Stage Monitors
(Some Call Them Wedges)
Click here for an introduction to Stage Monitors...
Adamson 12MX
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Freq.
Range: 55 Hz - 18 kHz (±2 dB) |
Manufacturer Take: The multi-purpose 12MX incorporates cabinet
and horn geometry optimized for stage and FOH. It includes an AX12,
12-inch low frequency driver and a 1.5- inch high-frequency compression
driver mounted on an acoustic waveguide. A proprietary crossover
supports selectable bi-amped or passive operation.
Our Take: The vertical pattern is slightly greater than the
horizontal so it gives good isolation between mixes. One can stand
with toes touching the wedge or walk 30 feet upstage without leaving
the vertical pattern. Solid general purpose wedge, not designed
to get really loud.
Community MVP38
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Freq.
Range: 70 Hz - 16 kHz |
Manufacturer Take: Compact and light weight, the MVP38 includes
a 15-inch cone woofer and the new LM20 nonmetallic, ferro fluid-cooled
compression driver. Protective Thermal-Link circuitry automatically
monitors and adjusts HF performance based upon constantly changing
protective threshold unique to any given application.
Our take: Like its predecessors, this wedge is a solid, consistent
workhorse for mediumlevel applications ranging from live to church.
Sonic characteristic is nicely flat and stays consistent from lower
to higher levels.
EAW SM12
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Freq.
Range: 60 Hz - 17 kHz (±3 dB) |
Manufacturer Take: The EAW SM12 incorporates a 12-inch low
frequency transducer and a 1.4-inch-exit neodymium compression driver.
The direct radiating LF driver is mounted in a vented, tuned enclosure,
with the HF driver mounted on a constant directivity horn. The SM12
is switchable from biamped to full-range passive mode.
Our Take: EAW continues to focus on wedge development and
it seems to be paying off, with the latest generation of SM wedges
enjoying popularity with larger and regional touring companies.
The SM12 is a very low-profile wedge, particularly for it’s
output, yet capable of good vertical coverage due to a steep upangle
cabinet.
Electro-Voice Xw15
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Freq.
Range: 60 Hz - 16 kHz (±4 dB) |
Manufacturer Take: The Electro-Voice
Xw15 is bi-amped, using EVX155 4-inch voice coil, 15-inch woofer
and DH6 1.4- inch-exit driver. The flat-front, constant-directivity
horn is based on the E-V HP series. The Xw15 includes an integrated
Dx38 digital crossover for time delay and EQ.
Our Take: It’s a thumper. If higher output bass is
a priority, the Xw15 is a model to take a look at. For increased
output on the high end, a symmetrical design allows two wedges to
sit head-to-head so the HF horns couple. Reports indicate the Xw15
is a strong contender for medium and larger scale stage environments.
JBL Array Series 4890/4891
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Manufacturer Take: Available in vertical format (4891)
for smaller footprint and a horizontal version (4890) for lower
height. The 4890 horn is mounted on a plate that rotates to vertical
or horizontal positions. Both include a 14-inch ultra-low distortion
neodymium woofer with the company’s Gap Topology 1.5-inch
exit, 4-inch diaphragm Neodymium compression driver.
Our take: Good flexibility with the offering of two packages,
more particularly in the 4890 with its rotatable horn. Dispersion
is tight, vertical dispersion is deep enough to provide performers
with more “back and forth room.” Sonically true, capable
of plenty of output for many uses.
Mach M1502T
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Freq.
Range: 55 Hz - 16 kHz (±3 dB) |
Manufacturer Take: The M1502T includes a 15-inch woofer with
4-inch voice coil (with a linear excursion of ±11 mm) and a
compression driver with a 3-inch titanium voice coil mounted on a
2-inch constant directivity horn. It also has a modular, switchable
crossover for passive or active operation. The symmetrical design
of the cabinet allows the monitor to be used as left or right side
monitor.
Our Take: While not as well known as some of the “big
boys,” the M1502T holds its own in terms of overall performance.
Sonic characteristic is relatively neutral, coverage pattern is
controlled. Live music and performance venues in particular are
showing interest.
Martin Audio LE400C
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Freq.
Range: 50 Hz - 18 kHz (±3 dB) |
Manufacturer Take: The LE400C utilizes a 15-inch bass driver
and a high-frequency compression driver mounted on a constant directivity
horn. Flexibility is provided by the LE400C’s twin-angle enclosure
design and rotatable baffle, eliminating need for dedicated left-
and right-hand versions. Switchable active/passive and passive/bi-amp
crossover networks.
Our Take: This is the current version of the older LE200,
which was one of the best-selling wedges ever. Skeptics point to
the 1-inch driver and nondifferential horn, but don’t worry
because the LE400C is a workhorse, flexible and a good value.
McCauley SM950-2
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Freq.
Range: 70 Hz - 23 kHz |
Manufacturer Take: The SM950-2 is a three-way monitor with
a single 15-inch low-frequency driver in a vented sub enclosure
and a 10” x 2” integrated midrange woofer and compression
driver. An optimized switchable triamp to biamp passive crossover
network is optionally available.
Our Take: Here’s a true full-range wedge that exhibits
excellent phase response off-axis and has good feedback rejection
for mobile performers. It gets very loud, especially in tri-amp
mode, and the sealed 10- inch makes for quality vocal reproduction.
Applications are wide ranging.
Meyer Sound USM-1P
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Freq.
Range: 30 Hz - 20 kHz |
Manufacturer Take: The USM-1P is self-powered, with 1a
5- inch low frequency cone driver, a 3-inch diaphragm compression
driver, phase-corrected processing electronics and a dual-channel
Class AB/bridged power amplifier. The USMP Series can be deployed
as stage wedges or flown as sidefills or choir monitors. It has
a narrow beamwidth to allow close placement with minimal interaction.
Our Take: This unique, self-powered wedge is full range,
musically orientated, and performer friendly. It is orientated toward
fine vocals and certain instruments, such as horns, but is not suited
for heavy metal, thrash, hard rock or other extremely loud environments.
NEXO PS10
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Freq.
Range: 65 Hz - 20 kHz (±3 dB) |
Manufacturer Take: The PS10 is a compact high-power system
that incorporates a 10-inch woofer and a 1-inch compression driver.
The 2-way passive design uses a single amplifier channel to deliver
bi-amped performance. The proprietary constant directivity, asymmetrical
dispersion horn may be easily rotated in four positions. Must be
used with the company’s analog and digital processors.
Our Take: The 10-inch paper component works great to 60-
plus Hz. It is not a true fullrange performance monitor but is very
good for vocals. It’s also proven useful is for other applications,
such as small FOH. The asymmetrical horn dispersion helps in eliminating
feedback.
PAS SW-2.2
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Freq.
Range: 55 Hz - 16 kHz |
Manufacturer Take: The SW-2.2 combines a concentric 4-inch
voice coil, 15-inch loudspeaker with an extended high frequency
4-inch compression driver for maximum SPL. The coaxial design eliminates
a separate HF device. It includes the TOC S2 active processor, which
combines four-pole linear phase dividing filters, precise equalization,
Time Offset Correction (TOC) and limiters.
Our take: This baby can get loud! For extra headroom, it
should be considered. Footprint vs. output ratio is good. Focus
is tight. Debate is split on sonic “smoothness.” Some
find this not to their taste, others express no concern. It’s
in the ears of the beholder, like many things “sound.”
Peavey Q-Wave ML/MR
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Freq.
Range: 65 Hz - 12 kHz |
Manufacturer Take: Q-Wave ML and MR (left or right usage)
include a Pro Rider 15-inch woofer with Kevlar cone, 4-inch voice
coil and cast frame, field -replaceable basket. The HF is made up
of the 44XT 4-inch titanium compression driver coupled to a conical
horn. The system incorporates Sound Guard driver protection circuit.
Our Take: Peavey is making some very capable tools, exemplified
by Q-Wave. Musical performance is smooth and pleasant, and the added
20° horizontal coverage is nice to have if needed, in comparison
to a trend among others to narrower horizontal output. A solid option
for clubs, churches and small to medium live applications.
Radian Audio RMW-1152
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Freq.
Range: 55 Hz - 18 kHz |
Manufacturer Take: The RMW-1152 MicroWedge is a two-way
coaxial 15-inch speaker with a 2-inch compression driver. Rated
at 500W RMS, the low-profile enclosure is up to 50% smaller than
many stage monitors. It can switch between passive and bi-amp operation.
The front port design allows for NL-4 connector placement within
either side of the port.
Our Take: Sounds very good running passive or biamped and
also when driven hard. Very coherent. The 15- inch driver helps
with instruments requiring extra low end. Some interaction between
boxes when placed directly next to each other. A good choice for
hard rock applications in particular.
Tannoy V12
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Freq.
response: 45 Hz - 25 kHz |
Manufacturer Take: The V12 includes Tannoy’s 12-inch
Dual Concentric drive unit and can be used as a stage wedge or loudspeaker.
Used as a monitor, its wide conical coverage pattern allows it to
be positioned upright or on its side. The cabinet has a recessed
carrying handle on the back and a blanking plate for a pole mount.
The V12 may be used with or without the Tannoy TX2 controller.
Our Take: Although it is a multi-purpose unit, the V12 can
be very effective in monitor situations. This point-source box goes
down to 80 Hz, runs passive as a wedge, requires little EQ and is
well suited for vocals when high fidelity is required. It is an
option for church, jazz clubs and corporate gigs.
Turbosound TRM-450
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Freq.
Range: 60 Hz - 16 kHz (±4 dB) |
Manufacturer Take: The TFM-450 utilizes all neodymium components
for a lightweight product. It incorporates a 4-inch voice coil,
a 15-inch low-frequency driver, and a 3-inch diaphragm high frequency
compression driver. The drive units are mounted side by side on
a 37° baffle, producing a small footprint and a low profile.
Designed symmetrical (mirror-image) monitor, allowing multiple units
to be used with one monitor inverted to form left and right pairs.
Our Take: As in most bi-amped models with a 15-inch woofer,
it gets loud. Other than that, all we really know is that the relatively
expensive TFM-450 has been out about a year and has not yet been
aggressively marketed or sold in North America.
Yorkville TX5M
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Freq.
Range: 50 Hz - 19 kHz (±3 dB) |
Manufacturer Take: The Yorkville TX5M is a compact wedge
that can be used with the baffle at either 50° or 40°, on
a stand as a full range enclosure, or with a subwoofer. It includes
a 4-inch voice coil proprietary B & C 15-inch woofer and a 2-
inch high-frequency driver. The 2-inch driver is mounted on a vertical
format horn and is combined with the woofer using very steep crossover
slopes to minimize floor reflections.
Our Take: Like many wedges loaded with a 15-inch, the TX5M
is best suited for drums and amplified instrument mixes. The price
point is in the middle and there is plenty of low-end. Do not be
fooled — this is definitely a pro wedge that gets loud and
excels in concert venue situations.
Click here for an introduction to Stage Monitors...