreboard (MDF) wrapped in textured vinyl, just like its smaller sibling. The front panel, our biggest bugbear, is a big slab of plastic that’s functional, yet betrays the LP-8’s budget origins.

Kali Audio LP-8 Second Wave: Performance and verdict

So, what does it sound like? Is a pair worth the extra expense over the LP-6s? Setup is easy thanks to the multiple inputs – TRS, XLR and RCA – and its generous number of boundary EQ options, configurable on the back panel. We played a variety of tracks through both sets of monitors, including our own solo acoustic guitar, piano, synth, bass and drum tracks via Logic Pro 10.8. We also listened to complete songs from artists as diverse as Beyoncé, Artemas and Teddy Swims, with a smattering of KankyoōOngaku (Japanese ambient).

Kali’s mantra for these products appears to be ‘more accuracy, less distortion’ which, to my ear, is bang on. The LP-8 is near silent when powered up, but with nothing playing through it (the low-level hiss of some budget nearfield monitors drives me to distraction). Start playback and the result is super clean. That’s not to say there’s no warmth to bass or mids, but no frequency is accentuated over another, and the entire spectrum is very articulate. 

In fact, both the LP-6 and LP-8 share near identical frequency response curves, which are almost flat from 50Hz to upwards of 15kHz, with a slight dip at around 700-900Hz. The LP-8 does have a slightly lower bottom end frequency response at 37Hz vs 39Hz, and a half percent improvement in total harmonic distortion, which stands at 2.5% at 94dB at 1 metre. The LP-8 is also 20W more powerful than the LP-6. 

So, for the extra cash, the LP-8 boasts improvements over its little sister, but they’re hardly significant. Either monitor will suit smaller rooms too, as neither is particularly large. The LP-8 is a fine monitor, but if it’s a touch too expensive, there’s no shame in investing in a pair of LP-6s and saving up for Kali’s WS-6.2 sub.

MusicRadar verdict: The LP-8 is super quiet, accurate and won’t colour your mix. However, the cheaper LP-6 is almost as good overall.

Kali Audio LP-8 Second Wave: Hands-on demos

Kali Audio

Inside Audio

Steve Kinney

Kali Audio LP-8 Second Wave: Specifications

• KEY FEATURES: Amp class: D HF Power: 40W LF Power: 60W Total Power: 100W HF Driver: 1-Inch Textile Dome LF Driver: 8-Inch Optimized Paper Freq Response (-10 dB): 37Hz - 25kHz Freq Range (±3 dB): 45 Hz-21kHz Max SPL: 117dB Enclosure: Front Ported.
• CONTACT: Kali Audio

You’ll already be very familiar with Orange and its incredibly cool line in amps. Founded in London in 1968 by Clifford Cooper – who’s still chairman of the company today – its is a Great British gear story. To this day, nothing really says classic and stylish quite like an Orange guitar amp.

But recently the brand has been expanding into the consumer hi-fi market, a move that’s being cemented with the launch of its new Orange Pyramid audio system, a “revolutionary” compact hi fi system which it promises will deliver “powerful sound” and “exceptional connectivity”.

Granted, it’s not huge - it weighs around 20 lbs and the amp itself is just 6.3 by 6.3 by 4.6 inches. But then it’s been designed for the smaller spaces many of us live in these days. Rather than dominating a front room, this will fit snugly onto your existing bookshelf. 

We’re talking a pair of speakers, each 40 watts per channel, with Bluetooth 5.0 connectivity to link up to smartphones, tablets and laptops. Plus it’s got RCA and 3.5mm aux inputs for physical sources such as turntables and CD players. You can even link it up to your TV to boost its audio performance.

The speakers themselves have been designed to provide a “clean, warm sound”. At the top end are 1-inch soft silk dome tweeters, whilst at the bottom end specifically designed reflex speaker cone excursions aim for smoothness amongst the lower frequencies. The sound has been engineered to limit ear ‘fatigue’, a problem you often encounter with many modern sound systems.

As you’d expect from Orange the design is sleek and modish. As the name suggests, the amp itself is pyramid-shaped, ensconced within a beautiful wooden cabinet with a white piano finish. And the cherry on top design-wise is the prism that glows to indicate the mode of operation. Very cool.

While it's been known for its iconic guitar amps for decades, hi-fi equipment is relatively new territory for Orange. But in recent years we have seen Orange headphones, Bluetooth receivers and valve testers so in many ways a hi-fi system would appear to be the logical next step.

The Pyramid Audio system will set you back some £795. For more details go to the Orange website at orangessentials.com

There are a number of reasons why DJs love the bass boost they get from subwoofers. From hitting the audience with the full impact of a bone-rattling bass drop, to capturing all aspects of the music they’re playing. In this article, we’re exploring exactly why DJs are so fond of incorporating subwoofers into their sound systems. We also explain how they work and how to set them up for optimal performance.

Of course, subwoofers are an essential component of a DJ’s audio kit. Using subs as part of the sound system is critical for the performance of a DJ, whether that’s within a club, performing outside at a festival, or dropping tunes at a house party. Let’s kick off by looking at some of the ways subwoofers are important to DJs.

Why subwoofers are important for DJs

1. Giving the full listening experience

Typical high-quality midrange speakers can produce sounds as low as 50Hz, while subwoofers can perfectly play notes much lower than 50Hz. Using subs in live performances maximises the audience's listening experience. People will appreciate the clarity of low tones when you use a subwoofer.

2. Enhancing bass

Of course, subwoofers enable a DJ to produce low-end bass notes. Bass sounds are useful in live performances to help listeners feel the urge to dance. However, the placement and configuration of subwoofers will determine the quality of the bass punch that the audience experiences.

3. Saving your equipment

Using subwoofers can help prevent midrange speakers from being damaged. When combining subs with other speakers, the subwoofers take care of the low-frequency sounds, while the other speakers are under their peak SPL. This arrangement prevents unnecessary damage to the voice coils of your other speakers.

How a subwoofer will impact your performance

DJs use various techniques to connect with their audience and ensure they deliver memorable experiences to the listeners. Low-frequency sounds are a critical part of this.

DJs can make a huge impact in live performance with the use of bass drops. DJs typically use bass drops to energise the crowd when performing EDM and other music genres. One great technique to maximise the impact is to increase the complexity and intensity of the sound before the drop. The audience experiences a sense of escalation, a building tension, before the bass drops, then a full release when the bass kicks in.

Some DJs use momentary silence just before dropping the bass as a technique to enhance the audience's listening experience. The pause before the bass drop technique is effective because it builds anticipation and captures the audience's attention.

Audiences tend to groove to music with low notes. A recent scientific study showed that people could respond to very low-frequency music of about 3Hz even when they cannot hear it play on VLF speakers. DJs tend to capitalise on bass to get their audiences to the dance floor.

How subwoofers work and their role in a turntable set-up

A subwoofer can play a significant role in a DJ turntable set-up, primarily by enhancing the overall audio quality and extending the frequency range of the sound produced. Here's how a subwoofer functions, and what impact it has in a turntable set-up.

• Low-frequency reproduction: Subwoofers are specialised speakers designed to reproduce low-frequency sounds, typically in the range of 20Hz to 200Hz or lower. Turntables primarily produce midrange and high-frequency audio, so adding a subwoofer allows you to reproduce the deep bass frequencies that might be missing or limited in your main speakers.
• Improved bass response: The addition of a subwoofer enhances the bass response of your audio system. It delivers deeper and more impactful bass, making music - especially genres like jazz, electronic, hip-hop and rock - sound richer and more engaging.
• Balancing the sound: Many turntable set-ups with bookshelf or floorstanding speakers might lack sufficient low-end response. A subwoofer can balance the overall sound by handling the bass frequencies, relieving the main speakers from the task of reproducing deep bass, which can result in clearer and more detailed mid and high-frequency performance.
• Room acoustics: Subwoofers can help compensate for room acoustics issues. Low-frequency sound waves are more susceptible to room reflections and standing waves. Placing a subwoofer strategically in the room and using its built-in controls can help mitigate these acoustic problems, resulting in more accurate and consistent bass reproduction.
• Customisable settings: Most subwoofers come with adjustable settings for volume, crossover frequency and phase, allowing you to fine-tune the subwoofer's performance to match your specific preferences and room characteristics.

In summary, a subwoofer in a turntable set-up can significantly impact the overall sound quality by providing deep bass reproduction, balancing the audio, compensating for room acoustics and enhancing the listening experience. It allows you to enjoy music and other audio content with greater depth and clarity, especially when it comes to low-frequency elements.

How to set up your subwoofers

Subwoofer placement is a major consideration for every sound system. The position of your subwoofer determines the level of immersive sound the audience experiences. In indoor sound systems, having the best subwoofers against the wall and in the perfect position ensures you get the best sound experience. The vibrations they produce are in harmony with the natural acoustics of the indoor space. Similarly, placement and settings are critical for DJs operating in clubs or other settings.

Phase alignment for subwoofers

One of the biggest challenges of placing subwoofers is ensuring they work harmoniously with satellite speakers. These other speakers have a different low-cut or high-pass. If the low-cut or high-pass of the other speakers, which are looped via the sub, differ from that of the subwoofer, the effect of the subwoofers will be less than optimal.

It is easy to achieve phase alignment for subwoofers by adjusting their crossover frequency to that of the satellite speakers. When the two sets of equipment work at the same crossover frequency, the sub automatically plays low-frequency sounds that the other speakers cannot handle. This setting prevents an overlap in the sound.

Distance between subs

DJs working in a club setting typically work with more than one subwoofer. Therefore, it is important to consider how to place the subwoofers within the room correctly in terms of the distance between them.

We measure the distance between two subs from the centre of one box to that of another. Thus, if you place two subwoofers next to one another horizontally, technically the distance between them is zero.

The general rule of determining the distance between two subwoofers is simple. First, consider the maximum frequency of the two subs when playing. Second, consider the concept of the wavelength. Thus, the rule of thumb is that the distance between two subwoofers in a horizontal position should not exceed two-thirds of the wavelength of their maximum frequencies.

Conclusion

DJs love using subwoofers with bass boost to give their audience a full listening experience. Subs produce the bass punch that DJs need during their live performances to invigorate and induce the crowd to dance. However, it is important to understand how to position the subwoofers in order to realise their full performance potential.

Related features

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• Best DJ mixers: top choices for club, home and battle DJs
• Best DJ speakers: recommended monitors for home and the DJ booth

NAMM 2024: AlphaTheta is a new brand that has come out of Pioneer DJ and is launching a whole range of new DJ products at NAMM. We've already reported on its portable party DJ device, OMNIS-DUO, and here's the ideal speaker to go with it. 

Sadly, unlike OMNIS-DUO, this new Wave-Eight speaker is not inspired by an item of clothing, but does sound like the ideal portable and wireless speaker to take anywhere and soundtrack a party with. 

Wave-Eight can be moved around like a piece of airport luggage on a trolley with a handle, so is portable enough to taken out and about, and its wireless credentials and battery-powered operation should mean an easy setup when you get there.

Wave-Eight uses AlphaTheta's new SonicLink technology which is an "ultra-low-latency" standard that apparently transmits audio way faster than Bluetooth. Latency is one of the older technology's Achilles heels – there's simply too much delay using Bluetooth, and it is especially noticeable when playing and recording music. If SonicLink does what it claims - cuts down the latency to "a fraction of a second" - then there should be little delay between pressing play on your decks and hearing the results through Wave-Eight. As AlphaTheta says, it should "let you mix without missing a beat".

Wave-Eight comes with its own transmitter – something that is increasingly common with higher spec'd wireless systems – that you plug into your music source, and the speaker then receives the music from that source, presumably at that much faster speed than Bluetooth can muster.

Wave-Eight also features a newly developed 8-inch driver and a 'Vortex Bass Accelerator', which is designed to deliver a clearer and more powerful low end response. You can also connect up multiple speakers, maybe using one as a subwoofer, via various setup modes that include Mono, Stereo, and Subwoofer.

Handily, the Wave-Eight is fully waterproof and will give you around eight hours of use on a full charge. It comes with a built-in pole socket too so you can mount it on a separate stand. 

Wave-Eight costs $899 a unit and there's more information at the AlphaTheta website. 

PreSonus Eris Sub 8BT: What is it?

The PreSonus Eris monitor range includes everything from compact multimedia-style desktops right up to larger midfields and subwoofers. The range has now been updated and on the test bench we have the new Sub 8BT. This is a compact front-firing and front-ported subwoofer that combines an 8” paper-composite LF driver with Class AB power amplification (50 Watts RMS), and also includes pass-through connectivity for satellite speakers and plenty of setup controls. As you may have gathered from the name, the Sub 8BT is also Bluetooth equipped.

As you’d expect from PreSonus, build quality is excellent and with a hard-wearing vinyl-laminated coating and strong metal grille protecting the LF cone, you can confidently position the unit at floor level. The MDF cabinet feels suitably rigid with the big rubber feet raising the unit a couple of centimetres, while the overall weight is a reasonable 5.4kg.

PreSonus Eris Sub 8BT: Performance and verdict

In keeping with other 2nd generation Eris monitors, the Sub 8BT includes a multipurpose front panel indicator LED. This is blue on power up, switching to green to indicate a Bluetooth connection, and purple in power-saving standby mode. All further controls are on the back, with the power switch joined by gain (+6/-30dB), low-pass filter (50Hz to 130Hz), polarity invert and 80Hz high-pass filter. There’s also a dedicated Bluetooth pairing button and power-saving standby activation option. Finally, input and pass-through output connections are available on both balanced (¼” TRS jack) and unbalanced (phono) pairs. 

The Sub 8BT can be sent a dedicated low-frequency feed from a suitably equipped hardware monitor controller or your interface if it supports subwoofer management. However, most users will likely use its pass-through option. For a typical 2.1 configuration your stereo output goes to the Sub 8BT inputs and you then connect the pass-through outputs to your monitors. The pass-through signal can be full frequency or filtered below 80Hz if you engage the high-pass filter. If you connect the Sub 8BT via Bluetooth, you’ll still need to use cables to connect to your satellite monitors and also need to accept the slight timing delay of the Bluetooth connection.

Setting up a sub requires a combination of positioning and adjustment. The Sub 8BT has three controls to adjust – gain, low-pass filter and polarity – and we found this offered plenty of flexibility. Having a broad range for the gain control is particularly important to help achieve the right balance with your nearfields, and the polarity invert provides help in achieving the flattest delivery at your chosen listening position. Either way, we found the Sub 8BT delivered plenty of power if required. 

Luckily we were able to test the Sub 8BT alongside their own Eris 3.5BT. Raising the low-pass filter to just above 100Hz we were able to counter the natural tail-off from these small monitors, and the 2.1 configuration worked very well. That said, we think it would be great if the Sub 8BT included a mute option so you can easily switch to just nearfields when using the pass-through configuration. 

There’s no question that adding a subwoofer to your music production setup can be very beneficial, particularly if you work on club music or bass dominated genres such as hip-hop. The new Eris Sub 8BT is an affordable option with plenty of features and is perfect for small to medium size rooms.

MusicRadar verdict: Its compact design, price and Bluetooth connectivity make it a great choice for music production and general purpose listening.

PreSonus Eris Sub 8BT: The web says

"It can not only fill in missing tones and add punch to a music, movies and more, but connects over traditional analog cables or Bluetooth, opening a variety of wiring (and unwiring) possibilities."
Tom's Guide

PreSonus Eris Sub 8BT: Hands-on demos

PreSonus Audio Electronics

Chuck Levin's Washington Music Center

PreSonus Eris Sub 8BT: Specifications

• KEY FEATURES: Input gain: -30dB-+6dB Freq Response: 30Hz-200Hz Controls: low-pass filter (50Hz-30Hz), high-pass filter (80Hz), polarity invert switch Peak SPL: 100dB @ 1m Inputs: balanced ¼” TRS, unbalanced phono outputs: balanced ¼” TRS, unbalanced phono .
• DIMENSIONS: 250 x 335 x 315mm. 
• WEIGHT: 5.4kg.
• CONTACT: PreSonus

There’s a gaping hole in your monitor sound and when you hear it, you can't unhear it. Yes, we’re talking about sub-bass. 

Your monitors might be able to handle a wide frequency band, but no matter what, they can’t replicate bass like a subwoofer can. Take, for instance, any six to eight-inch monitors and you’ll no doubt feel satisfied with a frequency response as low as something along the lines of 35Hz. But when it comes to mixing the low end, can you really trust what you’re hearing?

A decent subwoofer should be on every producer’s shopping list, because without it, who knows what strange low-frequency gremlins lurk within your mix. To truly understand what’s happening at the bottom end of the spectrum the right tool for the job is adding a sub to your monitor setup.

Renowned monitor manufacturer, Kali Audio, has come to your rescue with the WS-6.2  a compact studio subwoofer designed to fit in perfectly with Kali’s LP- and IN-Series monitors, but also integrate into any existing set-up.

Perfect for small studio spaces, the WS-6.2 is so-called due to the inclusion of two six-inch drivers and can deliver a frequency response as low as 27Hz.

This versatile sub can be easily tuned to fit in a variety of scenarios. The crossover switch on the rear allows you to choose three different options to perfectly suit your setup. 

The 80hz mode sends a high pass signal to the outputs which then goes to your main monitors, leaving the WS-6.2 to take over bass duties. You can use LFE mode to send the sub a dedicated Low-Frequency Effect channel or use external mode to use an external crossover solution if you need to fine-tune those frequencies.

Prices for the WS-6.2 Sub start at $499. Head over to the Kali Audio website for more details.

The iconic black enclosure and white woofer of Yamaha monitors are frequently found in home studios all over the world, and over at Guitar Center, you can get up to 25% off the full range of HS studio monitors and subwoofer. Including the HS5, HS7, HS8, and HS8S subwoofer, it’s the perfect opportunity to seriously upgrade your studio setup for less.

The HS5s have been sitting pretty in our best studio monitors guide for a while now, and I’ve owned a set of HS5s for around four or five years. But when I first excitedly unboxed them, placed them on my studio monitor stands, and played some of my mixes through them I was dismayed. My mixes sounded like crap. I’d been mixing on studio headphones for a long time and it was clear that I’d been missing a trick in the process.

Moving forward four years, I’m still no Eric Valentine, but my mixes are now good enough to have been used in legitimate projects, and that’s largely due to honing my craft on the HS5s. Of course, as they’re smaller speakers you won’t hear anything much lower than around the 80Hz mark, so if you’re working in bass-heavy genres you’ll need to use them in conjunction with a good set of studio headphones - I use the Beyerdynamic DT 990 PRO when I need to reach into sub frequencies.

The HS5s are perfect for small rooms, which makes them great for home studio aficionados like myself. If you want to learn more about them then have a look at our Yamaha HS5 review where they got a hefty four and a half stars out of five. We’ve also got a review of both the larger HS7, HS8, and the HS8S subwoofer models too if you’re interested in those. 

For years, big tech has been trying to convince us that smart speakers are the way forward for listening to music in the home, but what many of us have really wanted is an affordable way of streaming the likes of Spotify, Amazon Music or Apple Music to an existing high-quality hi-fi setup.

For a while, Google offered the excellent Chromecast Audio, which enabled you to do precisely that. However, in its wisdom - and possibly in a bid to sell more smart speakers - the company discontinued this in 2019, leaving a gap in the market.

Quite a few companies have attempted to step into the breach, but if you don’t want to spend too much money, we can’t think of anything better right now than the options being offered by WiiM. And, praise be, its range of excellent affordable streamers is on sale over Cyber Weekend at a 20% discount.

Our pick of the products would be the Wiim Pro Plus, a very tidy little box that supports both Apple AirPlay 2 and Chromecast Audio, along with Spotify Connect, Tidal Connect and Amazon Music Cast. Simply take an analogue or digital audio out to your existing amp (or hook up to a set of powered speakers), connect the box to the internet and you’re good to go.

There are also S/PDIF and line inputs so that you can plug in another device - a turntable, for example - and, as well as being able to hear this through the connected speakers, you can also transmit its sound to any other AirPlay-enabled devices you have in your setup.

The WiiM Pro Plus can stream at up to 24-bit/192kHz on both its analogue and digital outputs, and there’s gapless playback. You can also control it with your voice, thanks to the Alexa-equipped remote that comes supplied. The device is compatible with Google and Siri voice assistants, too, and offers multiroom streaming via any other smart speakers you might have.

If you want something even cheaper, there’s also the WiiM Mini, a small puck-shaped device that has less connectivity and functionality but is significantly more affordable. This supports AirPlay 2, Spotify Connect, Tidal Connect and Amazon Music Cast, and offers 24-bit/192kHz quality via mini-jack aux and optical outputs. There’s also an aux in for your turntable or something else, and voice control from your Alexa or Siri device. Again, multiroom streaming is supported.

In the world of professional audio, JBL Professional has consistently set the standard for quality, and the IRX ONE All-in-One Column PA system is no exception. 

This remarkable piece of audio engineering is a game-changer for musicians, houses of worship, bands, and anyone seeking a powerful and portable sound solution. Let's take a closer look at what makes the JBL IRX ONE a standout choice for all your sound needs.

Legendary JBL Fidelity and Performance

JBL has earned a reputation for delivering legendary sound quality and performance, and the IRX ONE proudly upholds this tradition. What sets it apart is its innovative use of concert line array-inspired directivity control, resulting in a custom-tuned, C-shaped array. 

This setup includes six 2” high-frequency drivers that work in harmony to produce sound with unparalleled clarity. You'll enjoy a wide sweet spot and seamless front-to-back coverage, ensuring that every corner of your audience experiences the full richness of your music or message.

Powerful Low-Frequency Response

A good PA system is nothing without a solid low-end, and the IRX ONE does not disappoint. Its advanced 8” woofer features a bass-reflex design, guaranteeing an impressive low-frequency response that reaches down to 40 Hz. Whether you're a bass-heavy band or need that deep resonance in your worship services, the IRX ONE has got you covered.

Unmatched Versatility with a User-Friendly Touch

JBL understands that audio equipment needs to be versatile to meet the diverse needs of its users. That's why the IRX ONE is equipped with a 3-channel mixer that supports the most popular connections. Whether you're using ¼” and XLR inputs with the included 48V phantom power or the ¼” balanced mix-out, this system is ready to accommodate you. 

Additionally, it offers handy features such as dbx automatic feedback suppression (AFS) Soundcraft audio ducking, and Bluetooth 5.0 audio streaming, ensuring a professional and hassle-free experience from start to finish.

Plug-and-Play Simplicity

One of the most remarkable features of the IRX ONE is its simplicity. JBL designed this system to be so easy to use that everyone from experts to amateurs can feel comfortable and confident using it. 

Musicians, buskers, and singer/songwriters also appreciate the plug-and-play design, allowing them to get up and running and sounding great right away. No need for complicated setups or extensive technical know-how – the IRX ONE is ready to serve you with its intuitive interface.

The JBL IRX ONE All-in-One Column PA is a triumph of audio engineering, showcasing JBL's commitment to delivering exceptional sound quality and user-friendly design. Musicians, worship leaders, bands, educators, presenters, and more will find it to be an invaluable tool in their pursuit of sonic excellence. 

With the IRX ONE, you're not just getting a PA system; you're getting a partner in making your voice heard, your music felt, and your message clear. Join the ranks of those who have discovered the power and performance of JBL and experience the future of sound with the IRX ONE.

Yamaha’s HS5s are reckoned to be among the best budget studio monitors you can buy, which means that the new HS4 and HS3 models have a lot to live up to (insert your own joke about HS2 being cancelled).

In monitor parlance, lower numbers usually equate to smaller sizes, and that’s the case here. In each case, you’re getting the “design philosophy and know-how” of previous Yamaha monitors but in a more compact format.

In part, the downsizing has been made possible by Yamaha’s decision to use one class-D amp for two speakers. This also reduces weight and simplifies cable connections.

And speaking of connectivity, you can plug your audio sources in via XLR/TRS phone, RCA and stereo mini jacks, which should cover off everything from your audio interface to instruments, a laptop and your mobile device. The power button, volume control and headphone jack are located on the front, which is always preferable in our book.

In terms of specs, the HS4 and HS3 are pretty similar, both being 2-way bass-reflex powered speakers. However, the HS4 has larger cone woofers and dome tweeters - 4.5-inch/1-inch as opposed to 3.5-inch/0.75-inch on the HS3 - and each speaker has a slightly different frequency response (70Hz - 22kHz (-10dB) on the HS3; 60Hz - 22kHz (-10dB) on the HS4). In both cases the power output is 26W + 26W.

Bass performance is said to be enhanced by the ‘Twisted Flare Port’ technology, which reduces air turbulence, and you can tweak the sound to suit your studio with the Room Control and High Trim switches.

The HS3 and HS4 are both available in either black or white, so you can go for a speaker with that classic NS10 look or opt for a paler finish. You can pick them up for around £229/$250 and $285/£329 respectively, by the looks of it.

Find out more on the Yamaha website.

When it comes to live performance, using a decent PA system is the obvious way to make yourself heard. If you’ve been performing for a while, you may have even gone as far as acquiring your own dedicated PA. But have you considered whether the time is right to upgrade? 

Perhaps the shows and bookings you’re getting now are bigger (or more varied) than they were in the past, or maybe you’ve outgrown the old system. Maybe, you just want things that little bit louder/clearer/more pristine. 

Whatever your reasons, if you’re looking to upgrade your PA system, allow us to explain some of the things you should be looking for in your search. 

The basics of a good PA system

Whether you’re looking to improve a trusty old PA that’s served you well over many years, or dipping your toes in the water before you commit to buying your first, there are some factors which any decent PA system - young or old, cheap or expensive - will need to deliver. Ultimately, any great PA system will deliver clarity, will be easy to set up, will be durable enough to withstand the travails of being carted everywhere and will allow you to dial in the sound you want your audience to hear. Most important, however, is consistency. PA systems don’t have the ‘cool factor’ of choosing a new guitar amp, or a new synth, so they’re definitely more of a tool in the arsenal rather than something you’ll get overly excited by. All the more reason to value consistency and a rig that gets the basics right, time after time after time.

1. Improved sound

The main purpose of any PA, be that a makeshift budget model or a high-end stadium filler, is to ensure your audience can hear you, and the notes you’re playing, in decent enough fidelity that they can tell what’s going on. It stands to reason, therefore, that the first thing you should be looking for in an upgraded system is higher-quality audio. Don’t be tricked into thinking power/volume and sound quality are the same thing though. You’ll find cheaper systems that promise tooth-wobblingly loud sounds, and exorbitantly expensive systems that sound - on paper - like they’d barely fill a tiny venue. 

If higher volume is what you’re going for, then by all means go by the spec sheet alone. A simple 2,000W single-speaker system will provide more than enough heft to fill many spaces. If you’re more interested in sound quality, however, then we’d advise testing a few out in person to find the one that fits the bill. 

2. Future-proofing

The chances are that the equipment you had available to you when you first started performing is quite different to what’s at your disposal now. Performers adapt and improve, and equipment manufacturers find new ways to deliver innovation in their products. So it stands to reason that the PA system that was right for you, say, five years ago won’t necessarily be right for you now. And, by that dint, there’s a similar chance a PA system you buy now won’t be suitable in five years’ time. That’s not necessarily a reason to put off upgrading though. 

More and more, however, you’ll find PA systems that are built with a degree of modularity, i.e. they can be added to over time. This could be in the form of adding additional speakers or enhancing the mixing capabilities with a new console. It could even mean that you build a combi system, whereby you can rely on taking one or two speakers for certain events, but then have it instantly expand to a wider, fully compatible system suitable for larger venues or outdoor events. This form of modernisation can prove much more cost-effective over time and allows you to upgrade your PA in line with your own progression as an artist. 

3. Investing in your potential

We’ve always thought that a band or artist that has invested in their own PA equipment is worth paying attention to. Very few people are wealthy enough to throw down significant sums without the requirement to do so, so when a performer reaches the stage in their playing career where they have to think about funding their own dedicated backline, it is worthy of respect. 

We like to think of investing in a PA system, or upgrading one you’ve been using, as a sign of someone who takes their craft seriously. It can offer you a competitive distinction, in terms of the show opportunities you might now be able to take on, and above all it gives you complete control over the sound you’re serving up to your audience. 

4. Versatility

The ability of a PA system to be equally at home powering a show in a coffee shop and a sweaty basement is not to be sniffed at. Different venues have different acoustics, and differing requirements in terms of set-up. Put simply, the PA that works in the coffee shop might struggle on the stage of an outdoor festival. Likewise, the genre of music you play will have a big impact on the type of PA that will work for you. 

If you’re looking to upgrade an existing PA, consider whether a new model has any degree of advanced signal processing on board. This could include tools like EQ or compression, which will allow you to sculpt a sound according to the environment in which you’re playing. Or it could just mean a Bluetooth connection for if things go south and you need a backup plan. 

5. Up to the job

Our final tip for when you’re thinking of upgrading your PA system is to consider the overall toughness of your rig. At the higher end of the price spectrum, PA systems are designed with robustness in mind. They’re geared towards a life of being put up and down, and in and out of cases, and thrown into the back of buses and vans, so they need to be able to cope with all of that and still deliver the goods every night. 

Likewise, consider the size of the system you have in mind, versus what you already have. If you’re using an older system, it may be that it is over-sized compared to what’s available on the market now. Technologies have improved to the point where systems that would have required a large van to transport before can now be shrunken down significantly, without losing power or performance. As ever, consider the needs of your performance set-up now, and what this could realistically grow into, and try to right-size a PA system that will work for you now and into the future. 

Let us help you choose your next PA

• Best PA speakers for bands and buskers
• Best portable PA systems: Lightweight and mobile PA solutions

Music terminology is a daunting thing and as you get ever deeper into the topic, it always seems like there’s more and more to be learning. Even for seasoned musicians, the lexicon of live sound and PA speakers can be utterly baffling, whether the engineer is asking you to plug the TS into the DI or asking what you want in your traps.

Whether you’re a musician making their first foray into live performances, or you’re working the show yourself as an engineer or assistant, these terms will more than likely come up at one point or another. Even if you’re just helping out your friend’s band at a DIY show, understanding these terms can help make sure everything goes smoothly.

We’ve seen our fair share of shows in our twenty-year career playing live and we’ve made plenty of mistakes in that time too, so allow our embarrassment to work to your advantage with these common PA terms and their meanings.

PA jargon buster: Common terms

Before we get into the wider world of live sound terminology, we need to make sure that we’re all on the same page by discussing some key PA system components that will be mentioned a lot throughout the rest of this guide. By fleshing out these common terms we can ensure everyone knows where they stand, whether you’re a beginner or a veteran.

Speakers, aka Loudspeakers - The crux of any PA system, the speakers are what deliver the sound and they come in various shapes and sizes. The two main distinctions are that some require their own power, we call these active speakers, whereas others get their power from a power amp or mixing desk with a built-in power amp. These are called passive speakers.

Mixers - The mixer is where the magic happens. All the microphones on stage get plugged into the mixer before being sent to the speakers for the audience to listen to. A separate feed goes out to the on-stage speakers, typically called monitors for the band to hear. You can also apply effects here like compression, EQ, gating, reverb, and delay. As with speakers you get powered mixers, which drive passive speakers, and passive mixers which work with active or powered speakers. A mixer can also be referred to as a Mixing Desk, Console, or sometimes Soundboard.

Microphones - Mics are what deliver the sound from the stage to the mixer before going out to speakers. Typically we use dynamic microphones as live vocal mics thanks to their excellent noise rejection, but sometimes there can be the use of condenser microphones when it comes to drums and guitar amps.

Amplifiers - Not to be confused with your guitar amp, a power amplifier amplifies a signal and drives your speakers. A lot of smaller mixers now come with power amps built in, but for larger shows, venues will have a separate power amplifier to ensure there’s enough volume to fill the room or drive a lot of speakers in more complex systems.

Now that we have the basics out of the way, let's get to the more in-depth terms and colloquialisms you’ll come across when playing live or working at a live venue. There’s a lot, so we’ve arranged them in alphabetical order to make things easier for you to search.

PA jargon buster: A-H

AUX
A term also found in recording studios, an AUX is part of the channel strip and allows you to send signals to effects like reverb and delay which can be external units or built into the mixer.

Array System
An array system is what you’ll typically find in a larger, more modern PA setup. There are two main types, line arrays, and column arrays. Line arrays have pairs of speakers stacked vertically in a curve; you’ll see them at large venues where they need to cover an audience vertically, for example, if you have a balcony. Column arrays are single speakers stacked vertically and are usually found in smaller venues where the audience is just on one level, offering better horizontal coverage.

Balanced
The term balanced refers to the type of cable used. This kind of cable uses two conductors, carrying a duplicate of the original signal in order to cancel out any noise picked up along the run. Both XLR and TRS cables used for microphones and stereo instruments are balanced, whereas TS cables, like those used for electric guitars or mono instruments, are unbalanced.

Band-Pass Filter
A band-pass filter rolls off any frequencies outside the ones you target on an EQ. For example, that megaphone or telephone sound you get on vocals is usually down to the use of a band-pass filter.

Cabinet
Cabinet is an overarching term for the enclosure that contains speakers and can apply to pretty much any variety of speakers in the music industry. You’ll often hear them referred to as ‘cabs’ and this includes guitar cabinets as well.

Channel Strip
The channel strip is the main part of the console or mixing desk. It typically features a preamp and EQ and in some cases a noise gate and compressor. A Channel strip will also typically have AUX sends for routing effects like delay and reverb. Each channel will usually have a dedicated fader for adjusting the level.

Clipping
Clipping refers to a signal that provides more voltage than the input can handle. On most mixers and consoles this is denoted by red LEDs and you’ll find the same thing in your DAW too. It’s called clipping because the top and bottom of the waveform get ‘clipped’ off. It may not always provide an audible effect, but it’s the bane of engineers everywhere.

Compression
Another familiar term in the wider music lexicon, compression is the act of making loud things quieter and quiet things louder. By evening out the dynamic range of an instrument, we gain more control over it at the mixing desk, preventing having to ride the faders. Works great on vocals.

Compression Driver
A compression driver is the smaller part of a PA speaker that usually sits at the top. They’re used to produce the high-frequency content of sound, usually used in conjunction with a horn for producing lower frequencies. On studio monitors, these are called ‘tweeters’.

Console
Also known as the mixer or mixing desk, you’ll often hear larger PA system mixers referred to as the console.

Decibel
Decibels, denoted by 'dB' is the unit by which we measure sound. For example, normal breathing will register around 10dB, whereas 100dB will be something like the horn on your car. Decibels are usually used with another standard, so when people say dB, they usually mean dB in relation to SPL (Sound Pressure Level). You can however also measure dB as a voltage which is where you’ll find dBu or dBv, and there’s even one in relation to power, marked as dBm.

Distortion
In the world of PA, distortion is usually a bad thing. Essentially it’s when a signal is affected by receiving too much voltage, faulty components, or impedance mismatching. When it happens in your fuzz pedal it sounds great, but you don’t want any distortion in your PA or monitor system as it affects the quality of the sound. 

Dynamic Range
Dynamic range is the measure of how loud a system can get before you get distortion, or how quiet it can get before you hit the noise floor. Measured in decibels the dynamic range of jazz music can be from 13dB to 23dB, whereas a full orchestra playing live can go all the way up to 90dB. Engineers often control the Dynamic Range of an instrument by adding compression at the mixing desk or console.

EQ
EQ or equalization is something we find in all of music, covering the entire spectrum of sound we can hear. In live sound, EQing is something we do to control where an instrument sits on this spectrum, for example taming an overly bassy sound with a low cut or ‘notching’ out an annoyingly harsh frequency higher up the spectrum. The idea is to use EQ to create a clear and balanced sound where every instrument can shine for the audience.

Front Of House
Front of house, also known as FOH, refers to the position that the main engineer works in during the show. It can also be colloquially referred to as what the audience hears out the front of the stage. Usually, the mixing desk or console is placed in the optimal position for the engineer to hear everything that’s going on, placing microphones and assigning channel strips to get the best sound.

Gain
Gain is the amount of amplification applied to a sound in order to make it more audible. It’s typically measured in decibels.

Ground
The concept of ground could provide an article in itself but we’ll try and keep it simple! One of the most important concepts of ground is allowing electrical current to flow somewhere safely, i.e. not through the microphone or your instrument. It also ensures all electrical current moves in the same direction, preventing you from receiving a nasty electric shock.

Ground Loop
Disregarding our alphabetical order for a second in the interest of clarity, a ground loop is a hum that you can’t seem to get rid of in your equipment, typically caused by the system having more than one route to ground. Some devices may have a ‘chassis ground’ or a ‘signal ground’ that conflict with the existing ground in your system. This leads us nicely onto…

Ground Lift
You’ll often see ground lift switches on DI boxes and certain guitar pedals and it disconnects that device's particular Ground, allowing you to remove unwanted hum from the system.

Headroom
Headroom is how much space you have before you start getting clipping or distortion in your signal. 

Hertz
Hertz is the standard measurement for audio with Hz for lower frequencies and kHz for higher frequencies.

PA jargon buster: I-O

Impedance
Impedance is a measurement that’s related to AC voltage, similar to its cousin resistance which relates to DC voltage. Although they’re both often classed as the measurement of resistance, Impedance is used for audio items like speakers, cables, tubes, and transistors because they involve a waveform, whereas straight resistance is related to DC voltage, like that of a 9V battery, because it doesn’t have a waveform associated with it.

In-Ear Monitors
Known as 'in-ears' or IEMs, in-ear monitors are small earbuds that can be connected to the PA system. They're favored in pro setups because they allow every band member to dial in their personal monitoring preferences, and allow for a much quieter stage which makes the engineer's job much easier.

Instrument Level
Instrument level refers to the signal from things like electric guitars and bass guitars. These can sometimes need a preamp but not always depending on the instrument. They generally run from 20 to -10dBV.

Line Level
Signals from a lot of gear will run at line level, like synthesizers which give a very ‘hot’ signal, meaning you don’t have to boost them with a preamp. Usually, these come in around -10 to +4dBu.

Mic Level
The lowest of instrument signal levels, mic level inputs will most likely require a preamp to boost the signal to a usable level. They run around -60 to -40dBV.

Monitor Mix
Also known as the cue mix, the monitor mix refers to the sound that musicians hear on stage. This can be from traps or floor wedges, or via in-ear monitor systems. Engineers will use a set of headphones so they can hear the monitor mix at the mixing desk or console.

Motors
The motor is the component that’s attached to the back of your PA speaker that drives the sound. When engineers use this term they’re typically referring to the components that include the front plate, magnet, voice coil, and back plate of a speaker.

Mult
A mult refers to a patch bay that gives you multiple copies of the same signal so you can send them to different sources, usually effects like reverb and delay. Mults are becoming a fairly old term thanks to modern mixers which allow you to do this digitally from the mixing desk or console itself.

Noise Floor
The noise floor refers to the lowest point of a system’s dynamic range. It’s where your sound is no longer audible over the inherent noise of every amplification system.

Noise Gate
A noise gate controls a signal by cutting it when it reaches a certain level. Frequently used by guitar players, a gate can prevent feedback or hum by cutting off an instrument when it’s not being played. It’s also sometimes used on drums to provide a punchier feel and can be used to control the ‘bleeding’ of other instruments into microphones.

Notch Filter
A notch filter is the opposite of a band-pass filter, allowing you to cut out a very specific frequency whilst retaining all of the other content in the signal. Usually used to cut out muddy or harsh frequencies in sounds.

Off-Axis
Off-axis is a term for microphone placement, whereby you place the microphone at an angle to the speaker cone or instrument. The idea is to capture a wider tone than pointing the microphone directly at the sound source, which we call…

On-Axis
On-axis is where a microphone is pointed directly at the centre of a speaker cone, or instrument. This gives you a brighter, more direct tonality.

Ohm
Ohms are a measurement of resistance, or how hard a signal has to work to travel along a cable. The higher the ohm, the harder the signal has to work to get to its destination. You’ll frequently see these listed on the back of PA speakers and guitar cabinets.

PA jargon buster: P-Z

PFL
PFL stands for Pre-Fader Listen, and you’ll find these buttons on the channel strips of your mixing desk or console. They allow the engineer to listen to incoming signals before it’s affected by the fader, to ensure that there’s no clipping and that any other effects like EQ, gating, and compression have been properly applied.

Phase
Another term that could have its own article, phase is the measurement of the cycle of a soundwave. If signals are ‘in phase’ then they’re both starting at the same time, if they’re ‘out of phase’ then they’re starting at different times. ‘Out of phase’ signals can be a big problem, as they’ll cancel each other out, resulting in a quieter overall sound.

Phantom Power
Phantom power refers to a method by which audio gear can be remotely powered. A common usage of phantom power is with condenser microphones, but it can also be used for ribbon microphones and remote mic preamps.

Plosive
Plosives are one of the biggest headaches for engineers and are caused by certain consonants when a vocalist sings. The biggest culprits are the letters ‘t’, ‘k’, and ‘p’, but they can also be caused by the letters ‘d’, ‘g’, and ‘b’.

Point Source
Point source refers to a smaller system where the speakers are two or three-way. These portable PA systems are usually found in very small venues or band rehearsal spaces.

powerCON
A powerCON is a type of cable used for power, it locks into the device which prevents you from accidentally unplugging it which can come in super handy!

Preamp
A preamp increases gain, taking a weaker signal and boosting it to line level. Preamps can come in many forms, whether it’s a clean mic preamp or a colored preamp you might use in a studio. There are also preamps in your tube amp, audio interface, guitar pedals, and loads more music gear.

RCA
Also known as phono connectors, an RCA cable is a type of audio cable that was found on cassette decks and turntables. They’re still found on some DJ gear and compact mixers and can be useful, particularly with older gear.

Ring Out
Ringing out, or ‘tuning’ the room is a process an engineer uses to pinpoint any issues in the sound of the room. By using a signal generator that outputs white and pink noise, you can raise the volume on any of the microphones to the point where it starts to feedback and find any problematic frequencies. The engineer can then cut out any problem tones with EQ to create a ‘flat’ and balanced sound.

Sibilance
Sibilance is the ‘hissing’ sound vocalists make, typically with the letter ‘s’. Sibilants can stand out a mile in a mix, hence the invention of a de-esser. You can also reduce sibilance with EQ should you have the type of singer that’s particularly harsh on their esses.

speakON
The speakON cable is a locking cable designed by Neutrik for connecting speakers. They’re a favorite of engineers for their durability and ability to handle large amounts of power. 

Traps
Traps is a colloquialism for the trapezoidal cabinets usually used in on-stage monitoring. A square or rectangular cabinet would just blow the sound at your feet or up into the air, hence the use of the trapezoid shape which is perfect for use on stage. They can also be referred to as ‘wedges’.

TRS
TRS stands for Tip, Ring, Sleeve, and are cables that are used to carry stereo signals. They can be ¼-inch or 3.5mm jacks and are often found on headphones, wireless body packs, and AUX inputs on mixing desks.

TS
TS stands for Tip, Sleeve, and is your typical mono instrument cable. Used for guitars and a myriad of other instruments.

Unbalanced
An Unbalanced cable is your typical TS or instrument cable. They only use a single conductor, which makes them susceptible to noise, unlike their counterparts in the balanced or TRS cable. It’s a good idea to keep unbalanced cables away from power lines and lighting cables as these can induce noise into the system.

XLR
The XLR cable is one of the most used in live sound, with its iconic three-pin design found in loads of pro-audio gear, including the best XLR mics. They’re balanced cables so reject exterior noise, although they can be used to run an unbalanced stereo connection through a single cable too.

Adam Audio A8H: What is it?

Adam Audio’s recently revamped A series studio monitors couple its classic X-ART (Extended Accelerated Rhythm Technology) tweeters with a new glass fibre HPS tweeter waveguide, newly developed MLM woofers, onboard DSP and Sonarworks integration in order to deliver a highly flexible monitoring solution that retains Adam’s classic mojo.

Up for review is the flagship 3-way front-ported A8H. By default, it’s a horizontal configuration monitor and the cabinet design and layout means it comes in specific left and right versions. However, much like other Adam monitors, the tweeters can be unscrewed and rotated 90 degrees to position them vertically. 

At 38cm wide and over 13kg these are biggish monitors. Most controls and connections are round the back. XLR or RCA inputs are joined by an Ethernet socket for remote monitor control. Back panel options include level (+/- 12dB), 4-band room adaptation and three voicing positions. The selectors have green LEDs for all button positions, so you can see settings at a glance. 

Adam Audio A8H: Performance and verdict

In terms of onboard EQ (room adaptation) you have four choices – bass, desk, presence and treble – each offering various cut or boost settings at their specific fixed frequencies. In our medium-sized control room we cut the bass (-2dB) and desk (-2dB) as per the manual’s suggestions, but we didn’t feel the need to modify anything else. In addition to room adaptation, the A8H includes three ‘voicings’ which influence the overall sound. 

The default (Pure) is the most neutral or flat setting, whereas UNR (Uniform Natural Response) is closer to Adam’s AX series. To our ears this has more low end and slightly enhanced upper mids. Both options can be used in conjunction with the room adaptation EQ. The third option (External) is used with an Ethernet connection and Adam’s A Control software for remote control of settings.   

The A Control software replicates all the back panel options and also opens up a more comprehensive 6-band parametric EQ that overrides the other tone settings. With shelf, peak, high and low-pass filter shapes, +6/-20dB gain and 20Hz to 20kHz frequency range, you can adjust the speakers however you like. 

There’s also further overall gain (+12/-60dB) and positive timing delay (up to 5ms). As mentioned, the A8H can apply its own Sonarworks Sound ID reference curve, which was a simple process.

The A8H is a big loud monitor, and when you turn them up those front ports really shift air. Nevertheless, the all-important mid-range is ably handled by the 3-way design and as ever the ribbon tweeters deliver a silky smooth top end that‘s not fatiguing. 

They’re also great at lower volumes, so if you can accommodate their size, the forward-ported design and excellent tweakability make them a great choice for any space. Despite these being by far the most flexible Adam monitors we’ve used, we really didn’t feel the need to tweak them that much, which no doubt makes them perfect for coupling with Soundworks Sound ID room correction, where more extensive tone shaping is applied. All told, these monitors are really impressive. 

MusicRadar verdict: A powerful 3-way monitor ideal for larger rooms, but also highly flexible. Perfect for a variety of modern production environments.

Adam Audio A8H: The web says

"It is an excellent addition to a professional studio setup with fantastic build quality and exceptionally detailed sonic performance."
Home DJ Studio

Adam Audio A8H: Hands-on demos

ADAM Audio

Edward Smith

TheHeatstudio

Adam Audio A8H: Specifications

• Onboard DSP: AD converter 24-bit, 96kHz, Horizontal/vertical positioning. 
• Freq. Response: 34Hz–42kHz (-3dB). 
• Max. peak SPL per speaker at 1m: 105dB SPL. 
• Crossovers: 400Hz, 3kHz. 
• Woofer: 8” Multi Layer Mineral (MLM) fibre Amplification: LF 250W peak (Class D), MF 70W peak and HF 20W peak (Class A/B). 
• CONTACT: Adam Audio 

PA systems may be a vital piece of the live music scene, but a lot of musicians would admit these black boxes are their Achilles heel. Now, while some live sound equipment can be tricky to get your head around and even be intimidating to set up, the truth is PA speakers are relatively simple once you learn a few simple concepts. 

Easily the most frequently asked question when it comes to these systems is; what's the difference between an active and passive PA speaker? Well, today, we're going to walk you through everything you need to know about an active and passive system, and we'll even give you a few recommendations as well. 

So whether you're in a band and you're not sure which style of system you require, a solo performer looking to upgrade your current setup or a venue owner looking to improve the sound of your open mic nights, you'll be sure to learn a thing or two about active and passive PA speakers. 

Main differences 

Okay, so when it comes to PA speakers, there are two main types - active and passive. Now, while both styles of PA fundamentally do the same thing, there are a few key differences between them. In a nutshell, active PA speakers are powered internally due to the power amp being built directly into the speaker unit. This means the speaker is entirely self-sufficient, requiring no external equipment to work. Passive speakers, on the other hand, require power from an external source - such as a power amp or powered mixer - to function. 

Now, as you'd expect, both options have their own unique advantages and disadvantages. Active speakers have become very popular among everyone from large ensembles to small bands, duos and solo performers because of their ease of use and quick setup time. The lack of an external power amp means less equipment to carry to a show, and better yet; they often come loaded with contemporary features such as Bluetooth audio, built-in effects such as reverb and delay, and even rudimentary EQ controls. 

That said, they do have a few drawbacks. As the amplifier is built into the speaker, it's not possible to upgrade it without buying a completely new speaker, and if the power section goes down at a show, you need to send the entire speaker away for repair - which can lead to you being short of a speaker. 

Conversely, passive speakers don't suffer from the same problems. If your speaker blows during a gig or your amp stops working, you can simply replace the faulty element, and you're up and running in no time. However, you do require a little more know-how when pairing your speakers with a suitable power amp or powered mixer. Get this wrong, and you can damage your speakers. To match the speakers correctly, you'll need to pay careful attention to the speaker's power handling and impedance. 

Which should I buy?

Now, whether you are seeking the best PA systems for a band or the ultimate busking rig, you need to do your research, weighing up all the pros and cons of each speaker style. If you are looking for a no-nonsense approach to sound reinforcement, then we'd highly recommend going down the active route. We really are living in the golden age of active speakers, with the units being lighter, more powerful and more durable than ever before. That said, make sure you take the time to carefully consider the exact wattage you require, as well as the number of inputs and any extra features. 

For PA systems that won't be moved often, such as a venue, church, school or practice studio, then passive could be the best way to go. Not only are they easily expandable, they are often cheaper to fix and easier to maintain - and if they aren't getting moved around, then you don't need to worry about carrying around the extra equipment. 

If you are planning to opt for passive speakers, then make sure you spend an equal amount of time choosing the amplifier as you do the speakers, as the right power source will make all the difference. 

Is this your first time looking at PA equipment? Here are six tips for buying your first PA system.  

Active PA recommendations

Passive PA recommendations

Looking for more live sound gear? Our expert buyer's guides are here to help 

• We explore if it's better to hire or buy a PA system
• Best vocal mics: vocal microphones for the studio and stage
• Protect your hearing with the best earplugs for musicians
• The best in-ear monitors: IEMs to suit all budgets
• Nail your live sound with the best consoles for live mixing

Orange has become the latest guitar amp brand to expand its consumer tech lineup with a range of Bluetooth speakers, debuting the Orange Box. 

The Orange Box is available in two options. One is a battery-powered model that you can take to the park, beach, wherever. There other is the Orange Box-L, which is a larger speaker unit that is equipped with a subwoofer and is powered from the mains. 

Both share the same aesthetic that has made Orange Amps such a recognisable presence on stages since the brand made its debut at the end of the ‘60s, with the late Peter Green of Fleetwood Mac an early adopter. You know what to expect; Orange or Black Tolex coverings, an “acoustically transparent” wheat-coloured grille cloth, a rugged build, a control panel that’s a little arcane but that’s part of the fun, and last but not most importantly a good sound. 

With the Bluetooth speaker market presently contested by the likes of Fender and Marshall, the latter who were bought out by Swedish speaker company Zound in March, that sound is all important, and Orange says they’ve got something that no one else has, with the Orange Box’s speakers driven by both Class D and A/B analogue amplifiers.

What difference will this make? Well, Orange promises “controlled, tight, punchy bass and smooth, natural mids and highs” from the speakers.

The speakers are paired to your mobile device or laptop via Bluetooth 5 and are equipped with a warning light to let you know if you are driving the speakers too hard. The Bluetooth button also doubles as play/pause, so you don’t have to reach for your smartphone to stop/start the music. 

There is also a 3.5mm aux input too, and the anti-tangle aux-in cable is supplied too. Under the hood, the Orange Box has a 4” bass driver is partnered with a pair of 2” high-frequency cones. 

The Orange Boxes are definitely the apples that have fallen not far from the Orange tree – all things considered, they are pretty mighty. At 50-watts RMS, Orange says it is the most powerful in its class. The larger Orange Box-L has a 5” subwoofer is complemented by a pair of high-frequency cones and you can dial in a sound with the analogue EQ. It weighs 4.3kg. The Orange Box offers 15 hours of battery life from a full charge and weighs in at 3kg. 

This might seem like a sideways step for the British amp brand but diversification and growing the brand in other markets has always been part of the Orange story. Way back in the day it made fully integrated Orange turntables. 

In the digital era, Bluetooth speakers might reach a wider market. The Orange Box is priced £275 / $299. The Orange Box-L is £315 / $345. Orange is also selling a gig-bag carry case as an optional extra for the battery-powered Orange Box. 

For more details, head over to Orange Amps.

NAMM 2023: Fender has expanded its home audio and guitar amp lineups in one fell swoop with the release of the RIFF, a super-portable Bluetooth speaker that you can take anywhere, and should inspiration arise, you can plug in your instrument.

The RIFF will take a signal from an electric guitar or bass guitar. It is not fussy. And it can be added to that growing list of desktop amps that require a second look as to determine whether you want to stream a podcast to it or plug in your Stratocaster for a mid-afternoon stroll through Little Wing. 

Again, why not do both? As you can see from the pictures, the RIFF has definitely got that contemporary home audio aesthetic going on, which is to say it is too cool for foosty old things such as knobs and buttons. 

Instead, Fender has integrated all the controls on a very clean looking maple interface on the top of the unit. Treble, Bass and Volume controls are denoted on three lines, slide your finger along the ridges of the interface to adjust the EQ or volume.

The RIFF is packing 60-watts, and while it looks like it might be a simple speaker setup, there are really six custom-tuned drivers secreted behind the black grille cloth. Around the back of the unit you’ll find a 1/4” input for your instrument, the on/off switch, a 3.5mm aux input, and a USB-C charging port. At full charge you will get about 26 to 30 hours of wireless playback. And there’s an aux-in cable included with the speaker.

This being 2023 and all, it won’t surprise you to learn that the RIFF will auto-EQ itself to whatever room you have it in, simply download the accompanying smartphone app and it’ll do the necessary. It also fits within the wider digital eco-system Fender is creating; you can pair it with your Mustang Micro for more tone-shaping options. 

Finally, there’s a party mode to make the decibel limiter nervous; in this mode you can connect it with up to 100 RIFF speakers. Just the thing for that Little Wing matinee performance…

The speaker ships with a carry strap, and it is designed to be dust and splash proof. It is also designed to confuse significant others and flatmates that it is just a nicely designed little home audio speaker, so this could well be the practice amp option we can keep in the living room 24/7. The Riff is priced £429 / $469, and it is available now. See Fender for more details.

Focal ST6 Sub12: What is it?

Bolstering your monitor setup with a subwoofer is still a controversial move that’s certain to spark apocalyptic-like warnings from a vocal minority of nasally inflected naysayers – “I wouldn’t do that if I were you!”. To some, a sub will always be the elephant in the room. 

Well, with its new Sub12, Focal has effectively produced a subwoofer the size and heft of a baby elephant. OK, we're exaggerating, but at almost 60cm square and 58kg, this thing’s a bloody big bundle of bass. At £2,149 it’s also insanely expensive, which of course makes it all the more desirable. Should you rush out and buy one? Let’s find out.

Last year, when French premium audio brand Focal updated its pro SM6 range with revised versions of its venerable Twin and Solo monitors it added a brand new sub, the Sub12. Why produce such a behemoth? Firstly, even a superb monitor such as the Focal Twin6, with its secondary woofer primed for bass duty, can only reach lows down to 40Hz. Yet most of us can hear bass down to about 20Hz, and sense it well below that. So, a sub that can get close to 20Hz is vital for mixing some musical genres, and the Sub12 is almost there with its frequency response of 28Hz-400Hz. Secondly, we’re living in an age where immersive sound tech, such as Dolby Atmos, is king and elaborate multi-speaker setups are becoming mandatory in pro studios.

Subs are usually hidden away at floor level, so they’re rarely exciting to look at. The Sub12 bucks this trend with its red burr ash sides, black ported front and huge 33cm (13”) speckled grey composite driver. Thoughtfully, Focal has positioned a carry handle on each side so that two people can manhandle it into place – trust us, it’s not something you’ll want to do very often.

Focal ST6 Sub12: Performance and verdict

That massive driver uses Focal’s premium ‘W’ cone technology. It’s made from a composite of glass and foam, which Focal claims is lighter and more rigid than comparative cones made of Aramid or Kevlar. It has a particularly long excursion (length of travel), and this impressive combination of throw and stiffness enables the Sub12 to excel in speed, articulation, dynamics and lack of distortion. Incredibly, the Sub12’s 600 watts RMS (1,000 watts peak) BASH amp and huge driver can move so much air that Focal’s engineers had to optimise both the internal bracing and port to minimise acoustic noise.

Round the back there’s the usual gamut of XLR inputs and outputs, together with high-pass and low-pass crossover controls. The Sub12 can be bypassed, and the crossover settings disabled, which is handy, but this function does require an additional footswitch. 

Focal has included a Low Frequency Effect (LFE) channel input, a welcome addition for engineers mixing movie soundtracks using the aforementioned immersive multi-speaker setups. There’s also a polarity switch and a phase control to compensate for the sub’s position in the room, relative to reflective surfaces and other monitors in your setup. 

Clearly, bass isn’t as detailed as the midrange or high end, so we were intrigued to see if our monitor setup would sound significantly different when we swapped our diminutive £500/$500 Yamaha HS8 sub for the bigger, pricier Sub12. Isn’t bass, well, just bass?

Oh boy, what a difference. The Sub12 isn’t inherently louder or bassier (unless you want it to be), instead it has a foundation-like presence, yet one that’s scalpel blade precise and infinitely complex. We hesitate to use the word ‘richer’ because that implies the Sub12 has character, which it doesn’t – it’s very neutral sounding. It’s enveloping, yet never smothering or overbearing; there’s absolutely no flabbiness here, just a huge wallop of very detailed, and extremely revealing, low end. 

Ultimately, it’s a bit like comparing fish sandwich paste (sorry Yamaha) with the finest smoked salmon pate. They’re both fishy, and you can spread them on toast, but there the similarities end. The texture and flavour are worlds apart.

If you have a blockbuster-sized budget to spend, it’s possible to include multiple instances of the Sub12 in a multi-speaker setup. Just imagine how glorious such a rig would sound…

MusicRadar verdict: Big on bass, big on price and, just big, the Sub12 will reveal a low-end complexity in your tracks you didn’t even know was there.

Focal ST6 Sub12: Hands-on demos

FOCAL

Sweetwater

Vintage King

Focal ST6 Sub12: Specifications

• Frequency response: 28Hz-400Hz
• Maximum SPL: 124.5dB
• Bass amplifier stage: 600W RMS
• Inputs: Balanced XLR LFE 10kΩ, Left & Right 10kΩ
• Outputs: Balanced XLR LFE (in parallel), Left & Right 50Ω
• Driver: 1 x 13in (33cm) with ‘W’ cone 
• DIMENSIONS: 60 x 48.7 x 56.8cm 
• Weight: 58kg.
• CONTACT: Focal

As local-level musicians, we spend countless hours perfecting our craft. Nowadays, we are no longer just musicians. Instead, we are songwriters, booking agents, social media managers, graphic designers and sound engineers. Unfortunately, many band members shy away from the latter as PA speakers and mixing consoles can be very intimidating. That said, the best PA systems for bands can unlock a group's true potential, allowing them to finally achieve the live sound they've been searching for - so it pays to spend some time choosing the right PA system for your band and learning how to use it.

No matter the size of the band, be that a fully-booked wedding band, a weekend warrior covers band or an original ensemble looking to hit the big time, every band needs a PA system, and we've hand-selected a few of our favourites to ensure your music is heard in the best light. Despite there being various types of PA speakers available, we've decided to keep it fairly traditional for this guide, opting for active, pole-mountable units from reputable brands we trust.

We have reliable units from Yamaha, affordable options from Alto and Mackie, as well as hi-tech choices from Bose and QSC Audio, so no matter what your budget or specifications, you'll be sure to find your band's next PA speakers here.

Best overall

Like many professional musicians and sound engineers, we see Yamaha as one of the leading forces in sound reinforcement. Producing many PA speakers at varying price points and sizes, there's a Yamaha system for every situation.

For this guide, we've chosen to focus on the DBR range - and in particular, the DBR15 - as they are the most likely to appeal to most bands and performing artists. These incredibly rugged and portable powered loudspeakers come loaded with the same technology that's seen in its sister lines, DSR and DXR, just without the premium price tag.

The newlydesigned lightweight cabinet means carrying these speakers is a breeze, while Yamaha's renowned Class-D amplifier provides an earth-shaking 1,000W and a whopping SPL of 132dB - plenty for most bands!

Best reliability

The Mackie name is synonymous with reliable PA speakers that are accessible and simple to use, and the ever-popular SRM450 is no exception. Famed for its rock-solid build, this unassuming black box has been the go-to option for bands in almost every genre imaginable since it hit the live music scene in 1999.

The SRM450 has a few tricks up its sleeve, allowing you to perfectly dial in your band's sound wherever you find yourself playing. Have you ever played a venue where, no matter what, you can't seem to tame the uncontrollable squeal of feedback? Well, luckily, you can eliminate vicious feedback with the press of a single button, thanks to the onboard Feedback Destroyer.

Better yet, Mackie gives you some handy EQ presets to choose from so you can ensure you're getting the best from your speakers. With PA, DJ, Monitor and Solo modes, this speaker has most situations covered.

Best on a budget

Alto Professional have a pretty noble mission statement, they are looking to "produce products that deliver superior performance at affordable price points for use in live performance settings" - and that's something we can most definitely get behind.

While we had plenty of speakers to choose from, we've selected the TS412 for this guide to the best PA systems for bands. Delivering an eye-watering 2500W (peak), these inexpensive speakers are equally suited for your front-of-house mix or monitors, making them a perfect choice for local bands.

But wait, there's more. With the ability to stream audio via Bluetooth direct from your mobile device, you've even got the pre-show music sorted!

Best adaptable

LD Systems are arguably more well-known for their portable PA systems, such as the MAUI and MAILA ranges, and while we could've certainly chosen one of these systems for this guide, we instead decided to keep it traditional and opt for a more conventional loudspeaker. But don't be fooled by the simple design of the ICOA 15, as it houses some pretty fancy tech.

Like most - if not all - of the speakers on this list, the ICOA 15 is able to be used as either a front-of-house system or as a floor monitor thanks to its contoured edges and sleek design. Where the ICOA 15 differs from the rest is in its ability to rotate the horn, meaning you can perfectly - and easily - optimise your speaker for every situation.

For further flexibility, LD systems have included a number of EQ presets to further balance the sound of the PA speaker, no matter if you are hanging it from the ceiling, mounting it on a pole or using it as a fold-back monitor.

Best dispersion

On the surface, the Bose F1 may look like the unassuming black boxes that are peppered around venues up and down the country, but we can assure you it is not.

Utilising the technology Bose pioneered with their portable line array systems, the F1 features a whopping eight high-output drivers and a 30-cm woofer placed behind, resulting in a powerful, full-frequency solution that's sure to transform the sound of any band.

The beauty of this Bose system lies in its incredibly flexible nature. The Array portion of the speaker is adjustable, meaning you can make sure you cover the exact area you need to. With settings for floor level, on stage, seating and more, the Bose F1 will make light work of any live situation.

Best with Bluetooth

In the past, we've covered the JBL EON ONE MK2, and it's fair to say we are fans of the renowned EON series - and so it would seem are many bands, as this particular range has been around for well over 20 years.

Now, we've decided to showcase the 15-inch version here as we think the bass response is mega, meaning you don't actually need to purchase a sub if you are trying to keep the budget low. From high-octane metal to blues, jazz and even hardcore house, this speaker should fit the bill.

The cherry on the cake is the integrated Bluetooth streaming, which not only allows you to pair your speakers to a portable device to run the pre-show music but also controls some of the speaker's parameters via the JBL Pro Connect App.

How to choose

Selecting the right PA system is crucial for any band looking to deliver great sound at gigs, rehearsals, or events. As a sound engineer, I know the process can seem overwhelming, but breaking it down into key considerations will help you make a smart, long-term investment.

Assess your needs
First, consider the typical venues your band plays. Are you mainly in small clubs, medium-sized halls, or outdoor festivals? The size and acoustics of your performance space greatly impact the power and features you’ll need. For small indoor spaces, a compact, powered PA with 500–1000 watts may suffice. For larger or outdoor venues, you might need 2000 watts or more, along with multiple speakers and subwoofers for bass reinforcement.

Speaker Choices
Quality speakers are the backbone of any PA. Powered (active) speakers are easier to set up and transport since the amplifier is built in. Passive speakers require external amps but can be more flexible for larger, scalable setups. Always check the speakers’ wattage and SPL (sound pressure level) ratings to ensure they match your needs. For full bands, adding a subwoofer can dramatically improve your low-end clarity, especially for drums and bass.

Monitors and feedback control
Don’t overlook stage monitors. Musicians need to hear themselves clearly on stage to perform well. Wedge monitors or in-ear systems both have pros and cons; wedges are simple, while in-ears reduce stage noise and feedback.

Portability and expansion
If you gig frequently, prioritize systems with rugged build quality, manageable weight, and features like wheels or handles. Also, think about future growth: choose a system that allows you to add more speakers or upgrade components as your band evolves.

Glossary

• Active Speaker: A speaker with a built-in amplifier. Just plug it in and you’re ready to go – no separate amp needed.
• Amp (Amplifier): The bit that makes your sound louder. Takes the weak signal from your mixer or instrument and boosts it so everyone can hear.
• Crossover: Splits the audio signal into high and low frequencies, sending each to the right speaker driver. Helps everything sound clearer.
• dB (Decibel): How we measure volume. Higher numbers mean louder sound – though it’s not a straight line (90dB isn’t twice as loud as 45dB).
• Driver: The actual speaker cone that moves air to create sound. A PA speaker might have several drivers for different frequencies.
• Hz (Hertz): The unit for measuring frequency. Low Hz = bass, high Hz = treble. Middle C on a piano is about 262Hz.
• Passive Speaker: A speaker without a built-in amp. You’ll need a separate power amplifier to drive it.
• Power Handling: How much power (in watts) a speaker can handle before it breaks. More watts generally means it can go louder.
• SPL (Sound Pressure Level): Another way of measuring how loud something is, in decibels. Higher SPL means the speaker can get louder.
• Subwoofer: A speaker designed just for deep bass frequencies. Makes your kick drum and bass guitar really thump.
• Tweeter: The small driver in a speaker that handles high frequencies – things like cymbals and the sizzle in vocals.
• Woofer: The larger driver that handles low and mid frequencies. The bigger cone moves more air for those bass notes.

FAQs

How we choose products

Here at MusicRadar, we are experts in our field, with many years of playing, creating and product testing between us. We live and breathe everything music gear-related, and we draw on this knowledge and experience of using products in live, recording and rehearsal scenarios when selecting the products for our guides.

When choosing what we believe to be the best PA systems for bands available right now, we combine our hands-on experience, user reviews and testimonies and engage in lengthy discussions with our editorial colleagues to reach a consensus about the top products in any given category.

First and foremost, we are musicians, and we want other players to find the right product for them. So we take into careful consideration everything from budget to feature set, ease of use and durability to come up with a list of what we can safely say are the best PA systems for bands on the market right now.

Find out more about how we test music gear and services at MusicRadar.

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With more than 17 years of experience, MusicRadar is the premier music-making website in the world. Run by musicians for musicians, we offer expertly written gear round-ups and high-quality, authoritative reviews by an extensive team of highly experienced industry professionals.

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JBL EON ONE MK2 review: What is it?

If you are a working musician looking to be heard, you aren’t exactly short of options when it comes to sound reinforcement. That said, it can be difficult to navigate your way through the sea of interchangeable black cuboids that take up residence in venues up and down the country - throw the portable column variety into the mix, and things get even more confusing. Luckily, JBL has a system that looks to take the fuss out of setting up a PA while also being super lightweight and powerful enough for a multitude of situations - enter the JBL EON ONE MK2. 

Building on the previous generation, the new EON ONE MK2 is a feature-rich, all-in-one rechargeable column PA which benefits from an onboard mixer and DSP effects. Boasting five channels, effects powered by DBX and Lexicon, as well as Bluetooth streaming and a mobile control app, this transportable PA has a lot of functionality hidden away inside its lightweight frame. 

Standing at six and a half feet tall, the EON ONE houses an array of eight two-inch tweeters which disperse sound at 140° horizontally and 30° vertically, while the 10-inch woofer at the foot of the system delivers the punchy low end down to 37Hz. Couple that with the 1500-watt (peak) amplifier and 123dB output, and you have a system that can handle a legion of scenarios – from pub gigs to houses of worship, conferences to busking and so much more.

JBL EON ONE MK2 review: Performance & verdict

If you're a performer hopping from venue to venue, gig to gig, you require a PA that won’t break your back every time you load it in and out of the van. With this in mind, it’s easy to see why the column units have become so popular in recent years. Thankfully, the JBL EON ONE MK2 delivers everything you want from this style of system – especially when it comes to portability. 

Clocking in at a very manageable 19.3kg, this PA is remarkably easy to carry - and better yet, there’s a very clever lockable dock at the rear of the sub for storing the top array and spacing bars. So, much like a music gear transformer, this PA collapses down into a single unit you can literally carry with one hand. This makes storing the EON ONE very easy, as it doesn’t take up too much space at all when it’s not in use. 

When it comes to setting up the EON ONE, it literally could be simpler. Much like other systems of this nature, you merely have to slot the two spacers into the sub - with the bottom one housing the battery - and topping with the line array. 

Despite standing relatively tall at over 6ft, once slotted together, the unit feels sturdy and robust, with little to no movement in the column - and that’s not something we can say for all column PA units. This is a testament to the overall build quality of the JBL and we must say, we are impressed. 

Moving on to the built-in mixer, and it’s a fairly standard affair. On the backside of the sub, you’ll find a digital mixing console that includes a trio of XLR combo jacks, a 1/4” Hi-Z input, a 1/8”/Bluetooth input for streaming music and a single 1/4” thru. This combination of inputs and outs should be enough for an acoustic duo, a solo performer or a rudimentary speech set-up. For larger acts, you may want to use your own mixing console to expand your options. 

The mixer also includes three fixed EQ knobs - bass, mid and treble - meaning you can quickly make adjustments to the sound on the fly. These dials also double up as channel select buttons. Simply hold down the appropriate button to select that channel. Usually, we aren’t a fan of dual-function controls, but the dials on the JBL are fairly intuitive and simple to use. 

The EON ONE comes loaded with studio-quality effects, which are powered by Lexicon and include all the mainstays you’d expect from reverb to delay and chorus. All the effects present are of a very high standard and will certainly add that extra spice to your performances.  

In terms of sound, we believe the JBL EON ONE has a somewhat hi-fi quality. The high-frequencies are bright and shimmery, while the low end is tight, focused and powerful. However, in our tests, we found the mid-range could get a little boxy at times. Thankfully the EQ controls are broad enough to scoop the problem frequencies out with relative ease. 

The sonic signature of this system shouldn’t come as much of a surprise considering JBL’s pedigree in the consumer audio space as well as the pro audio sphere. Now, don’t get us wrong, the sound that’s produced by this relatively small system is rather impressive and we believe it will do most styles of music justice. 

It may not be as warm sounding as the RCF EVOX or as sonically balanced as a Bose unit, but what it lacks in warmth and tonal harmony, it more than makes up for in sheer ease of use and build quality. 

Overall, we are very impressed with this do-it-all PA system from JBL. This is a truly idiot-proof PA unit, perfect for novice performers looking for a lightweight audio solution. What’s more, the integrated battery means the EON ONE transforms into the ultimate busking rig whenever you are out of reach of mains power. 

JBL EON ONE MK2 review: hands-on demos

Sweetwater 

JBL Professional

JBL EON ONE MK2 review: specifications

• System Type: Powered Column PA Speaker
• Woofer Size: 10”
• Tweeter Size: 2”
• Tweeter Count: 8
• Max SPL: 123 dB/119 dB AC/Battery
• Horizontal Dispersion: 140°
• Vertical Dispersion: 30°
• Power Rating: 1500W Peak/ 400W RMS
• Crossover Frequency: 230 Hz
• I/O: 3 - XLR Combo Jacks, 1 - 1/4” Hi-Z, 1 - 1/8”/BT Summed, 1 - X1/4” balanced
• Weight: 19.3kg (42.5 lbs.)
• Weight: 22.38kg (49.3 lbs.)
• Dimensions: 452 x 627 x 730mm (WxDxH)
• Contact: JBL 

Looking to take your portable sound rig to the next level? The JBL PRX900 Series powered loudspeakers and subwoofers are perfect for you. The PRX900 Series is built to deliver unrivaled PA performance in a portable and durable package. It’ll raise the bar for anyone who’s looking for high-performing speakers for their system.

There are plenty of things that make the JBL PRX900 Series such a great option for small and medium-sized venues. For starters, the speakers in this series are built with JBL’s most advanced acoustics technologies to date, with the company’s next-generation driver system. Those drivers are powered by incredibly efficient 2,000-watt (peak) Class D amplifiers, and are built to deliver more clarity and definition, even when the speakers are being powered at maximum volume. 

The more advanced acoustics aren’t the only addition to these speakers though. The speakers also boast JBL’s new DSP package, which can be accessed and controlled with built-in LCD displays and the JBL Pro Connect app. That basically means that you’ll control some of JBL’s most powerful portable speakers at your fingertips. Using the app, you’ll get full control of up to 10 speakers – and it can be used to control JBL EON ONE MK2, PRX ONE, and EON7000 systems too. 

The speakers sound great out of the box, but they come with a range of great features to help them better fit in their space too. Notably, you’ll get a 12-band parametric EQ for fine-tuning frequency response, Automatic Feedback Suppression, and even delay settings and presets. That’s all without the need for any external gear in the chain ahead of the speakers. 

Great portable speakers wouldn’t be much if they couldn’t survive the abuse of life on the road – but thankfully, the speakers in the JBL PRX900 Series are specifically built with durability in mind. They boast a computer-modeled internal rubbing design that allows them to be more rigid. The subwoofers in the series are built in 18mm birch cabinets, helping ensure that at the same time as being durable, they deliver accurate low-end response. If, by some miracle, you do manage to damage the speakers, they’re backed by JBL’s excellent seven-year warranty.

Interested in taking advantage of the incredible loudspeakers in this series for yourself? There are five in the series, including three two-way loudspeakers and two subwoofers. 

There’s the PRX908, which is the smallest loudspeaker in the series and offers a 908G 8-inch ferrite magnet woofer, and JBL 2408H-2 compression driver. Then there’s the PRX912, which swaps out the 8-inch woofer in favor of a 12-inch one, and the PRX915, which gets a 15-inch woofer.

The subwoofers are the PRX915XLF, which has a 15-inch ferrite magnet woofer, and the PRX918XLF, which steps that up to 18 inches.

To learn more, head straight to the JBL website.

JBL has improved its portable PA offering with the release of the PRX900 Series of loudspeakers and subwoofers. Designed for bands, DJs, venues and more, these promise advanced acoustics, comprehensive DSP, plenty of power and wireless Bluetooth control via the JBL Pro Connect app.

The range includes three powered two-way loudspeakers and two powered subwoofers, with all-new proprietary driver systems said to deliver clarity and definition even when you crank the volume.

The DSP can be accessed via the onboard LCDs or the JBL Connect and includes a 12-band parametric EQ and integrated dbx Drive Rack technology. This provides live and fixed Automatic Feedback Suppression, a soft system limiter with Soundcraft Overeasy option, and speaker delay settings and presets.

The PRX900 Series is completely scalable, with the Pro Connect app enabling you to control up to 10 speakers. You can also integrate with the BL EON ONE MK2, PRX ONE, and EON700 systems.

We’re assured that you won’t have to worry about durability, either - there are rigid composite loudspeaker cabinets and the subwoofers are housed in 18mm birch cabinets with optimised bracing. The PRX900 Series also has the advantage of being backed by an out-of-the-box seven-year warranty.

“For years, our PRX800 Series loudspeakers have been first-call systems for bands, DJs, installers and houses of worship in large part thanks to their acoustic profile, their low end extension, and their volume," said Brandon Knudsen, HARMAN Professional Product Manager, Portable PA Loudspeakers.

“With the PRX900 Series, we’re taking things to the next level with next-gen acoustic innovations and an even brawnier power package to deliver clean, clear sound at any volume. Systems take advantage of the latest BLE technology and the JBL Pro Connect app ecosystem, for unrivalled control.”

Find out more about the PRX900 Series on the JBL website.

RECORDING WEEK 2022: Following on from last week's explainer on how to set up your home studio's control room, we're taking a look into two crucial aspects of acoustic treatment for your home studio: speaker positioning and room correction.

When it comes to your speakers, they should be placed so that the tweeters are at ear level and the woofers are not exactly halfway between the floor and ceiling. The speakers should form an equilateral triangle with an apex just behind your head.

Using the 38% rule is a trade-off between physical symmetry (good for stereo imaging) and bass response (good for tonally balanced mixing), so check how good the ‘phantom centre’ is in your new position by listening to a vocal. It should sit bang in the middle. If your high-frequency diffusion is up to scratch, you shouldn’t have too many problems.

The more solid your speaker stands, the better. Hollow metal stands aren’t great, since they can remove your bottom octave – if yours are hollow, at least fill them with kiln-dried sand. Breeze-blocks are great, but should be wrapped in clingfilm and fabric to prevent dust shedding.

And don’t use foam speaker pads – speakers work more efficiently when they can’t move. Every time the cone moves, the cabinet tries to move as well, so preventing the cabinet from moving makes the speaker more efficient. Don’t make a bad situation worse by adding floppy foam into the mix!

Correcting bass response

Most small and medium-sized rooms end up with a couple of problem areas, typically down at 60Hz and a little higher at 150Hz. If we’re going to fix these, it’s time we introduced MelaTech properly.

Made by H&H Group in the UK, MelaTech is a high-density open-cell melamine foam that boasts powerful and even broadband absorption from 125Hz to 250Hz upwards. Best bought in 100mm-thick panels or big, pre-cut blocks, MelaTech will deal with all your high-frequency reflection problems and is going to be a vital component in building our bass treatments.

We’ll also be needing some pre-cut 2mm-thick steel plate (which should be easy to obtain from any engineering company), and some 3mm rubber sheeting. These will come together to make panels offering good bass correction, while the MelaTech will help us fix the honk and reflection.

You can buy purpose-made diffusor panels designed to break up honk and reflection, but these are more expensive, and a load of shelves filled with books and bits and pieces will do just as good a job, if not better.

Putting MelaTech on the ceiling and bass absorber panels to the sides, between us and the speakers, will effectively make those walls disappear by ensuring that the high frequencies from the speakers get to our ears free of reflection from above and the sides.

Making and mounting control room bass correction panels

Step 1: First we need a way of mounting our heavy panels on the walls. By using batons rather than fixing everything directly to the wall, we can minimise ‘wall trauma’, keeping partners, parents or landlords happy. Use captive fixings/T-nuts to attach long threaded screws to the batons, then fix the batons to the walls using rawl plugs and screws.

Step 2: Drill holes in your 1200x600x2mm steel panels through which to hang them on the long screws. Push them right back to reduce stress on the screws. Next, hang sheets of rubber of the same size so as to dampen the steel, taking away its reverberation. A piece of wood glued to the rubber can prevent curl if necessary. The steel plate now resonates down in those problem areas, helping to cancel excess bass.

Step 3: The rubber makes an undesirable reflective surface, so let’s use a big piece of 100mm-thick MelaTech to cover it. This will also mean we’re covering two issues in the same amount of space, as we’ll have a bass absorber and a broadband mid- and high-frequency absorber in the same place. Glue a drilled aluminium plate to the MelaTech, as shown. Evo-Stik works well, but be sure you have good ventilation!

Step 4: Here’s the whole dual-purpose treatment panel. Ideally you should have some like this and also some that are double the width (1200x1200x2mm) to make sure you’re acting on a wide range of low-end frequencies. These panels are ideal on a wall behind the listening position, or to each side in order to ‘take out’ nearby walls. Cover them with fabric and they’ll look nicer!

 Killing control room ceiling and floor reflections

Step 1: More MelaTech or similar, but this time in chunky shapes. Wherever you end up sourcing your open-cell melamine foam, it’s worth buying it ready-cut. A steady hand and a breadknife will get the job done, but unless your going to cover it, it’s definitely better to get it pre-shaped. Shapes like this one are great for removing floor-to-ceiling flutters and tightening the stereo image. Here’s how to attach them…

Step 2: Use a plasterboard fixing like this one to screw a circular neodymium magnet to the ceiling. This is by far the easiest way of getting your foam up and down, and if you accidentally knock it with something, it’ll move rather than get holed. The magnets also enable positional adjustment, of course, so you can easily move your shapes next door into your ad-hoc vocal booth!

Step 3: Use 200x100mm aluminium plates as your magnetic fixings. Again, Evo-Stik will do the job, but for the very best join, use a glue gun and then a hot iron on the plate for a minute or two, and leave to dry overnight. If your ceiling is high enough, use a long screw on the magnet, making a 200mm gap between the MelaTech and the ceiling. This increases efficacy, as sound hits the MelaTech, goes to the ceiling, and then goes back through the MelaTech again.

Step 4: Last but not least, the flooring. If possible, use a thick underlay and wool twist carpet. As well as softening the room, it’ll be very comfy! Add to that an extra rug underneath the chair and you’ll have pretty much eliminated floor-to-ceiling problems. The general rule with home rooms is that they’re never great acoustically, so the idea is to kill the reflections completely.

PA Systems - the world would undoubtedly be a whole lot quieter without them and definitely more boring! Now, with how critical these large boxes are to live music, you'd think more musicians would take an interest in what the best PA speakers are on the market and which are suitable for their needs. Sadly, many players underestimate the importance of the humble PA speaker and end up with a system that isn't fit for purpose, and this will always lead to a bad-sounding event - and no one wants that!

We've all been at arena gigs or festivals and looked up in awe at the gigantic hanging speakers above us. But, as cool as these are, they might be overkill for that intimate wedding gig you just landed. That's why I have chosen to focus purely on compact active PA speakers that would suit anyone playing in small to medium venues. This includes full bands with drums, solo artists, duos, and trios.

I've made sure that all the PA speakers in this guide are incredibly user-friendly, simple to set up, and, more importantly, easy to transport.

Best PA speaker overall

First and foremost, PA speakers have to be reliable. A failing speaker could be disastrous for a gig, and not to mention lose you money! With the Yamaha DZR range, that need not be a worry, as Yamaha offers a whopping seven-year warranty on these high-tech loudspeakers.

No matter the application, there is plenty of horsepower in these 2000W bi-amped speakers, and when we've used the Yamaha DZR, we certainly never thought they lacked volume. The ability to rotate the horn allows you to hang these speakers from the ceiling, mount them on speaker poles, or even use them as floor monitors. The convenient LCD screen located on the back of the unit allows you to easily adjust a wide range of DSP functions, from loading venue-specific presets to adjusting the EQ balance of the speaker. You can also save your setting on a USB drive and transfer them between speakers.

So if you're looking for one of the best PA speakers on the market and one that will stand the test of time, the Yamaha DZR12 is the perfect speaker for you.

Best all-in-one system

If the thought of setting up a PA system breaks you out in a cold sweat, then the RCF EVOX system is the perfect solution for you. This all-in-one, small line array is super easy to set up and comes with a myriad of effects - and even amp modelers so you can plug your electric guitar or bass guitar directly in.

The entire system is controlled by the highly intuitive EVOX mobile app. This app allows you to manage all the features of the in-built eight-channel digital mixer, from gain, levels, EQ, and effects. This also allows you to mix from anywhere in the room - and even from the stage if you wanted to.

In our tests, we found the RCF to be incredibly intuitive to use, very reliable and most importantly it sounds superb - it makes sense then that we would feature it in our guide to the best PA speakers.

Best for solo performers

The smallest and easiest to move around of the company's L1 range, the Bose L1 Compact System combines a PA and monitors in one unit, with interlocking components that Bose that we found can be set up in minutes.

The main component is a slimline array speaker that's about 2m high and features six small drivers mounted at precise angles. This is placed vertically and slotted into a power stand with an integrated bass speaker.

The advantage of a line array is that it dispersesThe Bose L1 Compact System is the smallest and easiest model to move within the company's L1 range. It combines a PA system and monitors into one unit, featuring interlocking components that can be set up in just a few minutes.

The main component is a slim line array speaker that stands approximately 2 meters tall and includes six small drivers positioned at precise angles. This speaker is placed vertically and slots into a power stand that has an integrated bass speaker.

One of the standout advantages of using a line array system like the Bose L1 Compact is its capacity for uniform sound distribution. By dispersing sound spatially, it fills the entire room with clarity and volume while reducing the potential for feedback. This feature is particularly beneficial for live performances, allowing musicians to move freely on stage without worrying about hot spots or dead zones in the sound coverage. Overall, the Bose L1 Compact System is designed to provide exceptional audio performance in a user-friendly and portable design. sound spatially, not only to fill the whole room for the audience but also onstage for monitoring.

Reasonably priced option

Electro-Voice has been in the live sound game for over 90 years, so it's safe to say they know a fair amount about sound reinforcement. Famed for their high-quality and reasonably priced speakers and microphones, EV sure makes some of the best PA speaker systems on the market.

For this guide, we have chosen to single out the ELX200-12P. For us, the 12" powered speaker delivers a fantastic clear and articulate sound - and is more than capable of hanging with the more expensive entries on this list.

Like the Yamaha DZR, the EV also features an LCD screen for navigating through EQ presets and giving a visual meter for both input one and two. This can also be accessed through the EV QuickSmart mobile app.

Best personal line array

Now, some of you may be familiar with Yamaha's previous Stagepas system. The ultra-portable PA was incredibly popular with solo performers and duos and this new system builds on that legacy and turns it into a personal line array system.

If you're entirely new to sound reinforcement, then this is the PA for you. We found that this unit couldn't be any easier to set up. Simply insert the two spacer units into the 12" subwoofer, and top with the line array head, and that's it. Even making adjustments to the EQ and effects is also super simple - with the use of Yamaha's one-knob EQ and simplified controls.

Although we feel the Stagepas 1K is a little small for full band setups, this sleek and well-built PA is perfect for singer-songwriters, duos, or even spoken word applications such as speeches, schools, or worship.

Best workhorse speaker

The SRM range is, according to Mackie, the most widely-used mobile loudspeaker ever and, while the SRM450 by itself is a self-contained PA, it can also be used as part of a larger system and can have a subwoofer added, so may be a starting point for someone looking to eventually expand their facilities.

There are two channels, so you can comfortably have two vocals or a vocal and instrument. Channel 2 also has connections for a music player. Onboard DSP provides voicings for PA, DJ, Monitor, and Soloist with various bass roll-offs and mid-cuts, but there is no other EQ.

We found the Mackie SRM450 to have a fairly punchy sound with plenty of low-end - even though it can lack a little high-end definition - and a pair would provide plenty of volume for most situations.

Also consider

So those are our top picks, but there are many more great options to choose from that offer something a little different in terms of features and performance. We've selected some more of our favourites below.

Glossary of terms

• Active Speaker: A speaker with a built-in amplifier. Just plug it in and you’re ready to go – no separate amp needed.
• Amp (Amplifier): The bit that makes your sound louder. Takes the weak signal from your mixer or instrument and boosts it so everyone can hear.
• Balanced Cable: A cable (usually XLR) that reduces interference and buzz. Great for longer runs without picking up noise.
• Crossover: Splits the audio signal into high and low frequencies, sending each to the right speaker driver. Helps everything sound clearer.
• dB (Decibel): How we measure volume. Higher numbers mean louder sound – though it’s not a straight line (90dB isn’t twice as loud as 45dB).
• Driver: The actual speaker cone that moves air to create sound. A PA speaker might have several drivers for different frequencies.
• Feedback: That horrible squealing noise when a microphone picks up sound from the speakers, creating a loop. Point mics away from speakers to avoid it.
• Frequency Response: The range of sounds a speaker can reproduce, measured in Hz. Humans hear roughly 20Hz to 20kHz, so you want speakers that cover most of that.
• Hz (Hertz): The unit for measuring frequency. Low Hz = bass, high Hz = treble. Middle C on a piano is about 262Hz.
• Passive Speaker: A speaker without a built-in amp. You’ll need a separate power amplifier to drive it.
• Phantom Power: 48-volt power sent through XLR cables to run condenser microphones. Usually a button on your mixer labelled +48V.
• Pole Mount: The socket on top of a subwoofer that lets you stick a speaker on a pole. Gets your sound up to ear level.
• Power Handling: How much power (in watts) a speaker can handle before it breaks. More watts generally means it can go louder.
• SPL (Sound Pressure Level): Another way of measuring how loud something is, in decibels. Higher SPL means the speaker can get louder.
• Subwoofer: A speaker designed just for deep bass frequencies. Makes your kick drum and bass guitar really thump.
• Tweeter: The small driver in a speaker that handles high frequencies – things like cymbals and the sizzle in vocals.
• Woofer: The larger driver that handles low and mid frequencies. The bigger cone moves more air for those bass notes.
• XLR Cable: A professional audio cable with three pins. Balanced connection that’s great for microphones and connecting PA gear.

FAQs

Choosing the right PA can seem complicated, but it doesn't have to be. If you follow this simple advice, you should be able to quickly find the best PA system for your situation.

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With more than 17 years of experience, MusicRadar is the premier music-making website in the world. Run by musicians for musicians, we offer expertly written gear round-ups and high-quality, authoritative reviews by an extensive team of highly experienced industry professionals.

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How we test PA speakers

The way in which we test a speaker is crucial and will ultimately show off the PA system's strengths and weaknesses. Our first port of call is to collect a selection of reference tracks. These songs need to be professionally produced, cover several genres and display a wide range of frequencies to ensure we are testing the system fairly.

We will then play the PA speaker at various volume levels - paying close attention to the low, mid and high frequencies and how they change at different dB levels.

Lastly, we will plug in a microphone, acoustic guitar or keyboard and test the sweep of the EQ as well as any other tone-shaping features that may be present, such as compressors and effects.

All of the above factors, along with the overall built quality, weight and ease of use, are then considered when deciding if a product makes the grade and is worthy of being included in our guide to the best PA speakers.

Read more about how we test music making gear and services at MusicRadar.

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Amp modelling pioneer Kemper has announced their super light Kone Neo 12-inch speaker is available to order now.

The new neodymium magnet Kone Neo supersedes the existing Kone units as featured in the Kemper Kabinets.

Specifically designed for use with the Profiler and utilising Kemper’s unique "speaker tone mining" technology, the Kemper Kones make it possible to digitally imprint various speaker characteristics onto one single cabinet.

Loaded with Kemper Kones/Kone Neos, the Kemper Kabinets provide a choice of 19 classic guitar speaker imprints for Kemper Profiler PowerRacks and PowerHeads.

By replacing the conventional magnet with a modern lightweight neodymium magnet, Kemper’s new Kone Neo speaker is around 1.5 kilograms lighter than before – a significant reduction in weight, especially when it comes to 2x12 and 4x12 cabs.

Designed exclusively in collaboration with industry legends Celestion, the Kemper Kone Neo is a full-range speaker controlled and driven by the Profiler’s processor using a special algorithm.

Unlike regular full-range PA or monitor speakers, the Kemper Kone Neo is geared towards the sound of classic guitar speakers and allows “speaker imprints” of some of the coolest sounding units in guitar amp history.

By activating the Profiler’s Monitor CabOff function, the Kemper Kone Neo is switched from full-range mode to the Speaker Imprint Mode.

This allows selection of one of the 19 classic guitar speakers, providing a realistic “amp-in-the-room” experience.

At the same time, music fed into the Profiler’s Aux Input can be played back in (non-Imprinted) full-range mode.

Pairing the right speaker/cab with an amp makes all the difference and the Kemper Kabinet and Kone models offer a great way to find your ideal guitar tone.

Kemper’s new Kone Neo is available as a single unit and in two- and four-speaker sets (for 2x12 and 4x12 guitar cabinets).

Visit the Kemper website for more information.

The rise in popularity of amp modellers and profilers, such as the Kemper, Line 6 Helix, Quad Quarter and more has meant that players seeking a more digital route are looking at different ways of amplifying their guitar. With one of the best FRFR speakers, you can hear all the detail, nuance and dynamics of your favourite amp models, without worrying about extra frequencies being added in or taken away.

But what is an FRFR speaker? It stands for full range, flat response and it means that the speaker can handle all the different frequencies produced by a guitar, or bass, and it won’t colour the sound. That is, the best FRFR speakers won’t alter the EQ or character of the model or profile being fed to it.

Speakers in traditional guitar amps and cabs tend to have certain characteristics that make them less or more desirable to certain players. FRFR speakers are preferred by those who might already have speaker emulation built into their digital modellers and therefore just want a true representation of that. What you hear through the best FRFR speakers is only what you put into it, meaning that your painstaking profiles and models are represented as honestly as possible.

There’s quite a range available today, all boasting different features that make them ideal for different players. We’ve scoured the market to find the best FRFR speakers covering a range of feature sets and budgets.

Best FRFR speakers: MusicRadar’s Choice

The best FRFR speaker for most uses has to be the Line 6 Powercab 112. It allows you to choose between a completely flat response, and then six other speaker emulations, giving you a good variety of tones. It’s made well, projects nicely, and whilst it isn’t cheap, it also isn’t too expensive.

The Barefaced Reality 112FR is an incredible choice for guitarists using regular tunings and/or acoustic instruments, and the Kemper Powered Kabinet is probably the best option out there for users of the legendary profiler.

Best FRFR speakers: Product guide

Line 6 are one of the biggest names in digital guitar technology and their offering of FRFR speakers is reflective of that. The Line 6 Powercab 112 is an active speaker that allows you to choose between a flat mode, where you hear everything from your modeller without any colouration, or one of six different speaker emulations, giving you a superb amp-in-the-room style playing experience.

Pumping out 250W, and with a handy tilt stand that lets you hear properly on stage, it’s the perfect solution for using your Helix, Kemper, Axe FX etc at gigs. The six emulations are based on some of the most popular speakers used in guitar amps and cabs, so you can instantly get the characteristic frequency bumps and cuts at the push of a button to complement your chosen amp models.

There’s an XLR output, as well as ground lift and low cut switch, adding to the Powercab’s functionality. It’s sturdy, not too heavy, and it sounds great!

Whilst it certainly isn’t cheap, it’s got to be one of the best FRFR speakers around for regular tuned electric and acoustic guitars. The cabinet has been designed in such a way that it gives an incredibly consistent, balanced and dynamic sound when used alongside an amp modeller like a Helix, Quad Quartex or Kemper etc. It also projects in a way that allows you to hear really clearly, no matter where you’re stood in relation to it.

In this clever little cab, you’ve got a Celestion F12-X200 and an Eminence APT80 tweeter working hand in hand to give you a superb guitar tone. The result is a speaker cab that gives you a truly honest representation of what you’re putting into it. If you’ve spent years fine tuning your gear – from choosing the right pickups to tweaking the perfect amp profile – then this will help you hear that.

It’s also not too heavy, making it a great portable option for regular gigging guitarists, and you’ve got the option of choosing a black or silver grille cloth. It might not be the best option for bass players or guitarists using low tunings, but for everything else, it does an amazing job.

The perfect match for your Kemper profiler. This is an all singing, all dancing FRFR speaker that, unlike most other models in this category, projects in a more directional manner – like a traditional guitar amp or cabinet would. The result is a cabinet that not only sounds great but, when playing through it, really feels like you’re using an old school valve amp.

Inside this great looking cab is a specially made Celestion Kemper Kone Neo 12” speaker which works alongside the DSP of the profiler unit itself. The result is a perfect representation of all those profiles that either you yourself, or one of the many pros out there, have painstakingly created. It’s certainly full range, with an incredibly balanced frequency range, but you do get some of the more traditional amp style characteristics with it too, which many players will love. You’ve also got 19 different speaker imprints to choose from, meaning there’s a ton of tonal varieties you can get alongside the Kemper itself.

This is one of the most popular FRFR speakers, and it’s easy to see (and hear) why. It’s relatively lightweight, weighing in around 16kg, and boasts a specially-voiced 12” speaker and high-frequency compression driver that pumps out your glorious guitar tone, untouched and uncoloured from its original source; whether that be a Headrush board, Helix, Kemper or any other amp modeller.

The Headrush FRFR112 gives you 2000W of power at your disposal. If you really push the volume, you’re probably going to notice slightly less clarity, but even without cranking it you can get a good amount of volume to fill some fairly big rooms. It projects well, so whether you’re using it as a stage monitor and taking an XLR out to the PA, or as a main guitar cab without further amplification, you know you’re going to be heard. An EQ contour switch and ground lift switch further add to the functionality of this great FRFR speaker.

The Laney LFR112 packs everything you need into a relatively compact FRFR speaker whilst retaining the appearance of a regular guitar amp. Rated at 400W and featuring a 12” speaker and custom 1” LaVoce compression driver, you’re fully equipped to deliver dynamic and balanced guitar tones, at whatever volume.

The speaker doesn’t colour the tone of the amp models you’re running through, as the best FRFR speakers shouldn’t – however, on the DI output, you’ve got the option of various cabinet simulations, should you wish to add some of the characteristic frequencies associated with many popular guitar cabs. This gives you a great guitar tone going directly into the PA system at gigs and using the speaker as a reference monitor. The handy tilt also means you can angle the speaker more towards your ears allowing you to have less stage volume (always a good thing!). Another nice touch is the switchable LED front illumination, especially when playing live on a dark stage.

If you’ve got an amp modeller with a built-in power amp, like the powered Kemper, for example, then you’ll want a passive FRFR speaker. The Yamaha CBR10 is just that – whilst it’s technically a PA speaker, it actually works really well as a more compact FRFR speaker.

Fitted with a 10” speaker and 1” compression driver, you get a balanced sound with present but uncoloured high and low frequencies. The wide-dispersion horn also means that it projects evenly so you get an even volume coverage. It’s capable of pumping out some volume, but it sounds really good when used quietly too, so whether you’re practising at home or playing with a band, you can get a great guitar tone.

Compact, lightweight and punchy – it’s a great solution for players using digital modellers or profilers that are regularly on the move. It’s really easy to use, but it also gives players flexibility over their tone.

It bears a simple two knob layout; one is for volume and the other lets you go from a flat and neutral response to more of a classic guitar amp-like sound. This is a really useful feature if you switch between different amp models as you can really dial in your sound to each room you’re playing in. Weighing only 8.6kg, and featuring a handy carry handle, it’s great for gigging guitarists that don’t want to be lugging masses of gear around (one of the many reasons many players are going digital).

Whether you want a completely flat response for uncoloured amp models, or a more traditional and direct guitar amp sound and feel, the DV Mark Powered Cab is one of the best FRFR speakers out there.

Whilst it’s not marketed as an FRFR speaker, it does a great job of providing a smooth, balanced response – particularly when using down-tuned guitars and basses. Providing players with a whopping 1000W and fitted with a 15” speaker, there’s loads of scope for clean headroom and low end power.

The Electro Voice ELX 115P handles Kemper bass profiles and other bass amp modellers really well. You get the bottom end response you need without it being too boomy. With a decent modeller, 7-string, baritone and down-tuned guitars sound tight and punchy, though regular guitars will do just as well through it too.

It’s got bags of volume available so you should be able to fill some fairly big spaces when you need to. The downside is that it’s fairly cumbersome and weighs in at nearly 30kg.

Best FRFR speakers: Buyer’s advice

Before spending a few hundred on your new speaker, it’s important to make a few considerations to ensure that you get the best bang for buck.

Think about when and where you’ll want to use it. If you’re looking for the best FRFR speaker for live use, then you’ll want to make sure you’ve got enough volume to fill the spaces you’re playing in. Things like a tilt stand are useful too as they allow you to angle the speaker towards your ears so you can hear better and get away with having the volume a little lower.

If you’re gigging regularly, then the weight of it is probably worth thinking about too. Unless you’ve got roadies helping you out (lucky you!), streamlining your equipment to make it as easy and quick to pack up and down as possible is usually a good idea. Having a portable modeller alongside a lightweight FRFR speaker makes for a really transportable rig, and will save you putting your back out before a gig!

Another useful feature for live use, as seen on many of the best FRFR speakers is the ability to take an XLR out of the back and send it to front of house. This then lets you use your speaker more as a personal monitor, while the sound tech takes care of getting your volume right out front.

Conversely, if you’re playing at home and just want something that gives you the sound of the profiles and amp models you’ve carefully chosen, then you probably don’t need something too big or powerful. An FRFR speaker with perhaps a smaller speaker will save you some space, and in a smaller room, you won’t miss the slightly reduced bottom end.

Some of the best FRFR speakers have more than just a flat response. Many are equipped with speaker emulation that adds in the characteristics often associated with a bunch of popular classic speakers – Celestion Vintage 30s, Greenbacks etc. This means you can have a much more ‘amp-in-the-room’ feel and sound – it can be the perfect blend of modern and old-school.

Related buyer's guides 

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• If money’s no object check out the best high-end guitar amps
• Practice more with the best guitar amp headphones
• Kick off your playing career with the best beginner guitar amps

While public address (PA) systems perhaps don’t have the allure of guitar amps, or inspire a performer like a vintage synthesizer, they are as crucial to the live music experience as any other piece of gear.  

Arguably more so; without a reliable way of amplifying your sound, your audience won’t hear what you’re playing so it pays to take care when choosing your first PA system. Thankfully they are fairly simple to understand, providing you know what you’re looking for from a PA. 

There’s plenty to choose from too, so whatever your requirements are, from battery-powered busking systems to multi-channel, arena-filling full band setups, there will be a PA to suit you and your specific needs. 

In this guide we’ll offer some advice on the things to look out for when choosing a PA, from the different sizes and power ratings available, to the extra considerations you should make, rounding up some top tips which should set you on your way. 

When you’re ready, take a look at our best PA speakers guide for specific product recommendations.

1. Size matters

As with anything, it makes sense to identify your requirements before you start splashing the cash. After all, the needs of a solo singer-songwriter playing a few tunes in the local coffee shop will be wildly different to a professional wedding band, so you should cut your cloth accordingly. The first consideration will be around how much power you will need. Power, in this context, equates mostly to volume but there’s more to choosing a PA system than wondering how loud it can get. 

The standard measurement of power in a PA system is watts and, in the same way as a 100w guitar amplifier is total overkill for a small venue, choosing a PA with a ridiculously high wattage adds unnecessary cost and bulk to your rig. That being said, we’d always advise going (at least a little) bigger/louder than you think you’ll need with a PA, for the simple reason that it’s better to have more juice and headroom available if you need it, than to need a boost and not have it. 

In a small to medium sized venue, anything upwards of 1000w should provide enough grunt to make yourself heard, while for solo artists performing low-key shows a smaller 100w – 300w system should be sufficient. Bear in mind, however, that with extra power comes extra size and weight, which is important if you’ll be transporting the system from show to show. 

2. How will you use it?

While PA systems are essentially simple beasts, you’ll still need to give some thought to how you’ll be using it. At a basic level, you’ll want to make sure there’s enough inputs for your various sound sources in the PA’s mixer, and that the connectivity you need is also on hand. Some systems have Bluetooth or Wi-Fi connectivity, which is great for playing backing tracks but we’d always favour a hard-wired solution if possible as there’s less to go wrong. Likewise, having adequate connectivity to your playback sources is important, whether that involves powered speakers, subwoofers or external recording equipment. 

There are countless ways in which a PA system will be used. We’ve touched on musical situations, but PAs are also used by public speakers, DJs, churches, gym classes and many more. Each of these will have their own requirements; a DJ, for example, will need to ensure plenty of low-end heft is available from their system, but a motivational speaker will favour a system that provides total clarity of their speech. Consider the location as an important element too; different spaces will have different natural acoustics, which will have a huge impact on the final sound. If you’re looking for a system you can install in one place, and that place will become its default location, then speaker placement and good mixing capabilities are important factors. 

3. Portability

As the size of the venues you’re using the PA in get larger, so too does the required size of the system. This doesn’t matter so much if it’s being placed in a static location, but for live performers who bring their own PA to shows it’s important to consider the portability of your system. This particularly matters for solo performers and buskers, where the PA is both crucial to your rig but also yet another thing to carry around. Thankfully, there are some great options out there for performers in this bracket. From simple, battery powered wedges like the Laney Audiohub Freestyle to all-in-one systems on wheels like the LD Systems Roadbuddy; being on your own doesn’t mean you can’t find a PA to suit your needs. 

4. Versatility

Something worth considering is the potential future requirements of your PA system. While you might be a certain sized band, with a fairly consistent setup, it’s always good to keep your options open in terms of how you might wish to grow or develop. Bigger venues, new band members, different equipment; there’s all kinds of ways your needs might change so it’s important you choose a PA system that can evolve with you. 

Adding additional speakers is a simple enough way to expand your system, but is dependent on certain things like the mixer and if you have enough spare outputs to facilitate the extra gear. Likewise, adding extra microphones will require additional XLR inputs, so be sure to choose a system that will allow you to grow. 

If, on the other hand, your setup is fairly consistent and is unlikely to grow or adapt in the future, you might consider whether a battery powered PA, with the option of mains power if required, might provide the versatility you need. 

5. Cost

As we mentioned above, buying your first PA system doesn’t necessarily elicit the same excitement as choosing a new guitar amplifier, for example, but it is still an important ‘milestone’ purchase. As with anything, your budget will dictate a few things, notably the power rating of the system you choose, along with the number of connectivity options and the overall sound quality. But, all things considered, the PA is the vehicle through which your audience will hear you so it’s worth spending as much as you can afford to get the right one for you. 

6. Cables and compatibility

The final point to consider is the multitude of connectivity options, and which ones are best for you and the equipment you use. This will be dictated largely by the mixer, so it is worth getting to know the different features and functionality aspects of your chosen model. 

Typically, there are four main connection options you’ll find. Microphones are commonly connected using XLR cables, which carry a balanced signal and can provide 48V phantom power for condenser microphones. You’ll also find smaller systems may use XLR connectivity between the mixer and the speakers themselves. ¼” jack cables, like those used for guitars, are fairly common but are usually unbalanced so can be susceptible to noise, particularly over long distances. Speakon cables are rigid and have a twisting lock mechanism to prevent them being pulled out. They are also comfortable carrying higher current signals so are commonly found on higher powered PA systems. Finally, RCA connections can be found for connecting up DJ equipment, and these are capable of true stereo sound.

As we mentioned earlier, it’s increasingly common to find PA systems – particularly portable ones – with Bluetooth connectivity. While this is undeniably handy, it is worth checking whether the system has a 1/8” auxiliary input as a back up in case the Bluetooth starts playing up.

Summer has been seriously hotting up in the UK and Europe with record-breaking temperatures and sweaty gigs galore. Now Thomann is turning the heat up further with its Summer Music Madness deals. That means discounts of up to 23% on a wide range of music making gear, from PA speakers and beginner keyboards, to acoustic guitars, basses and percussion instruments. These deals will expire on 3rd August 3rd at 23:59, so you’ll need to act quick.

What’s more, the gear on offer includes models from big brands including Fender, Harley Benton, Mackie, JBL and Millenium. You can save up to 23% off some items, with Thomann promising an average saving of 10-15% across the sale.

Our top pick from the sale would have to be the Harley Benton D-120CE NT steel-string acoustic electric guitar, currently down to just £59. Frankly, that's an insanely low price for such a capable budget guitar. If you have slightly more to spend, we’d recommend that you stretch to the beginner-friendly Fender CD-60SCE Nat WN, another acoustic electric, which comes with Fishman CD electronics on-board. That’s currently down to just £168 in the Thomann sale. If you’re in the market for a beginner acoustic guitar on a budget, now could be the time to buy. 

Live musicians can also benefit from this sale, with multiple portable PA systems up for grabs with almighty discounts. First up, the box MBA120W MKII HT is a portable, battery powered speaker on wheels that comes complete with a Bluetooth and UHF radio mic - ideal for public speaking events and small gatherings. That’s down to just £325 for a limited time. If you want to spend a little less, the Mackie Thump Go is a stylish 200w battery powered portable PA speaker that promises up to 12 hours performance per charge and Bluetooth functionality. That’s currently £315 in the sale.

Elsewhere, there’s money to be saved on beginner keyboards like the Startone MK-400 (just £138), mic, stand and cable sets like the t.bone MB 85 Beta (currently £56) and killer percussion instruments, like the stealthy Millenium BlackBox cajon, which is currently on sale at just £42. Like we said, there's something for everyone!

For even more discounts on guitar, drums and music tech gear, head to Thomann’s Hot Deals page.

Having been a gigging musician, DJ, and karaoke provider for over 25 years, I’m well aware of the stress and anxiety many face when it comes to purchasing, transporting, and using the best portable PA systems.

Endless amounts of amps blowing out on me, speakers giving up the ghost when you need them most, not to mention all the trips to the chiropractor to pop my back into its rightful place after taking a tumble with an overly large bass sub. PA systems can be a source of immense stress and anxiety for a working performer, especially in the modern climate where many venues will not have their own dedicated system ready for you to plug in and play.

Thankfully, many manufacturers have now woken up to the huge, increasingly popular need for lightweight, affordable, and powerful amplification on the move. Whether you’re a humble busker, a church preacher, a travelling duo or even a small pub landlord that wants to trial a fortnightly Karaoke Tuesday at the Fox and Badger Inn, there is a solution here for your individual circumstances within your budget.

I have personally given all of these PA speakers a thorough run-through, testing them for performance, reliability, portability, versatility, and value for money. Best of all, I didn’t require a single visit to my chiropractor.

Best overall

What is it? The Yamaha Stagepas 1K MKII is a compact all-in-one PA system that combines a 12" active subwoofer with a column array of 10 1.5" drivers. Designed for solo performers, small bands, DJs and presenters, it delivers impressive volume, intuitive control, and genuine plug-and-play simplicity. It’s a modern take on portable sound reinforcement – powerful, sleek, and remarkably easy to use.

Build quality: Yamaha’s build quality shines through in a sturdy yet lightweight design that feels truly road-ready. The column pieces lock together cleanly without cables, and the included padded soft case makes transport stress-free. At full height, the tower is stable enough for regular gig use, though you’ll still want to guard it from enthusiastic partygoers. Overall, it’s solid, smartly engineered, and built with gigging musicians in mind.

Key features: A 5-channel onboard mixer with EQ, effects and shaping options forms the heart of the system, complemented by Bluetooth streaming and app-based remote control. The MKII brings improved output and refined DSP, plus useful extras like a ducker switch and footswitch compatibility for reverb. Expandability via a second Stagepas or the DXL1K adds flexibility. It’s a thoughtful feature set that balances ease of use with impressive capability.

Performance: The Stagepas 1K MKII punches far above its size, delivering a surprising 125 dB from its compact sub and slim column. Music playback is rich, room-filling and ideal for small to medium venues, though pushing past around 105 dB introduces some mid/high distortion. Vocal clarity is good, with a deeper tone tweakable via the app’s expanded EQ. Its 170° coverage creates an immersive spread that often makes stereo unnecessary.

Final verdict: The Yamaha Stagepas 1K MKII is a brilliantly convenient PA solution that blends portability, power and polish. I had the pleasure of taking it to a small pub for an impromptu acoustic duo performance, and it really was a pleasure. Right off the bat, Yamaha get major brownie points by supplying a quality soft case for the entire system, something I would urge other manufacturers to take note of. Everything packs neatly into one carrier, which takes up barely any room on my backseat. With everything set up within minutes, I could take my time fine-tuning the mics and guitars using the free App on my smartphone, something that is quite fundamental to getting the most out of this system.

The Yamaha is generally hard to beat for what it does, providing crisp, clear and small pub-size room-filling sound whilst taking up a tiny footprint. For an acoustic duo, solo artist, child-party DJ or budding Karaoke compere, this device really does tick all the boxes. I would urge you to be mindful not to place microphones too close to the speakers, as feedback can be an issue at high volumes due to the wide 170° coverage of the line-array speakers. The 12” sub really slams when streaming music through the Yamaha, with the 10 small array speakers delivering a rich and powerful sonic assault, topping out at a frankly ridiculous 125db.

Yamaha has built a smart, well-presented and powerful portable PA system. If only this had a battery-powered option. Perhaps something for Yamaha to consider in future?

Best on a budget

What is it? The Turbosound iNSPIRE iP500 is a 600W modular column PA system built for portable, professional sound. With an 8" subwoofer and six 2" neodymium drivers, it delivers room-filling audio in houses of worship, clubs, boardrooms, and medium-sized venues. Lightweight, Bluetooth-enabled, and DSP-powered, it offers big-system performance in a compact, plug-and-play package.

Build quality: The iP500 is built for the road, featuring a tough plastic enclosure, protective steel grilles, and a precision-lock aluminium array that removes the need for stands or cables. The modular design packs down easily, and the included shoulder bag makes transporting two columns effortless. It’s robust, cleanly engineered, and clearly designed to withstand frequent gigging and setup cycles.

Key features: This system boasts Klark Teknik 24-bit DSP, Spatial Sound technology, a Class D amplifier, Bluetooth streaming, and full iPhone/iPad remote control. Its digital mixer includes combo XLR/jack inputs, onboard reverb, intuitive single-knob navigation, and clear LCD feedback. Custom-designed drivers ensure wide dispersion, while presets and smart filtering make it easy for any user to achieve consistent, polished sound.

Performance: The iP500 delivers rich, detailed audio with excellent horizontal coverage up to 100° – ideal for evenly filling medium-sized rooms. Its DSP constantly optimises EQ, dynamics, and crossover settings for clear, balanced sound, while the Class D amp provides ample clean headroom. Expect tight lows, smooth highs, and reliable output that holds strong all night without overheating.

Final Verdict: As much as I love the Stagepas 1K MKII from Yamaha, the hefty price tag cannot be ignored. Thankfully, Turbosound may have provided a solution for the more budget-conscious among us. The iP500 manages to squeeze out an impressive 118 dB of sound whilst maintaining a pleasingly rich, room-filling soundscape. The 100° dispersion from the tiny 2” drivers in the top line array unit will easily ensure that Granny and Grandad can still hear you from their seats by the toilets.

Of course, the low price tag comes with some drawbacks. I’m limited to just two combo XLR/Jack inputs on the unit. The addition of an external mini mixer would easily overcome these difficulties, though. What was a nice surprise was to discover that they have included a protective cover for the system as standard, an addition that many more expensive manufacturers overlook.

The build feels solid and tactile, and at a smidge over 15kg, the iP500 is a great option for solo artists, duos and children’s party DJs who don’t require ear-bursting levels of volume.

Best Lightweight

What is it? The Bose S1 Pro+ is a compact, battery-powered all-in-one PA system designed for performers, presenters, and anyone needing big sound in a tiny, ultra-portable package. Building on the original S1 Pro, it adds smarter controls, improved portability, and optional wireless connectivity – making it ideal for buskers, small gigs, and even high-quality Bluetooth playback at parties or events.

Build quality: Bose has refined the S1 Pro+ with a lighter, more ergonomic design that still feels tough and gig-ready. The rounded housing, bright auto-orienting OLED display, and intuitive multi-function knobs show thoughtful engineering. Multiple positioning options and a sturdy inset handle boost practicality. The only letdown is the lack of an included carry bag, though third-party cases are readily available.

Key features: Highlights include an 11-hour battery, two combo inputs, Bluetooth streaming, USB audio, and compatibility with the Bose Music App for deep EQ and vocal presets. The standout upgrade is support for two optional wireless transmitters for mics and instruments, which store neatly in the back of the unit, creating a fully cable-free setup. Smart utilities like auto-orienting displays and flexible positioning make it impressively versatile.

Performance: Despite its 6.5 kg footprint, the S1 Pro+ delivers rich, punchy, surprisingly loud sound that easily fills a small venue or outdoor space. Vocals cut through cleanly, acoustic instruments stay vibrant, and the system remains clear even when pushed. Feedback is minimal with sensible placement. As both a PA and a premium Bluetooth speaker, it excels – making it a strong choice for performers, parties, weddings, and mobile entertainers alike.

Final Verdict: Bose has always been able to present their products in a slightly different and aesthetically pleasing way. With the S1 Pro +, however, they went above and beyond by including a built-in charging and storage area for two wireless transmitters. Annoyingly, these need to be bought separately, which significantly pushes up the price of this system if you want to get the most out of the capabilities. But what we have here is a fantastic-sounding and super lightweight system ideal for buskers and solo performers.

With two dedicated instrument channels, plus TRS, Aux and Bluetooth, you can let your imagination run wild with your live performances. Clearly, this hasn’t been made with full-blown gigs in mind; the battery operation plants this system squarely into the realm of street performers, or perhaps a harpist performing at an intimate wedding where space is limited. I’ve used this PA for a wide range of instances, including as a monitor for my son to practice his digital drum kit whilst playing along to his favourite songs being streamed directly to the speaker. I even used the Bose as a mini-Karaoke system for my youngest son and his friends at School.

A word of caution: the mic preamps are not the loudest on this unit. If you really need your vocals to sit on top of the music, you may need to consider an external preamp if you’re planning to push the volume. The sound itself though, is very decent. The long battery life should prove invaluable if you’re unable to get near a mains power point.

Best for small venues

What is it? The JBL IRX ONE is a highly portable all-in-one column PA system featuring an 8" subwoofer and six 2" tweeters arranged in a C-shaped array for wide, room-filling coverage. Designed for simplicity, speed, and everyday practicality, it’s ideal for presenters, instructors, small events, mobile DJs, and anyone needing quality sound without the bulk or complexity of a traditional PA setup.

Build quality: JBL has crafted a sleek, lightweight system that packs neatly into itself for effortless transport. At just 15.5 kg, it’s built with portability front and centre, supported by an ergonomic handle that doubles as an access flap. The internal storage, sturdy construction, and clean design make it feel polished and dependable. Setup is impressively quick – one of the fastest in its class.

Key features: The IRX ONE includes a simple 3-channel mixer with mic/line inputs, Bluetooth audio (effectively a fourth channel), global EQ, ducker, feedback suppression, and basic tone controls per channel. Its C-shaped array offers wide 160° dispersion, and additional spacers adjust height as needed. While it lacks built-in effects and fine channel shaping, the straightforward design keeps it light, streamlined, and easy to use.

Performance: This compact system delivers surprisingly big, warm sound with a broad 160° spread and a maximum output of 118 dB. Bass is punchy, highs are clear, and music playback remains clean even when pushed. AFS feedback suppression is impressively effective, and Bluetooth audio sounds excellent. Though limited in detailed EQ and onboard effects, the IRX ONE performs brilliantly for presentations, acoustic sets, fitness classes, school events, and mobile gigs.

Final verdict: I’m a fan of how JBL present their products. The design and ergonomics of the IRX ONE is simple and effortlessly portable. This system lacks some of the options of the Yamaha Stagepas 1k MKII, but it gives it a run for the money in the sound stakes. I had the system fully cranked up in a medium-sized hall, and the output was seriously impressive. Lovely, rounded bass and great sonic separation throughout the frequencies. For a solo, duo or even perhaps a bingo caller, the IRX ONE would easily give you enough headroom to get your message across.

We are lacking any kind of effects and fine detailing on the separate channels, which sadly are limited to 3, with only 2 of them accepting the combo XLR/Jack. However, as is the case with all of these portable solutions, you could always boost the versatility by bringing a small portable mixer. I own a couple of small Mackie 8-channel mixers, which I use for small gigs, and they would work perfectly with the JBL, without adding too much weight for me to carry on my own.

All of this aside, the IRX ONE remains a very good choice for small gigs. Feedback rejection is decent, and you’ll be thankful for the ease of assembly when you’re packing down after your show at 11:30pm.

Best for medium venues

What is it? The LD Systems MAUI 11 G2 is a compact, column-style PA delivering 1,000W peak power, wide 120° coverage, and refined line-array clarity. Designed for solo performers, small bands, churches, and event spaces, it blends powerful output with sleek visual appeal – especially in its striking white finish. Ideal for users needing big-room presence from a slim, modern, plug-and-play system.

Build quality: Tall, elegant, and reassuringly solid, the MAUI 11 G2 features a robust plywood sub, aluminium column sections, steel alignment pins, and reliable multi-pin connectors. Though not the lightest at 24.9 kg, it feels engineered for real-world gigging with excellent stability and well-protected components. Its clean aesthetic – particularly in white – helps it blend beautifully into venues without drawing unwanted attention.

Key features: The system packs Class-D amplification (500W RMS), DynX DSP with multiband limiting, three 6.5" woofers, eight 3" mids, dual 1" compression drivers, and a four-channel onboard mixer. Bluetooth audio, mono/stereo linking, and a 120° x 20° dispersion pattern add versatility. While there are no built-in effects or channel EQ, you can easily expand capabilities using an external mixer.

Performance: The MAUI 11 G2 delivers detailed mids, tight bass, and an impressive 124 dB peak output. Its wide horizontal spread creates a natural, near-stereo feel, and feedback rejection is outstanding—ideal for live vocals and spoken word. Music playback is balanced and musical, staying clean even at high volumes. It’s a capable system for pubs, small halls, worship spaces, and acoustic-led ensembles.

Final verdict: A stylish, great-sounding compact line-array, the MAUI 11 G2 hits a sweet spot between power, clarity, and price. Lack of built-in effects is its biggest limitation, and the weight makes it less grab-and-go than lighter rivals. But its audio quality, coverage, and aesthetic appeal – especially the white model – make it a standout choice for performers and venues wanting premium sound without a premium footprint.

I spotted the MAUI being used at my local church at a Remembrance Day event. The reason I clocked it straight away was the version they had came in a lovely shade of white. This may seem like a superfluous observation, but it’s surprising how effective this made the MAUI 11 G2 blend into the immediate environment. The church had the system placed discreetly to the side of the altar, and they were running both a wireless lavalier microphone and hymnal music through it. The wide 120° dispersion of the sound made it feel like the music was being projected in stereo.

It’s not the lightest of options on display today, but it’s an impressive-looking thing at just over 2 metres tall. Packing a punch at 1,000 watts, the LD really is a system that can stand tall and deliver excellent volume and performance. If you were to double the system up, this would easily be appropriate for a full band for a room up to 100 people.

The feedback rejection is excellent. The church minister frequently walked and talked directly in front of the top speakers without a peep of unwanted noise. Don’t snooze on this one, it’s a fabulous system, and in my humble option, the best looking around. If it were my money, I’d go for it in white, just to stand out from the crowd.

Best for large venues

What is it? The EV Evolve 90 is a high-powered, large-format column PA built for professionals who need huge, room-filling sound in a streamlined system. With eight 4.7" drivers and a monstrous 18" sub, it delivers deep, club-ready bass and wide 120° coverage. Designed for bigger gigs, DJs, bands, and production environments, it’s a premium portable solution – portable in design, if not exactly in weight.

Build quality: This is a seriously robust system. The 18" sub is solid, heavy, and engineered for high output, while the column uses advanced materials and neodymium drivers to keep things manageable. EV’s 3-2-1 assembly system makes setup quick despite the heft. With a PowerCON connection, rugged construction, and an optional transport dolly, it's clearly built for demanding professional use.

Key features: Headliners include 2000W amplification, an 18" sub reaching down to 28 Hz, FIR-processed phase alignment, Bluetooth stereo, AES/EBU digital I/O, QuickSmart Link, and app-based control. Inputs cover XLR/TRS combos, RCA, and stereo XLR. The 120° x 25° coverage pattern and laminar-flow venting ensure clean, consistent output. It’s a fully featured system geared toward large events and modern workflow flexibility.

Performance: The Evolve 90 delivers huge, enveloping sound with thunderous low end and an impressive 134 dB max SPL. The 18" sub is the star – tight, deep, and effortlessly powerful – making dance music and full-band mixes shine. Clarity is excellent, though the midrange can feel slightly recessed. With two units, it becomes a true venue-level powerhouse. It’s overkill for small rooms but spectacular for big, lively crowds.

Final verdict: The elephant in the room regarding the Evolve 90 must be addressed immediately. Can this really be classed as a ‘portable’ PA system, given that it weighs almost 45kg? I’m willing to let this one slide on this occasion, but there is a caveat. I wouldn’t recommend that one person carry the sub on their own, unless they use the ‘dolly’, which is available separately for around £160. This is an 18” sub we’re talking about here, this is no joke! What you get is an incredibly powerful PA system which can genuinely bring the party to almost any space.

I have seen pub bands using a pair of these systems to great effect, delivering fantastic punch and crystal-clear sound. It does need to be said, though, using an identical pair of the Evolve 90 systems brings the total price up to a staggering £6k. At that price point, you need to question whether a portable system is really the best option for you. This is far from the smallest and lightest systems on the market, and there is a wealth of active PA speakers available that would serve a large venue just as well, and, crucially, leave a fair chunk of dosh in your wallet afterwards.

If you want massive output, premium sound, and a stylish column-array aesthetic, the Evolve 90 is a show-stopping choice. But it’s heavy, expensive, and only “portable” with help – or a dolly. For pros who prioritise impact over minimalism, it’s a thrilling system that can transform a space. For everyone else, the price and weight may steer you toward lighter, more cost-effective alternatives.

Best for busking

What is it? The Positive Grid Spark Edge is an ultra-portable 4-channel smart amp/PA hybrid designed for buskers, solo performers, and mobile creators. Powered by 65 watts, onboard effects, modelling, looping, and Bluetooth control, it packs a huge sonic toolbox into a tiny, one-hand-carry unit. Think of it as a modern busker’s Swiss-army PA – part amp, part mixer, part multi-FX, all in one.

Build quality: Despite weighing just 6.2 kg, the Spark Edge feels rugged and gig-ready. Its hard plastic grille, angled base, strong top handle, and reinforced shell are clearly designed for street use and daily transport. The slightly flared chassis gives it stability, and it shrugs off van rides and public-transport bumps. It’s light, sturdy, and practical – exactly what a roaming performer needs.

Key features: The Edge offers four input channels, onboard effects, modelling, Bluetooth audio, MIDI, USB-C, dual line outs, and plenty of EQ shaping. The Spark app unlocks deep editing, AI tone creation, looping, and hundreds of amp/pedal combinations. With presets for vocals, guitar, bass, and acoustic instruments, plus an optional long-lasting battery, it delivers impressive versatility in a tight, busker-friendly footprint.

Performance: For its size, the Spark Edge is pleasingly loud and full, delivering clean, punchy sound for acoustic guitars, vocals, digital pianos, and electric tones. It shines at sensible volumes, producing a balanced, mix-friendly output – but push it too hard and clarity gives way to fuzz. It’s not Bose-level pristine, but for street use it’s responsive, musical, and flexible enough to handle a wide range of instruments with ease.

Final verdict: If you’ve been shopping on the high street recently, chances are you would have seen a busker using one of these. There’s good reason why the Spark Edge has become the go-to solution for solo guitarists, violinists, singers and street preachers. This is so much more than a portable PA system, offering amp modelling, looping, effects and fine detailing to everything from guitars, keys, vocals and indeed whatever and wherever your imagination takes you. With great battery life and weighing a measly 6.2kg, you can sling your instrument over one shoulder and tuck this under your arm with ease.

Of course, at such a reasonable price and small footprint, there are numerous sacrifices to be expected with the Spark Edge. You will not achieve the grandest tones and all-encompassing soundscapes, and for vocals, it does lack the richness that can be achieved by something like the Bose S1 Pro +. But of all the portable, battery-powered devices I’ve used, the Spark Edge is the clear winner for solo instrumentalists who specifically want to ply their trade on the streets.

Within moments of plugging in your guitar and having a play, you’ll realise how well Positive Grid have identified the needs of the street performer and streamlined everything to help you get the sound you want as quickly as possible. Keep the volume at a sensible level, and everything behaves as you’d want it. Pushing the levels will see you struggling to maintain a clean signal, and things will rapidly descend into a fuzzy fog of noise. If you’re after a more impressive clarity and projection, and can afford the extra cost, consider the Electro-Voice Everse 8.

Treat the Spark Edge tenderly, get yourself a sweet preset, and you’ll be raking in the pound coins before you can say ‘this next one’s by Ed Sheeran’.

Best Battery-Powered

What is it? The Electro-Voice Everse 8 is a premium battery-powered, weather-ready portable PA designed for musicians, DJs, instructors, and event hosts who need pro-level sound without cables. Compact yet powerful, it delivers class-leading audio, full wireless control, and flexible connectivity options. Whether for outdoor weddings, street performances, or backyard events, it’s a grab-and-go system built to outperform typical battery PAs.

Build quality: Rugged, lightweight, and weatherised to IP43, the Everse 8 feels every bit the professional tool. Its tough polypropylene shell, soft-touch handle, slip-resistant feet, and optional weather cover inspire confidence indoors or outdoors. Thoughtful design features – like removable battery access and multiple mounting angles – make it practical, durable, and gig-proof. It’s built to survive real-world use while still being easy to carry.

Key features: Highlights include a 400 W Class-D amp, 121 dB max SPL, full-bandwidth 8" + titanium tweeter system, a four-channel digital mixer with effects, Bluetooth streaming, QuickSmart app control, 48 V phantom power, feedback suppression, and true wireless stereo. Add USB and 12 V DC outputs for powering devices, plus multiple mounting positions. It’s a genuinely all-in-one PA with pro features normally reserved for bigger systems.

Performance: The Everse 8 delivers rich, room-filling sound with impressive clarity and throw – particularly outdoors, where many portable PAs fall short. Its tone stays clean even at high volumes, outperforming smaller units like the Spark Edge, which can break up when pushed. With tight low end, smooth highs, and consistent 100° x 100° coverage, it’s equally strong for vocals, acoustic instruments, and playback.

Final verdict: Electro-Voice has nailed the brief: a lightweight, weather-resistant, battery-powered PA with true pro-audio performance. It sounds big, behaves impeccably at volume, and offers features usually found in far larger (and pricier) systems. The addition of both USB and DC Power outputs makes charging your devices and items such as wireless transmitters and receivers a breeze. With excellent battery life, flexible I/O, and rock-solid projection, the Everse 8 is arguably the best all-round portable Battery-Powered PA at its price. For outdoor performers and mobile events, it’s a standout winner.

How to choose the best portable PA system for you

It’s important to understand where these modern, lightweight, portable solutions stand within the existing PA System Market. If we look at what a traditional-looking PA System comprises, it is generally the following:

1. A pair of passive or active (powered) full-range loudspeakers.
2. A mixer with enough channels for all your microphones, instruments, etc
3. An amplifier (assuming the speakers are passive)
4. One or two bass subwoofers (optional).

The above, depending on the size and power of the PA system, would generally be suitable for a full band in small to medium-sized venues. There’s no two ways about it, it’s a lot of stuff to transport to and from the gig. But not all musical groups, artists or performers need all that power and options. For speakers, solo artists, instrumentalists and even children’s DJs, something much less cumbersome is what the doctor ordered. Portable PA Systems have been designed to provide a lightweight alternative, reducing the set-up time whilst also taking up less room onstage.

For the sake of clarity, I will state now that I do not believe that any of the systems in this buyer’s guide are suitable for a loud rock band, with the exception of the EV Evolve 90. But even in the case of that system, you would need two of them to get an effective audio experience, and by the time you’ve spent almost £6K on all of that, you’re no longer dealing with a system that is truly portable or cost-effective for the purpose. For a loud rock band playing the pub circuit, I would always recommend a pair of 15” full-range active speakers on stands with an appropriate mixer. A separate sub or two is a nice optional extra, but by no means crucial unless you’re a thrash metal band that requires chest-pulverising kick drums to be heard and felt above all else.

So it’s very important that you think carefully about what you need it to do. If you purely need this for a loud-speaking engagement, you probably will not need much in the way of inputs, and equally, if it’s for a small venue, it doesn’t need to be ridiculously powerful. However, if you’re providing the DJ music for a big party in a medium-sized venue, you’re going to need something with a deep sub bass enclosure to really get that party started.

FAQs

Expert pro-tips for PA management

1. Mastering gain structure

The most common mistake is cranking the 'channel volume' while leaving the 'master volume' low, or vice versa. The golden rule is to keep your 'gain' setting optimized so that the signal is hitting the 'sweet spot' at the source. This ensures the quietest noise floor and the cleanest output. Think of it like a funnel: you want to avoid clogging the neck of the funnel early on.

2. The truth about wattage

Don't be fooled by 'Peak Power' marketing claims on boxes. Always look for the 'RMS' (root mean square) or 'continuous' power rating. Peak wattage is like a car’s speedometer, it shows what it can do for a split second, but it doesn't represent sustainable performance. When comparing units, RMS is the only number that dictates how loud and clear your system will actually sound over a 3-hour set.

3. Strategic mic placement

Feedback isn't always a gear problem; it's a physics problem. To maximize your volume before feedback, ensure your microphone is physically located behind the plane of the PA speakers. If you're forced to perform in front of the speakers, use a super-cardioid microphone, which rejects sound from the sides and rear more effectively than a standard cardioid pattern.

4. Battery management for marathon gigs

If you rely on battery-powered units, never run them to zero. Most modern lithium-ion batteries prefer 'top-up' charging. For long gigs, bring a secondary, fully-charged battery swap if your system supports it. If it doesn't, keep a small, portable power station in your car for emergencies, it’s the difference between finishing your encore and losing power mid-song.

5. The 'phase' factor

If you are running two column arrays, be mindful of their proximity. Placing them too far apart can lead to 'comb filtering' in the middle of the room, creating a thin, hollow sound. Try to keep them relatively close together, or angled inwards to create a cohesive 'stereo' image that covers the audience without creating dead zones.

How I tested the best portable PA systems

I was able to give all of these PA systems a good workout in a variety of different situations. The beauty of running a multi-use studio facility is that each day can be wildly different, with a kids Birthday party one day and a death metal band rehearsing the next.

I was keen to test each system out at the things they do best; for instance, the Bose S1 Pro + is perfectly suited as a mini-satellite-style speaker that can be pole-mounted and tucked away to the side at a corporate or wedding event for speech and backing music. I was able to take the Bose along to a wedding that our band were performing at a stately home setting on the outskirts of Bristol. The guests had asked us to provide the means to amplify the speeches during the wedding breakfast, as well as play gentle background music during the meal itself. It would have been overkill to ask them to use one of the band microphones through our own full-range PA system, so this was a great excuse to chuck the Bose in the back of the van. As it turned out, it worked great and meant the band could continue setting up discreetly in the main room without worrying about the formalities next door.

Some of the other non-battery systems were used in a rehearsal setting, and indeed, many of our studio clients were keen to be used as guinea pigs and practised through them at decent volumes. I found that the majority of these systems were very much suited to acoustic and/or function bands, which didn’t necessarily feature loud, thumping drums and guitars.

The smaller battery-operated systems, such as the Positive Grid and Electro-Voice offerings, which are primarily aimed at the busker market, were taken to my children’s school for their talent show evening in their main hall. The event did not call for high volumes; indeed, when it comes to young ears, it’s crucial that levels are kept to a minimum. So, this was an ideal event to try them out on vocals, backing tracks, guitars and even a digital drum kit.

When it came to the most powerful systems, such as the EV 90 and the Yamaha StagePas models, I decided these would be best suited to a couple of Hen-Party events that we had at the studio. These parties call for loud, chest-thumping volume and need to be capable of carrying a strong vocal signal over and above the backing music.

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Yamaha DZR12-D review: What is it?

Yamaha has been in the PA game for decades, providing a myriad of high-quality sound systems for almost any application imaginable, and the DZR is their flagship series. Combining Yamaha's highly praised 96kHz DSP processor and advanced FIR-X tuning with a mighty 2000W Class-D amplifier, it's clear that these speakers are designed for those who are serious about their sound. 

Housing an intuitive LCD screen on the back panel, the DZR12-D can be tailored to the exact application you require for that particular show. Whether you need a standalone set of front of house speakers, an on-stage monitor or a wall hanging system for installation, you'll find a preset that will allow you to finely tune the EQ, ensuring you get the best sound possible out of the speaker. Better yet, the DZR series also features a clever rotatable horn, further increasing the versatility of this PA speaker. Other parameters accessible via the rear screen are a comprehensive parametric EQ, delay, and routing options. 

Like many speakers at this price point, you can also store your own user presets - up to 8 - and transfer them from speaker to speaker via a USB flash drive. 

The "D" at the end of the DZR12-D denotes that this speaker is Dante-equipped, meaning it can easily "talk" to other Dante devices and Yamaha products that share this networking technology.

Yamaha DZR12-D review: Performance and verdict

Design and look

As we were sent the white version of the DZR12-D to test, let's start with the speaker's aesthetic. Now, while a brilliant white finish may not be the first choice for a dingy bar gig, it's the perfect option for a venue with a brighter and more neutral colour pallet - wedding venues and corporate events, immediately spring to mind. We think this speaker actually looks pretty handsome in its white get up. Something that we didn't expect to like, if we are honest. 

The white variant shares the same hardwearing, plywood enclosure with a textured military-grade Polyurea coating as the black version and feels equally as robust. That said, it will get dirty very quickly if you are taking it in and out of the van every weekend, so a set of good covers wouldn't go amiss. 

The beauty of the DZR design is just how adaptable it is. The sleek contours and curves of the speaker's enclosure aren't there to just make the DZR look pretty, they are also exceptionally functional. The angled sides and back are designed to allow you to use this speaker as the front of house PA or as a floor monitor on stage. Now, you don't need us to tell you that this isn't exactly a new idea. Almost every speaker on the market allows you to do this. That said, we have to mention just how stable the DZR feels in its monitor position. While other PA speakers can feel slightly un-even when turned on their side, the Yamaha is as solid as a rock. Couple that with the ability to rotate the horn and even use a mirror-mode placement, and it confirms that the monitor mode wasn't an afterthought for Yamaha, this speaker has been specially designed to do this job and do it well, for that matter! 

Other design features such as a locking power cable - which means you don't need to worry about an intoxicated and enthusiastic dancer pulling the plug on your gig - and heavy-duty rubber feet, let you know that this is a professional grade speaker.

Sound

Okay, so the DZR12-D has the look and build quality, but does it have the sound to match? In a word, yes. In our tests, this Yamaha speaker was unflappable. Regardless of the style of music, it never seemed phased, consistently producing a clear, rich tone that does justice to what was being played. The upper mid-range frequencies are particularly detailed, with vocals and the snare drum jumping out of the mix.

Those concerned purely with volume can rest easy, as the output on these speakers is staggering and definitely loud enough for most applications. That said, volume is nothing if the clarity goes once you get it to the desired level. Luckily then, we can say with certainty that that does not happen with the DZR12-D. Once we got the speaker to a giggable volume, the DZR retained its crystal clear clarity and top-end sparkle, with the bottom-end remaining tight and focussed. 

On the subject of the bass response, it has to be noted that, even though it only has a 12" low-frequency driver, the bass is very much present, with the vast majority of people able to forgo the accompanying sub - DXS15XLFW - altogether. 

Obviously, the bass response is greatly affected by the position of the speaker. For example, if the speaker is on the floor, on its side, or suspended on a pole, the low-end will be exaggerated or diminished. That's why we found the highpass filter control on the back of the unit very useful, and in a live situation, it could prove to be a lifesaver in cleaning up a muddy sounding room. 

Features

So, let's now turn our attention to the speaker's onboard features, which are neatly accessible via the screen on the rear of the unit. Scrolling through the EQ presets, routing and delay time couldn't be simpler. The rotary control is used to make a selection, and you just need to simply press in to execute the action. 

While this is a fairly intuitive screen to use, people who don't like menu diving may find it a little frustrating. That said, most of the settings on the back are set and forget, so to speak, so theoretically, you only need to do this once to optimize the speaker for the venue you are in. 

While there are individual controls for the inputs of both channels, the master volume of the speaker is controlled via the LCD screen. Personally, we'd prefer to see a separate control for the master volume, as having the one knob control presets, as well as the level, could lead to potential problems in the throes of a busy event. Don't get us wrong, you'd soon get used to the set-up, but a standalone volume would make it much simpler to adjust the overall level quickly. 

Conclusion

The Yamaha DZR12-D is an incredibly impressive loudspeaker that offers the premium build quality and stellar sound we've come to expect from Yamaha. Every aspect of this PA speaker screams professional-grade audio, with clever features that make it easy to tailor the sound to any venue or job. While it's true that over $1,599/£1,100 per box is a rather significant investment, we can safely say they are worth it - especially if you are in a professional function band looking for a top-tier PA that is built to last and has a sound that will stun your audience.

Yamaha DZR12-D review: hands-on demos

Yamaha 

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Yamaha DZR12-D review: Specifications

• Speaker type: 2-way, Bi-amped Powered Speaker, Bass-reflex
• Frequency range: 39Hz - 20kHz
• Coverage area: H90ﾟ x V60ﾟ (Rotatable)
• Crossover: 1.8kHz (FIR-X)
• Maximum output level: 139dB SPL 
• Power rating: 2000W (LF: 1000W, MF/HF: 1000W)
• I/O Connectors: Analog IN: Combo x2, Line level (Maximum +24dBu), Input impedance 20kΩ, Analog OUT: XLR3-32 x2, CH1: THRU (fix), CH2: THRU or DSP OUT
• Amplifier class: Class-D
• Dimensions WxHxD: 410 mm x 646 mm x 394 mm
• Weight: 21.4kg 
• Contact: Yamaha

Whether playing a gig, presenting a lecture, guiding a workout, or delivering a sermon, clean audio quality is a must-have to connect with your audience and be heard. You can’t have speakers that are too quiet, sound that distorts at high volumes, or a PA system that your audience learns to dread as constant feedback squeals ring out. 

You should aim to use a pro audio solution that can keep up with anything you’re going to throw at it, and JBL’s new line of EON 700 portable PA speakers is ready to deliver.

JBL has been providing capable audio equipment for decades, and the new EON 700 series is the latest in its versatile family of PAs. The series is well rounded with a variety of full-range speakers as well as a beastly powered sub, all of which integrate together with JBL’s intuitive controls for simple management both pros and amateurs alike can grasp.

The EON 700 Series includes three different powered PA speakers with the 10-inch EON 710, 12-inch EON 712, and 15-inch EON 715. These full-range speakers offer a peak 1,300 watts of power coming from an ultra-efficient, discrete Class D amplifier for clean and clear sound at any volume. With a low-impedance, high-efficiency woofer and a horn with smooth off-axis beamwidth, the system delivers coverage of a broad frequency range, and the systems’ 2414H compression drivers bring balanced response in a lightweight package with neodymium magnets. With JBL’s refined waveguides, you’ll get consistent coverage and a wide sweet spot. 

Each full-range PA speaker in the EON 700 series offers a pair of XLR combo inputs and a LoopThru XLR jack. They also feature support for Bluetooth 5.0 audio input, letting you wirelessly connect your audio sources reliably and with solid bandwidth. All of the speakers come packed into robust, composite enclosures for durability that can hold up in almost any venue. 

The full-range PA speakers can get a bass boost with the EON 718S subwoofer, which brings 1,500 watts of efficient amplification and smooth, natural bass response all the way down to 31Hz for sound that’s both thumpy and punchy. This beefy subwoofer offers an extra LoopThur XLR jack and comes packed into a rugged, 15-ply birch enclosure with Duraflex painting.

All of the models in the new EON 700 Series support incredibly flexible setup. You can run them as main speakers or monitors, fly them, rig them, or pole mount them. They offer slots and indexed, molded feet to easily stack them for storage or mount together into stand-up and cardioid arrangements.

Controlling the EON 700 Series is also simple. Each speaker offers a built-in mixer and DSP with controls for EQ, limiters, delay, ducking, and the life-saving dbx Automatic Feedback Suppression system. Speakers include a color LCD screen on the back for easy control as well as LEDs to show channel status and signal detection, simplifying connectivity troubleshooting. While the onboard controls simplify setup, you can also manage more complex speaker setups with a far-reaching Bluetooth LE connection using the JBL Pro Connect app, which offers full control of internal parameters, an 8-band parametric output EQ, speaker grouping, and whole speaker snapshots. 

The whole range of speakers come battle tested with JBL’s stringent, 100-hour stress test, so you know they can hold up in demanding situations. 

To find out more about the JBL EON 700 series, you can find the whole collection here, or you can individually check out the Eon 710, Eon 712, Eon 715, and Eon 718S.