Standing under the canvas at a festival last month, I nodded as the system designer explained his belief that loudspeaker manufacturers developed the flagship big boxes partly as a marketing exercise to help promote their  more popular small-format speakers. And listening to such a compact system deliver an easy 100dB with plenty of headroom and shimmering high-end, it was easy – or so I thought – to understand what he was getting at: budgets are tight and how many events truly warrant large-format PA these days?

As we walked on, however, and the somewhat larger arrays on the main outdoor stage began to deliver some solid sound waves to our ears, I began to realise, given that the system looming in the distance was conjured up by the same man, that I may have misunderstood what he was trying to say. What we were starting to hear were the latest and greatest big-driver arrays from one of the most prominent manufacturers. My guide likened it to a huge hi-fi; I actually considered it to be the best-sounding PA I’ve ever heard.

True, the same concept might sound fantastic even if it were scaled down, but nevertheless, with my head bobbing and feet reluctant to carry me to the next arena, it was clear that those 15-inch transducers were the perfect size for the job. This was, after all, the main stage and with little limit on the potential size of the audience, it would be folly to push a smaller system to its limits when the big boxes could take care of proceedings much more comfortably and with better sound quality. This seems obvious, but unfortunately it doesn’t represent the current trend at events around the world.

We all know the reasons for this – it comes down to bottom line. Sadly, for many of the smaller rental companies it just doesn’t make good business sense to hold large-format PA because they don’t handle enough big events to justify it. The problem is that some will readily take on large outdoor gigs, while others are capable and willing to undercut the firms that are better equipped to handle these events. The result is a depressing triumph of budget over sound quality.

On a happier note, for the touring giants lucky enough to need them, here are some of the biggest and best boxes going...


DAS Audio Aero 50
Frequency response: 45Hz – 20kHz
Dispersion (H): 90 degrees
Power handling (Watts RMS): LF 2x700, MF 700, HF 300
On-axis sensitivity (dB SPL): LF 99, MF 104,
HF 112
Max SPL (dB): LF 136, MF 139, HF 141
Dimensions (cm): 47.5 x 135 x 62.7
Weight (kg): 85
www.dasaudio.com

Funktion-One Resolution 5
Frequency response: 114Hz – 18kHz
Dispersion (H/V): 25 degrees/20 degrees
Power handling (Watts RMS): LF 300, MF 200, HF 100
Dimensions (cm): 97.5 x 48.4 x 51
Weight (kg): 49

Funktion-One has resolutely refused to join the leagues of line array manufacturers and justifies its decision with the Resolution 5, which, hanging aloft the stage in iconic mushroom-shaped clusters, has capably handled some of the biggest gigs around.

Loaded with a single 12-inch LF driver, eight-inch MF driver and dual one-inch HF drivers – all of proprietary design with neodymium magnets – the Res 5, as it is more familiarly known, is a high efficiency, narrow dispersion, long throw, upper bass/mid/high enclosure. The high level of dispersion control afforded by the Res 5, in combination with F1’s unique flying system, enables precise tailoring of the overall coverage, which helps reduce unwanted room reflections and increase sound quality.

Among the latest applications of the Resolution 5 was the main stage at the Glade Festival, where the cabinets were ground-stacked for acts such as Underworld, who closed the festival. A flown Res 5 system was recently deployed at the Wickerman Festival, demonstrating the flexibility of the loudspeaker.
www.funktion-one.com

Martin Audio W8L Longbow
Frequency response: 35Hz – 18kHz
Dispersion (H / V): 90 degrees (350Hz) / 7.5 degrees (-6dB)
Power handling (AES): LF 1,000W, MF 400W; HF 200W
Max SPL (dB): LF 136, MH 135, HF 142
Dimensions (cm): 49 x 131.3 x 85.6
Weight (kg): 119.75
www.martin-audio.com

Renkus-Heinz VerSys VLx3
Frequency response: 45Hz – 20kHz
Dispersion: 60 – 120 degrees (adjustable)
Power handling: LF 1,200W, MF 600W,
HF 350W
Max SPL (dB): 133
Dimensions: (cm): 39.37 x 96.52 x 58.42
Weight (kg): 90.72

The VerSys VL3 is a three-way powered line array module with Rhaon (Renkus-Heinz Audio Operations Network) Class D PM3R tri-amplifier, full digital dynamics, networked audio over CobraNet and loudspeaker monitoring and remote control via CAT-5. It sports proprietary dual 12-inch neodymium woofers and dual custom CDT-1.5V CoEntrant MF/HF devices, with 6.5-inch carbon fibre coned mid drivers and 1.5-inch exit diaphragm HF units. The mid/high device is mounted on a compound phase plug attached to an isophasic plane wave generator for adjustable 60, 90 or 120-degree horizontal dispersion.
www.renkus-heinz.com

d&b audiotechnik J12
Frequency response: 48Hz – 17kHz
(-5 dB)
Dispersion (H): 120 degrees
Power handling (Watts RMS/peak): LF 500/2,000, MF 200/800
Max SPL: (dB): 143
Dimensions (cm): 36.7 x 110 x 56.7
Weight (kg): 59.9
www.dbaudio.com

Meyer Sound Milo
Frequency response: 60Hz – 18kHz
Dispersion (H): 90 degrees
Power handling (AES): L/LM 1,200W, MH 250W, VHF 100W
Max SPL (dB): 140
Dimensions (cm): 36.75 x 137.2 x 56
Weight (kg): 106.6
www.meyersound.com

Tannoy VQ Net 60 Live
Frequency response: 115Hz – 23kHz (-3dB)
Dispersion (conical): 60 degrees
Power handling: LM 800W, MF/HF 800W (limited to 400W)
Max SPL (peak dB): LF 140, MF/HF 144
Dimensions: (cm): 92.5 x 62 x 50.2
Weight (kg): 86.5

The VQ live boxes followed the huge success of the installation range, which was launched at Frankfurt last year. The VQ products utilise a unique driver technology to radiate a coherent single point source for optimum dispersion control when coupled to Tannoy’s single horn. It aligns the acoustical centres of the transducers, providing a single coherent wavefront emanating from the throat. The driver uses two concentric annular ring diaphragms. The larger of the two has a 3.5-inch voice coil and reproduces frequencies from 400Hz to 7kHz. There is no crossover anywhere near the vocal region ensuring natural and phase coherent reproduction, so users need only ensure they have a frontman who can sing in tune.
www.tannoy.com

JBL VerTec 4889
Frequency Response: 40Hz – 16kHz
Dispersion (H): 90 degrees (250Hz – 16kHz)
Power handling (Watts continuous): LF 2,000, MF 1,400, HF 225
Max SPL (dB): 138 – 146
Dimensions (cm): 48.9 x 121.4 x 54.6
Weight (kg): 72.6

JBL’s VertTec 4889 is a three-way line array element loaded with dual 2255H 15-inch drivers with three-inch dual coils for LF, four 2250H eight-inch drivers with three-inch dual coils for MF and three three-inch diameter beryllium diaphragm (1.5-inch throat) neodymium compression drivers for HF. Proprietary waveguides couple to create a precision HF vertical slot aperture.
www.jblpro.com

EAW KF760
Frequency response: 80Hz – 16kHz
Dispersion: 90 x 3 degrees
Power handling: LF 1,600W, MF 800W, HF 300W
Max SPL (dB): MF 136 dB
Dimensions (cm): 36.8 x 114.3 x 78.7
Weight (kg): 102
www.eaw.com

Adamson Y-Axis Y-18
Frequency response: 40Hz to 18kHz (full-range preset)
Dispersion (H): 100 degrees (-6dB), 90 degrees (-3dB)
Power handling (Watts RMS): LF 1,200W, MF 700W,
HF 150W
Max SPL (dB): continuous 138, peak 144
Dimensions (cm): 46.7 x 146.7 x 67.3
Weight: 122.47 kg

The gargantuan Y-18 is a high power, three-way line array element loaded with dual proprietary 18-inch Kevlar LF drivers, dual YX 9-inch Kevlar MF drivers and dual JBL 2451 4-inch HF drivers. The Adamson MF/HF drive module has a co-axial entrance and a co-linear exit comprised of a high frequency sound chamber mounted within a mid frequency sound chamber. Together, the drive module and trapezoidal cabinet design create a smooth, slightly curved, seamless wave front with no gaps between cabinets.
www.adamsonproaudio.com

Ohm Ersa Major
No concrete specs (or pics) are available on this one, since it’s still in the final stages of development, but the second addition to the Ersa line array series will feature two horn-loaded LF/MF drivers with a coaxial two-inch plus one-inch compression driver, mounted on a proprietary waveguide. The system is designed to run in a three-way active mode.

The 73cm-wide cabinet is undergoing testing prior to launch at this year’s PLASA, but preliminary results suggest that maximum SPLs in the region of 145dB can be expected. For live sound applications, the new version of the Smakstak sub will be recommended. If you’re reading this at the show, head over to the Ohm booth to get a look at the new cabinet.
www.ohm.co.uk

KV2 Audio VHD 2.0
Frequency response: 60Hz to 22kHz (-3dB, full range)
Dispersion (H/V): 80 degrees/40 degrees
Power handling: LM 1,200W, MF 600W, HF 200W
Max SPL (dB): continuous 139, peak 142
Dimensions (cm): 93.3 x 70 x 49.5
Weight: 70 kg
www.kv2audio.com

RCF TTL55
Frequency response: 50Hz – 20kHz
Dispersion (H/V): 90 degrees/7 degrees
Power handling: LF 2,000W, MF 1,000W, HF 500W
Max SPL (dB): 143
Dimensions (cm): 38 x 102 x 55
Weight (kg): 67

RCF says its TTL55-A delivers the maximum output for size ratio on the market. The system, with integrated 3,500-Watt, four-channel digital amplification digital processing, comprises two woofers in a band-pass loading configuration, providing tight and powerful bass response.
www.rcf.it

Electro-Voice Xvls
Frequency response: 40Hz – 16kHz
Dispersion (H/V): 90 degrees/5 degrees
Power handling (continuous): LF 1,200W, MF 600W, HF 225W
Max SPL (dB): 142
Dimensions (cm): 49.4 x 124.5 x 74
Weight (kg): 117

The Xvls is designed for the upper section of a linear array and is complemented by the shorter-throwing Xvlt for the lower ‘J’ section of the array. This summer, the cabinet figured on the Jazz World Stage at Glastonbury, where APR Audio provided Xvlts in an X-Line system, complete with EV’s new Hydra time-synchronised, high-frequency vertical plane wave generator. APR Audio’s system designer Matt Gunter commented: “The Hydras effectively eliminate any trace of oscillation or vibration, so we didn’t have to eq at all. With 12 X-Line modules flown each side (ten Xvls and two Xvlt), the system worked straight out of the box.”
www.electrovoice.com

Void Acoustics Stasys Prime
Frequency response: 90Hz – 20kHz
Power handling (Watts): LF 1,500, HF 150
Maximum SPL (dB continuous): 142
Dispersion (H/V): 25 degrees/35 degrees
Dimensions (cm): 86 x 58.6 x 77.5
Weight (kg): 83

Void’s latest tour-class offering has a wide-band design, with two 15-inch LF drivers and a single 1.5-inch neodymium HF driver. It can deliver a continuous output of 142dB with unprecedented levels of efficiency and extended low-end performance down to 90Hz, which negates the need for separate upper-bass enclosures.
The loudspeaker has been designed to achieve lossless summation between adjacent enclosures, providing a seamless transition within the array, greatly improving intelligibility and phase coherence.
www.voidaudio.com

Sound Projects Linex
Frequency response: 65Hz to 18kHz
Dispersion: 90 degrees (H), vertical defined by the array length and shape
Power handling: LF1 1,200W, LF2 1,200, MF 600W, HF 600W
Dimensions (mm):  600 x 340 x 560
Weight (kg): 40
www.soundprojects.com

L-Acoustics K1 / Kudo
As the pioneer of line source PA, it’s not surprising that the French firm’s large-format offering, Kudo, is one of the preferred line arrays among rental companies. And the manufacturer is currently piloting a brand new big-box system that it hopes will be made available to the market as a whole in 2010. Though preliminary information on K1 is scant, we know that it’s been designed to integrate seamlessly with Kudo, and the big boys lucky enough to have their hands on it at this early stage, including Brit Row and SSE, have not been disappointed.

The K1 is packaged as a complete system for the touring market. It combines a three-way, quad-amplified enclosure featuring a new K transducer arrangement, with boosted resources on the HF section. The K1 enclosure is typically combined with a dedicated LF extension (K1-SB), which the firm says offers: “an unprecedented level of directivity control and throw at low/sub frequencies.”
www.l-acoustics.com