Instrumente | Beschallung | Recording | Bühnenlicht | ManagementB 1977 N Nr. 07/2014 Juli 2014

Deutschland N 5,20 Österreich N 5,90 Schweiz sfr 10,90 Luxemburg N 6,00 Italien N 6,90

SOUNDCHECKbei facebook!

www.facebook.com/soundcheckmagazin

4197277

005206

07

07|14

Mit Hightech zum Megasound:Electro-Voice ETX-10P & ETX-15SP

WirbelwindMit Hightech zum Megasound:Mit Hightech zum Megasound:Electro-Voice ETX-10P & ETX-15SPElectro-Voice ETX-10P & ETX-15SP

Das Bandmagaz in

Zukunftssicheres Drahtlos-System:Sennheiser ew 100 G3 1G8

Zu gewinnen!LD Systems WS 1G8 HHD, WS 1000 G2 BPG & MEI 1000 G2

Wireless on Stage – So klappts garantiert

Die Bedeutung von Mitten -lücke, ISM & Co.

Welche Funke passt? Die ultimative Markt übersicht in Sachen Wireless

Systeme im Vergleich

Das Bandmagaz in

Endlich Klarheit in Sachen Bühnenfunk-Systeme

Wireless on Stage

Von der Aula in die Charts: 3 A proben sich effektiv zum Erfolg

Nächste Tokio Hotel?So steuert und kreiert ihr bombastische Lightshows

Special: Total Control Zukunftssicheres Drahtlos-System:Sennheiser ew 100 G3 1G8

Wireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on StageWireless on Stage

Großes Special: Alles über „Wireless on Stage“

Heft im Heft!

Das Bandmagaz in Das Bandmagaz in Das Bandmagaz in Das Bandmagaz in Das Bandmagaz in Das Bandmagaz in Das Bandmagaz in Das Bandmagaz in

VarytecLED Real Beam 7 RGBW

ENGLISHVERSION

© PPVMEDIEN 2014

In the ETX-Powered-Loudspeaker-

Series, the manufacturer Electro-

Voice is introducing three new two-

way loudspeakers and two new

subwoofers to the market. For our

major test report, we were provided

with two EV ETX-10 loudspeakers

and two EV ETX-15SP subwoofers.

We tested the setup for you.

Steep slopes Electro-Voice ETX-10P & ETX-15SP

PA

76 SOUNDCHECK 07|14 WWW.SOUNDCHECK.DE

TEST: STAGE

@TECH_1 Technische Daten Electro-Voice ETX-Serie

@TECH_2 ›

› Abmessungen526 x 330 x 365 mm 613 x 381 x 400 mm 691 x 431 x 447 mm ›

© PPVMEDIEN 2014

WWW.SOUNDCHECK.DE 77SOUNDCHECK 07|14

TEST: STAGE

For this test, we devoted particularly close attention to the 10-inch EV ETX-10 box and the smaller of the

two subwoofers, the EV ETX-15SP. The technology, power amplifiers and control panels, however, of all five cabinets are the same. In the construction of the tweeters, the company’s finest compression drivers have been used, whereas the woofers of the full-range models feature new designs.

In the development of its new products, Electro-Voice is blazing new trails: the phy-sical properties of the loudspeakers are simulated in the course of the production process, so that the developers can experi-ment with and optimize the materials, di-mensioning, position and shape of all the components before even the first prototy-pes have been built. This procedure promi-ses particularly good results, as loudspea-ker drivers refuse on principle to conform to ideal norms such as linear reproduction, though the possibility always exists of at-tuning the various components to one ano-ther in such a way that their various imper-fections cancel each other out. An iterative process such as this profits naturally from the simulations afforded by computer-aided design—at Electro-Voice, however, the procedure extends to the comprehensi-ve physical simulation of all electromagne-tic and mechanical relationships.

The result is that despite their conventional appearance, the ETX series is pure high-tech. The loudspeaker drivers are equipped with what are called “Faraday rings”. These are electrically conductive rings, without electrical contacts, that are arranged con-centrically about the voice coil. These rings function as single-turn windings and are short circuited. The effect of this design feature is a reduced increase in impedance as the frequency rises. This improves the reproduction of higher frequencies. At the same time, the ring reduces the inductance of the loudspeakers, thereby ensuring that there is less auto-interference so to speak.

Depending upon the position of the voice coil (as it moves to and fro), the electroma-gnetic inductance of the loudspeaker varies, which means that it sounds different when

operated under a full load from under a par-tial load. The reduction of the magnetic flux in the air gap brought about by the Faraday ring serves therefore not only to improve the linearity of the frequency response but also to deliver drier impulse reproduction.

An unobtrusive but unusual feature of the cabinets of the tops is the arrangement of the tweeter, woofer and bass-reflex vent. The front panel, which is protected by the grille, is in two parts. The drivers of the loudspeakers are arranged on a single le-vel in the interests of optimal time align-ment, but the sound outlet of the tweeter horn is further advanced than the plane of the woofer cone. With the opening of the tweeter horn further forward, a gap is crea-ted through which the sound waves emer-ging from the bass reflex are able to radia-te, virtually from above downwards, in front of the woofer cone. The time align-ment is further supported by a DSP.

The FIR filtering facilitates the implementa-tion of operating modes specially adjusted for different situations, such as whether the cabinet is flown, operated from a tripod or lying on a reflective surface (when perfor-ming monitoring duties). Where multiple sub-

woofers are stacked, modes are provided that lend them real directivity. The FIR filter, ac-ting as a crossover, achieves a slope with a steepness of 76 dB per octave, no less! In the case of the ETX top, the transition bet-ween the woofer and tweeter is more sudden than that of any other box known to me. This results in a maximization of the power hand-ling capacity of what are already well dimen-sioned drivers. In combination with the high sensitivity and the sheer continuous output of the digital power amplifiers with their switch-mode power supplies, extremely high continuous sound pressure levels are com-bined with exceptionally low distortion. A peak SPL of 134 dB (measured maximum SPL) is infernally high for a ten-inch top!

The operation of the loudspeakers has been kept simple. The tops are equipped with a connection panel offering two combo sockets with level controls alongside. These are com-plemented by an XLR Mix output. In princip-le, there is nothing to prevent a busker taking to the streets with an ETX-10P, a steel-string guitar and a dynamic microphone. After all, quality never hurts, whatever the application. A semi-parametric (i.e. lacking only Q con-trol) three-band equalizer is also provided to permit further adjustment to room acoustics.

FIR-FILTER AND IIR-FILTER

The digital signal preparation is based on FIR filters.

“FIR” stands for “Finite Impulse Response” as opposed

to “Infinite Impulse Response” (“IIR” for short). FIR filters

work on what is commonly known as the “convolution”

principle, a somewhat abbreviated explanation of which

might run as follows: if, with a delay effect, you connect

the output to the input to create feedback, the result, as

everyone knows, will be that the echoes themselves have

echoes... potentially ad infinitum.

In the case of short delay times, such as a thousandth

of a second (1 ms), the signal will repeat itself 1,000

times per second. Another word for “per second” is “Hertz”,

so there will be a resonance at 1,000 Hz and all harmonics

(integer multiples) thereof. You could create in this way a

filter that boosted the frequencies of 1 kHz, 2 kHz, 3 kHz

and so on. This would be the simplest instance of an IIR

filter—i.e. a filter with an infinite impulse response.

If, however, we choose a delay with four delay lines,

for example, and without feedback, after the fourth

echo there will be no further repetition. The impulse

response in this case is finite. Convolution reverb, model-

ling amps and even PA processors such as that of the

Electro-Voice ETX employ finite impulse responses—not

with a mere four delays, however, but with tens of thou-

sands of them: one in fact for every sample i.e. at a sam-

pling rate of 96 kHz, 96,000 per second.

It is the power of modern processors that makes this

possible. And just as this technology can be used to com-

pensate for the characteristics of microphones and lou-

dspeakers, FIR filters can be used to eliminate any non-

linearities that remain—despite the finest preconditions

in terms of design and choice of components—in the re-

sponse of a loudspeaker box. It is this service that they

perform for the ETX loudspeakers.

know-how

© PPVMEDIEN 2014

parameter are governed by a rotary control with a push function.

That’s what I’d call ‚idiot-proof‘. And speaking of idiots: the box also offers a me-nu lock to prevent settings being changed inadvertently and a factory reset function as well as the ability to recall settings after shut-down. There is also a high-pass filter swit-chable between different roll-off points and special presets for high-pass operation with ETX series subwoofers. The choice is further offered between settings for “Music”, “Live” and “Speech” reproduction. It goes without saying that peak limiting and thermal trans-ducer protection also feature among the tasks performed by the processor.

Once you’ve integrated a DSP into a loudspeaker, you can also implement a de-lay. Each box can be delayed by the equi-valent of up to 300 metres’ sound propa-gation time. The nice thing about the dis-play is that all the relevant information is visible at a glance. You can see, for ex-ample, without needing to scroll through the menu, whether or not a delay has been activated just by looking at the relevant corner of the display.

The external and construction features are industry-standard. The shell of the cabinet is made from 13-ply 18mm birch plywood supported internally by 12mm struts. The handles are specially designed rather than being standard ware. These have a good feel to them and pose no risk to the joints of

the hand. The loudspeaker grille is suitably impact resistant, the controls are recessed and the tops are equipped as standard with M8 rigging points to facilitate flying.

The sides of the speaker, upon which it rests when used as a monitor, are furnished with runners, so you can even walk on the box when it’s lying on the stage without putting to the test the imperviousness of the structured finish to scratching. Two stand adaptors are provided—one slightly inclined and the other perfectly horizon-tal—though the load on the tripod is cen-tred in each case. The backs of the sub-woofers are fitted with four blue caster wheels, in keeping with the highest indus-try standards. Full marks!

The ETX-10P covers the frequency range from 85 Hz to 20 kHz (-3dB) and achieves a maximum sound pressure of 134 dB—this, mark you, from a box with a 10-inch woofer weighing barely 20 kg! The co-verage pattern of all the tops is given as 90 x 60 degrees. The dispersion of the three-way model, the ETX-35P, is somewhat narrower: 60 x 40 degrees. The system is therefore also suitable for flown, long-th-row installations in clubs where coverage is required of audience zones a considera-ble distance from the stage.

The ETX-10P, on the other hand, that we tested is suitable for mounting on tripods with a 35mm pole. The output of the power amplifier is given as 2 kW for all the tops including the three-way model. The cross-over frequency of the ETX-10P is 1,700 Hz and those of its larger cousins with their twelve- and fifteen-inch woofers, 1,600 and 1,500 Hz respectively. The compact ETX-10P high-performance speaker is best combined with the ETX-15SP subwoofer, whereas for the twelve- and fifteen-inch boxes, the ETX-18SP is the better option.

The subwoofers are equipped with power amplifiers with 1,800 watts nominal power as well as digital signal processors. The connections are dual channel, so no additio-nal hardware is required for satellite operati-on. The subwoofer models are equipped for

› Model EV ETX-10P EV ETX-12P EV ETX-15P › Nominal output RMS 2 kW 2 kW 2 kW › LF woofer 10"/254 mm 12"/300 mm 15"/380 mm › Compression driver 1,25" (DH3-B) 1,25" (DH3-B) 1,25" (DH3-B) › Dispersion pattern 90° x 60° 90° x 60° 90° x 60° › Frequency range (-10 dB) 65 Hz–20 kHz 43 Hz–20 kHz 40 Hz–20 kHz › Frequency range ( - 3 dB) 85 Hz–20 kHz 55 Hz–20 kHz 48 Hz–20 kHz › Crossover 1,7 kHz 1,6 kHz 1,5 kHz › Max dB 134 dB (SPL) 135 dB (SPL) 135 dB (SPL) › M10 flying points 8 8 8 › Cooling dynamic fan dynamic fan dynamic fan › Connections 2 x combo, XLR-mix 2 x combo, XLR–mix 2 x combo, XLR–mix › Weight 20,3 kg 23,6 kg 27,7 kg

TECHNICAL SPECIFICATIONS

The display at the back shows all the relevant

information simultaneously.

The EV ETX-15SP, like its smaller counterpart,

the EV ETX-18SP, is supplied with casters.

78 SOUNDCHECK 07|14 WWW.SOUNDCHECK.DE

TEST: STAGE© PPVMEDIEN 2014

WWW.SOUNDCHECK.DE 79SOUNDCHECK 07|14

TEST: STAGE

array operation with cardioid dispersion. The radiation of subwoofers is virtually direct: on-ly to an insignificant extent is the sound pres-sure greater in front of them than to the sides or rear. Lying behind the subwoofers, howe-ver, is the stage with its infrastructure and at some point a reflective wall. For this reason, it is generally desirable to lend directionality to the deep bass reproduction.

In practical tests, the sound characteristics proved excellent. The ETX-10P convinces with very high sound pressure levels and the kind of broad-band, highly linear, repro-duction right down to the depths only other-wise found in fifteen inch cabinets. The claims made for the frequency response up to 20 kHz are totally credible. Were it not for the fact that sound reinforcement power amplifiers in this league are inevitably asso-ciated with a minimal noise floor you could even use the box as a studio monitor. The radiation angles are wide and the dispersion homogeneous; no discontinuities are appa-rent as the box is slowly turned on its stand, nor do you hear any of the phasing or arte-facts that would indicate chaotic dispersion.

The linearity of the response is such that the volume can be loud without seeming so and the sound pressure levels achieved are high. This linearity also serves to raise the feed-back threshold. Once you’ve used boxes like these as instrument amps, you’ll have no further use for specialized acoustic guitar or keyboard amps. Another very agreeable fea-ture in practice is the fact that the display shows the relevant information in full and at all times. The settings for monitor, stand and suspended operation really do make a difference and are indeed the best choices for these modes of operation—which is by no means always the case with EQ presets.

The ETX-15P also convinces with impulses that pack real punch. This, of course, is the advantage of the smaller drivers of both the 10-inch top and the 15-inch sub. The pow-er amplifiers keep a tight grip on the voice coils and their cones, and they are suppor-ted in this by the DSP. You can hear the difference: in the free sound field, nothing trails; the bass notes are as brusque as they could possibly be. The lower limit of the frequency range is fine. As long as the peak load is never reached, you can make as much use of the EQ as you like to give the 30 Hz plus region a lift—or else rely on the integrated limiter. To lend directionality to the subs as well, I’d prefer, all other things being equal, to double up, with two of the 15-inch subwoofers per side, rather than rely on the ETX-18SP-based concept with only one subwoofer per side.

The ETX-10P and ETX-15SP represent a to-tally convincing solution in every respect to high-quality sound reinforcement applicati-ons of all kinds—from a thundering bass with a brutal detuned guitar to a whispery chanson accompanied by a grand piano and snare played with brushes, from a soi-

ree of folk music to a party rally. The high-fidelity paradigm has been realized here to exemplary effect. Add to that, such extre-me versatility that a single box could equally well be used as an instrument am-plifier or complete monitoring solution. This is a series upon which a multitude of professional sound reinforcements can be based. � Jan-Friedrich Conrad

The new two-way boxes and subwoofers of the Electro-Voice ETX series (l. to. r.): EV ETX-10P, EV ETX-12P, EV ETX-15P, EV ETX-15SP & EV ETX-18SP EV ETX-10P, EV ETX-12P, EV ETX-15P, EV ETX-15SP & EV ETX-18SP

TEST: STAGE

EV ETX-10P, EV ETX-12P, EV ETX-15P, EV ETX-15SP & EV ETX-18SP EV ETX-10P, EV ETX-12P, EV ETX-15P, EV ETX-15SP & EV ETX-18SP

› Electro-Voice ETX-Powered-Speaker-Series › Distribution Bosch,

www.electrovoice.com › Price (SRP) EV ETX-10P 1.380 EUR

EV ETX-12P 1.510 EUR EV ETX-15P 1.630 EUR EV ETX-15SP (SUB) 1.780 EUR EV ETX-18SP (SUB) 1.900 EUR › Verdict

Excellent sound characteristics Well-defined, dry impulses

Very even frequency response

High bandwidth

Virtually endless FX possibilities

High SPLs and powerful bass reproduction

AT A GLANCE

› Model EV ETX-15SP (sub) EV ETX-18SP (sub) › Nominal output RMS 1,8 kW 1,8 kW › LF woofer 15"/380 mm 18"/457 mm › Frequency range (-10 dB) 32 Hz–180 Hz 28 Hz–180 Hz › Frequency range (-3 dB) 37 Hz–150 Hz 33 Hz–150 Hz › Crossover frequency 80 Hz–150 Hz (variable) 80 Hz–150 Hz (variable) › Max dB 134 dB (SPL) 135 dB (SPL) › M10 flying points - - › Cooling dynamic fan dynamic fan › Connections 2 x XLR, 2 x XLR-link 2 x XLR, 2 x XLR-link › Weight 41,7 kg 51,8 kg › Dimensions 526 x 330 x 365 mm 613 x 381 x 400 mm

TECHNICAL SPECIFICATIONS

© PPVMEDIEN 2014