EN
VE GL
RS ISH
ION
07
B 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
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2014
07 |14
Varytec
LED Real Beam 7 RGBW
Wirbelwind
Mit Hightech zum Megasound:
Electro-Voice ETX-10P & ETX-15SP
Wireless on Stage
– So klappts gara
ntiert
Das Bandmag
azin
Nächste Tokio Hotel?
Special: Total Control
Heft im Heft!
Von der Aula in die Charts: 3 A
proben sich effektiv zum Erfolg
So steuert und kreiert ihr
bombastische Lightshows
Großes Special: Alles über „Wireless
on Stage“
Wireless
Zukunftssicheres Drahtlos-Sy
stem:
Sennheiser ew 100 G3
1G8
Zu gewinnen!
LD Systems WS 1G8
HHD, WS 1000 G2 BP
on Stage
Endlich Klarheit in
Sachen
Bühnenfunk-Systeme
TEST: STAGE
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PA
Electro-Voice ETX-10P & ETX-15SP
Steep slopes
In the ETX-Powered-LoudspeakerSeries, the manufacturer ElectroVoice is introducing three new twoway 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.
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SOUNDCHECK 07|14
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F
or 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 physical properties of the loudspeakers are
simulated in the course of the production
process, so that the developers can experiment with and optimize the materials, dimensioning, position and shape of all the
components before even the first prototypes have been built. This procedure promises particularly good results, as loudspeaker drivers refuse on principle to conform
to ideal norms such as linear reproduction,
though the possibility always exists of attuning the various components to one another in such a way that their various imperfections cancel each other out. An iterative
process such as this profits naturally from
the simulations afforded by computeraided design—at Electro-Voice, however,
the procedure extends to the comprehensive physical simulation of all electromagnetic and mechanical relationships.
The result is that despite their conventional
appearance, the ETX series is pure hightech. The loudspeaker drivers are equipped
with what are called “Faraday rings”. These
are electrically conductive rings, without
electrical contacts, that are arranged concentrically 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 electromagnetic inductance of the loudspeaker varies,
which means that it sounds different when
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operated under a full load from under a partial 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 level in the interests of optimal time alignment, 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 created through which the sound waves emerging from the bass reflex are able to radiate, virtually from above downwards, in
front of the woofer cone. The time alignment is further supported by a DSP.
The FIR filtering facilitates the implementation 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 performing monitoring duties). Where multiple sub-
FIR-FILTER AND IIR-FILTER
TEST: STAGE
woofers are stacked, modes are provided that
lend them real directivity. The FIR filter, acting 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 between the woofer and tweeter is more sudden
than that of any other box known to me. This
results in a maximization of the power handling capacity of what are already well dimensioned 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 combined 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 complemented by an XLR Mix output. In principle, 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 control) three-band equalizer is also provided to
permit further adjustment to room acoustics.
know-how
The digital signal preparation is based on FIR filters.
If, however, we choose a delay with four delay lines,
“FIR” stands for “Finite Impulse Response” as opposed
for example, and without feedback, after the fourth
to “Infinite Impulse Response” (“IIR” for short). FIR filters
echo there will be no further repetition. The impulse
work on what is commonly known as the “convolution”
response in this case is finite. Convolution reverb, model-
principle, a somewhat abbreviated explanation of which
ling amps and even PA processors such as that of the
might run as follows: if, with a delay effect, you connect
Electro-Voice ETX employ finite impulse responses—not
the output to the input to create feedback, the result, as
with a mere four delays, however, but with tens of thou-
everyone knows, will be that the echoes themselves have
sands of them: one in fact for every sample i.e. at a sam-
echoes... potentially ad infinitum.
pling rate of 96 kHz, 96,000 per second.
In the case of short delay times, such as a thousandth
It is the power of modern processors that makes this
of a second (1 ms), the signal will repeat itself 1,000
possible. And just as this technology can be used to com-
times per second. Another word for “per second” is “Hertz”,
pensate for the characteristics of microphones and lou-
so there will be a resonance at 1,000 Hz and all harmonics
dspeakers, FIR filters can be used to eliminate any non-
(integer multiples) thereof. You could create in this way a
linearities that remain—despite the finest preconditions
filter that boosted the frequencies of 1 kHz, 2 kHz, 3 kHz
in terms of design and choice of components—in the re-
and so on. This would be the simplest instance of an IIR
sponse of a loudspeaker box. It is this service that they
filter—i.e. a filter with an infinite impulse response.
perform for the ETX loudspeakers.
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© PPVMEDIEN 2014
TEST: STAGE
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 menu lock to prevent settings being changed
inadvertently and a factory reset function as
well as the ability to recall settings after shutdown. There is also a high-pass filter switchable 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 transducer protection also feature among the
tasks performed by the processor.
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.
Once you’ve integrated a DSP into a
loudspeaker, you can also implement a delay. Each box can be delayed by the equivalent of up to 300 metres’ sound propagation time. The nice thing about the display is that all the relevant information is
visible at a glance. You can see, for example, 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
TECHNICAL SPECIFICATIONS
› Model
› Nominal output RMS
› LF woofer
› Compression driver
› Dispersion pattern
› Frequency range (-10 dB)
› Frequency range ( - 3 dB)
› Crossover
› Max dB
› M10 flying points
› Cooling
› Connections
› Weight
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SOUNDCHECK 07|14
EV ETX-10P
2 kW
10"/254 mm
1,25" (DH3-B)
90° x 60°
65 Hz–20 kHz
85 Hz–20 kHz
1,7 kHz
134 dB (SPL)
8
dynamic fan
2 x combo, XLR-mix
20,3 kg
EV ETX-12P
2 kW
12"/300 mm
1,25" (DH3-B)
90° x 60°
43 Hz–20 kHz
55 Hz–20 kHz
1,6 kHz
135 dB (SPL)
8
dynamic fan
2 x combo, XLR–mix
23,6 kg
EV ETX-15P
2 kW
15"/380 mm
1,25" (DH3-B)
90° x 60°
40 Hz–20 kHz
48 Hz–20 kHz
1,5 kHz
135 dB (SPL)
8
dynamic fan
2 x combo, XLR–mix
27,7 kg
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 horizontal—though the load on the tripod is centred in each case. The backs of the subwoofers are fitted with four blue caster
wheels, in keeping with the highest industry 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 coverage pattern of all the tops is given as 90
x 60 degrees. The dispersion of the threeway model, the ETX-35P, is somewhat
narrower: 60 x 40 degrees. The system is
therefore also suitable for flown, long-throw installations in clubs where coverage
is required of audience zones a considerable 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 crossover 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 additional hardware is required for satellite operation. The subwoofer models are equipped for
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© PPVMEDIEN 2014
TEST: STAGE
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
array operation with cardioid dispersion. The
radiation of subwoofers is virtually direct: only to an insignificant extent is the sound pressure greater in front of them than to the sides
or rear. Lying behind the subwoofers, however, 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, reproduction right down to the depths only otherwise 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 associated 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 apparent as the box is slowly turned on its stand,
nor do you hear any of the phasing or artefacts 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 feedback 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 feature 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.
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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 power amplifiers keep a tight grip on the voice
coils and their cones, and they are supported 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.
ree of folk music to a party rally. The highfidelity paradigm has been realized here to
exemplary effect. Add to that, such extreme versatility that a single box could
equally well be used as an instrument amplifier or complete monitoring solution.
This is a series upon which a multitude of
professional sound reinforcements can be
based.
✖ Jan-Friedrich Conrad
The ETX-10P and ETX-15SP represent a totally convincing solution in every respect to
high-quality sound reinforcement applications 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-
› Verdict
AT A GLANCE
› Electro-Voice ETX-Powered-Speaker-Series
› Distribution
› Price (SRP)
Bosch,
www.electrovoice.com
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
Excellent sound characteristics
Well-defined, dry impulses
Very even frequency response
High bandwidth
Virtually endless FX possibilities
High SPLs and powerful bass reproduction
TECHNICAL SPECIFICATIONS
› Model
› Nominal output RMS
› LF woofer
› Frequency range (-10 dB)
› Frequency range (-3 dB)
› Crossover frequency
› Max dB
› M10 flying points
› Cooling
› Connections
› Weight
› Dimensions
EV ETX-15SP (sub)
1,8 kW
15"/380 mm
32 Hz–180 Hz
37 Hz–150 Hz
80 Hz–150 Hz (variable)
134 dB (SPL)
dynamic fan
2 x XLR, 2 x XLR-link
41,7 kg
526 x 330 x 365 mm
EV ETX-18SP (sub)
1,8 kW
18"/457 mm
28 Hz–180 Hz
33 Hz–150 Hz
80 Hz–150 Hz (variable)
135 dB (SPL)
dynamic fan
2 x XLR, 2 x XLR-link
51,8 kg
613 x 381 x 400 mm
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