Over time, I’ve become more and more interested in how different products compare to each other in an objective sense. This is one reason why I put together the The Great, Quantitative, Live-Mic Shootout. What I’m especially intrigued about right now is loudspeakers – especially those that come packaged with their own internal amplification and DSP. Being able to quantify value for money in regards to these units seems like a nifty exercise, especially as there seems to be a significant amount of performance available at relatively low cost.

Over time, I’ve used a variety of powered loudspeakers in my work, and I have on hand a few different models. That’s why I tested what I tested – they were conveniently within reach!

Testing Notes

1) The measurement mic and loudspeaker under test were set up to mimic a situation where the listener was using the loudspeaker as a stage monitor.

2) A 1-second, looping, logarithmic sweep was used to determine the drive level where the loudspeaker’s electronics reached maximum output (meaning that a peak/ limit/ clip indicator clearly illuminated for roughly half a second).

3) Measurements underwent 1/6th octave smoothing for the sake of readability.

4) These comparisons are mostly concerned with a “music-critical band,” which I define as the range from 75 Hz to 10,000 Hz. This definition is based on the idea that the information required for both creating music live and enjoying reproduced sound is mostly contained within that passband.

5) “Volume” is the number of cubic inches contained within a rectangular prism just large enough to enclose the loudspeaker. (In other words, how big of a box just fits around the loudspeaker.)

6) “Flatness Deviation” is the difference in SPL between the lowest recorded level and highest recorded level in the music-critical band. A lower flatness deviation number indicates greater accuracy.

6) Similarly to #5, “Phase Flatness Deviation” is the difference between the highest phase and lowest phase degrees recorded in the music-critical band. (The phase trace is a generated, minimum-phase graph).

8) Distortion is the measured THD % at 1 kHz.

9) When available, in-box processing was set to be as minimal as possible (i.e., flat EQ).

Test Results And Comments (In Order Of Price)

Alto TS312

Acquisition Cost:	$299
Volume:	4565 in^3
Mass:	36 lbs
Magnitude And Phase:
Flatness Deviation:	12 dB
Phase Flatness Deviation:	166 degrees
Peak SPL:	119.6 dB
Distortion @ 1 kHz:	1.1%
Comments:	Good bang vs. buck ratio. Highly compact, competitive weight. Surprisingly decent performer, with respectable output and distortion characteristics. Lacks the “super-tuned” flatness of a Yamaha DBR, and not as clean as the JBL Eon. Simplified back panel lacks features, but also is hard to set incorrectly. Would have liked a “thru” option, but the push-button ability to lift signal ground is nice to have.

Peavey PVXP12

Acquisition Cost:	$399
Volume:	5917 in^3
Mass:	43 lbs
Magnitude And Phase:
Flatness Deviation:	14 dB
Phase Flatness Deviation:	230 degrees
Peak SPL:	123.8 dB
Distortion @ 1 kHz:	1.61%
Comments:	High output at limit, but the manufacturer allows for rather more distortion compared to other products. Not factory-tuned quite as flat as other boxes, with an output peak that reads well as a “single number” performance metric…but also sits in a frequency range that tends to be irritating at high volume and troublesome for feedback. The enclosure is hefty and bulky in comparison to similar offerings.

JBL Eon 612

Acquisition Cost:	$449
Volume:	4970 in^3
Mass:	33 lbs
Magnitude And Phase:
Flatness Deviation:	11 dB
Phase Flatness Deviation:	145 degrees
Peak SPL:	114.3 dB
Distortion @ 1 kHz:	0.596%
Comments:	Relatively low output, but also tuned to a more more flat solution than some (and with rather lower distortion). Has some compactness and weight advantages. Lots of digital bells and whistles, but the utility of the features varies widely across different user needs. (For instance, I would prefer trading more power and an even flatter tuning for the Bluetooth control connectivity.) Not particularly enamored of the “boot-up” time required for all the electronics to register as ready for operation.

Yamaha DBR 12

Acquisition Cost:	$499
Volume:	4805 in^3
Mass:	34.8 lbs
Magnitude And Phase:
Flatness Deviation:	10.6 dB
Phase Flatness Deviation:	180 degrees
Peak SPL:	119.5 dB
Distortion @ 1 kHz:	0.606%
Comments:	Good output at low distortion. Compact box in comparison to others. Competitive in terms of weight. Slightly more expensive than other offerings, commensurate with its improved performance. Measures very well in the “intelligibility zone” of its frequency response. Very pleased with the simple and robust selector switches for most operations.