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[Thomas bryant]

The one unit I would compare is the SRX712M to the SRX812M.  Dimensions of the new speaker are 3-6 inches bigger in every direction. The weight is nearly double.  I can easily grab 2 712M's and drop them on the stage. The larger SRX812M would be 2 trips.

You are dealing with significantly different boxes, especially for the monitor cabinet.  For me to consider the upgrade, the sound quality would have to be WAY better.

7 shows with SRX812p, this is an upgrade for FOH.  Bass guitar has a fullersound down to 80hz, Vocals sound great!  Have 818sp on orderr, sold my 718's.,  818 only  8# more.  712's on monitors, 2 Xti4000. 

[Mike Sullivan]

No comparison....... The 800 series is a step up. It is really an in between model to what the 700 series was and what the VP series is. The gap is bridging I guess you could say.

I had to pop over here from the more inferior LAB Lite.  So you believe the 828SP's sound as good, if not better, than a properly powered 728?  I'm about ready to pull the trigger on a 2 over 2 835/828 rig, plus a pair of 812's and 818's for smaller shows, I'm just a little skeptical of JBL's specs on their site.  If they do sound as good as the claims are, then I'm definitely down for it, and this is coming from a primarily RCF guy.

[Luke Geis]

I have not had the pleasure of listening to any RCF. It is not a popular product in my area. I own some SRX728's and love them. I have not yet heard the 828's, but the word so far is that they are a little flatter and not as boomy as the 728's in the low end. I do believe that you can pretty much pick any speaker around the thousand dollar mark and be happy with the sound in one way or another. The new SRX may not be to you the best sounding speaker, but it has a great sound with features that substantiate the cost and the sonic character. If you can't make these speakers sound good, you have other problems. The SRX 800 series is the business and is the speaker to beat hands down. It sounds that good, or good enough and the features make it a shoe in.

Here is the deal with the SPL. I don't know how they got the numbers? What the software says and what actually comes out is about on par with performance specs, but obviously you will never see full rated spec's produced. I do believe that they are capable of providing SPL comparable to what the specs suggest, but then again you have to realize they are only about 1-3db louder than the average mid level powered speaker most would consider to do the job with. As much as I would love to believe that 3db is the make or break spec, it is not.

What I can tell you, is that with a little bit of the speakers limiter in action, there is no distortion or crunching as a result. The audio maintains very good clarity and the speaker holds together really well. It does not scream or change character like other speaker when pushed. I believe that the speaker will let you know quite certainly that it's not happy when you start pushing it too much. I have not found that point yet and get the SPL I need. The software paints a slightly different picture and leads you to believe that your at the ropes end, but as far as I can tell it has a large safety factor built in?

[Luke Geis]

Well I am currently at the venue playing around with the 835p's. I have yet to confirm the results of this test, but so far it seems that I may have found the answer to the SPL issue many have?

As mentioned it seems that you really have to send a lot of level from the desk to acquire SPL out of the speaker. The easy answer is to turn up the master volume and the input all the way. This certainly gives you enough SPL, but it still runs the output into clip and the limiter kicks in.

Bob Leonard gave me an idea when he asked if there was make up gain in the inputs compressor block.  There is, so I decided to play with it. I placed the input in the line level sensitivity and all the way up, then put the master back to unity or 0 gain. I then opened up and turned on the input compressor and brought the make up gain to +16db. My thought was that it would clip the amp about the same time. It seems to not react that way. The SPL is there in droves with room to spare.  When I disengaged the compressor on one speaker and simply turned its master all the way up while leaving the other one with the comp block in place, the one with the input compressor on would be louder and have more headroom left than the one set without the compressor block on. This is with more makeup gain in the compressor than the with the master level turned all the way up.

To clarify:

1. I turned on the input compressor and without setting it to compress I turned up the makeup gain to add 16db of gain.

2. The result is that I acquired more SPL without amp output clipping or limiting showing in the audio architect software!

3. I set it up so that there was no compression occurring. The input compressor was only used for " makeup gain ". I got 4db more SPL with more headroom left than any other thing I have done.

This may be the trick to getting closer to the stated specs made by JBL? For me it simply means that I get to the desired volume sooner and without having any limiting or compression. I still have the stock -10db threshold set for the limiter. I get plenty of SPL as it is without any trickery, but the last show the band had their own engineer and he ran the system pretty hard. He was in limiting most of the time. The speakers didn't bat an eye and we're happy to oblige. My desire was to not see red blinking lights and have more headroom left while still having the same SPL. I used a lot of limiting and compression prior to the speakers to acquire this result before. It was great for making a processed sound, but does not work for other engineers. I needed to homologate the system so anyone could get results. I think I have that answer.

For those who have the 800 series boxes, give this technique a shot and give some feedback.

UPDATE:

So I ran the night with the " MAKE UP GAIN " technique and it seems to work very well. I had Drag The River playing last night and they're pretty loud and I let them do what they do. Needless to say it was loud. I could get enough level to do the job and was doing it without pushing the speakers as hard ( at least according to the software ).

[Mike Sullivan]

It sounds like they are set from the factory to be virtually foolproof, to keep the speakers from blowing up by someone that doesn't know what they're doing *cough DJ's cough cough* man those allergies are bad this year.

I'm definitely trying my hardest to pull the trigger on a rig.  To spend the extra couple grand and go all SRX800 (wedges included) is the only thing stopping me right now.  Oh, and the money thing, too...

[Antti Rintamaki]

Hi!

This is exactly what I've been testing at our warehouse. Noticed similar positive behavior with the internal compressor. I just need to finish the measurements some evening after office hours as it gets really really loud.

I'll post some details after the final measurements.

Regards,
Antti


Sent from my iPhone using Tapatalk

[Debbie Dunkley]

I don't see any limiter settings on mine. Not even on the SRX Connect app.. Did I miss something?

Do I have to connect up to the Harman software for this? ..... I was hoping to run things as is. Maybe I should look into this.

[Luke Geis]

You have to run the software to get the most out of these. There is access to the input compression in the SRX Connect app, but it's only accessible when you touch between the two virtual speakers. In the SRX Connect app make up gain is simply labeled gain.

[Callan Browne]

You have to run the software to get the most out of these.

Hey Luke, would you say you need the app running during a show, or just for set up? What sort of information can you get in real time?

Mine are due on October 9th and I wasn't really planning on setting up an on stage network, but can change that if there is some benefit.
Cheers,

[Luke Geis]

Here is my experience and thoughts on the SRX Connect app.

It is simple enough to create a system from scratch and get tuning it. The downside is lack of full control over all parameters. You cannot simply call up a 120hz sub preset with the app. You would have to change it from the speakers. The app will reset the speakers to a standard main, or based on how many other SRX product you have connected. So if you have SRX subs it will set the tops to a X-over setting ( the one best suited for the connected sub ) and will update the venue as needed. You will have to recall a saved scene from the app to get EQ and other settings back from a previous show. This is great to a point. the app has some serious shortcomings.

What I don't like. If you're not running SRX subs, you have to trick the mains into going into a x-over setting otherwise they will run full range. If you go from create, to tune system, it will cease audio for a moment while it shifts over and updates. If you didn't save the current settings and you turn off the app and turn it back on, it will overwrite everything you did and you will have to start from scratch to get the settings back. The 20 Bands of EQ are in the app, but they are scattered about and are not all in one place. The app does show you all the setting values, but not the reference value. I.E. it does not say that you have Xdb of incoming/outgoing signal, it only shows you the signal with a bouncing bar.

In short the app is only good if you need to call up a basic system and tune it for a few bands of EQ over the pair of speakers ran full range. This setting must be saved into a preset if you want to keep it. If not, every time the app is re-opened ( assuming it was closed or crashed ) it will reset the whole PA and to go back to tuning it will require a few seconds of no audio while you bring input and master volume levels back up. I hate the SRX Connect app, it is useless. For the amount of trouble spent getting the speakers connected and ran into a network, you may as well just run the Audio Architect software and be done with it. The software is superior in every way.

[ProSoundWeb Community]