JBL’s One Series 104s are sleek-looking monitors designed for the modern producer

Designed for the producer who has a small studio space but still demands high-quality  performance, JBL’s new One Series 104 studio monitors are a little bit different to your average studio speaker. For a start, they have a rounded design, which we rather like, and they were created with the “modern production lifestyle in mind”.

Compact and designed to sit on your desk, the 104s offer a newly-engineered JBL 4.5-inch coaxial driver that’s said to deliver “crystal clear highs and deep bass” without the need for a subwoofer. This was created based on the same research that went into the development of the waveguide that  you’ll find in JBL’s M2, 7-Series and 3-Series monitors.

The 104s promise a wide spot and high levels of detail and accuracy, with the integrated 60-watt Class D amplification said to deliver great performance, even at high playback levels. The volume control and headphone jack are positioned on the front panel, for your convenience, while dual 1/4-inch balanced and single 1/8-inch unbalanced TRS inputs sit on the back.

“The world’s top recording studios and touring artists rely on JBL Professional monitors to deliver unparalleled fidelity and performance, and today’s content creators deserve a similar level of performance,” said Chris Hansen, Director, Recording and Content Creation, HARMAN Professional Solutions. “With the JBL One Series 104, we’ve leveraged the best of JBL engineering to deliver both a reliable sonic reference and a truly enjoyable listening experience, all at an attractive price point.”

Announced in January, the One Series 104 are now available priced at $149/£149. Find out more on the JBL Professional website.

Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.