new L100?

Glad to see JBL being talked about again more. The JBL big boys have certainly been making headlines for a few years and now the return of the L100 is pretty exciting. I think L-ers are going to be pretty pleased with the new design. Some of the peaks and valleys are supposed to be smoothed out. I hope not too much cause that was part of the charm, the adjustments will help.

But if I can slide a hair off topic (not too far) I'd also like to remind people that once in a while there is a JBL that pops up for sale that JBL onlookers might want to think about. While JBL has always done a marvelous job with these 3 ways there was a 2 way that somehow slid under the radar. In 1982 JBL came out with the L46 2 way 8" woofer 1" tweeter. I believe it retailed for $400.00 maybe less. The first time I heard it the midrange spoke to me and I quickly realized this was the JBL midrange I had always listened for, at any price. With the right speaker stand design the L46 does incredible music. I don't use my pair standing up and down like most do but sideways with the tweeters to the outside. I use them with my SW15 Subwoofers. I wouldn't be surprised if this particular model becomes a premium priced collectable in a short time now that JBL is back in the notice. Not that they were ever out of notice, but this JBL 2 way does a cure for those wanting possibly the best of JBLs midrange sound, maybe.

JBL collectables are always going to be in fashion and the L46 is definitely one to add to yours if you understand this speaker.

That's not $4000.00 but it's my 2 cents worth. Enjoy your L100s guys. Let me know if you need speaker wire, I make a wire spin specifically for JBL.

Michael

The L40 was the speaker that turned me on to 10" 2 way listening. Another treasure in my book! Has that super cool bottom end. And was more flexible than the L46. I thought the L40 stood on it's own where the L46 really works better with a sub. Even though I like the L46 a lot in the mid range, my choice for mixing was the L40. The trim came in handy in the late 70's.

I like that your doing the side ways listening too. That's the smart way with these. Are you listening nearfield?

mg

Hi mr_m

You know it’s kind of like what me and kalali were just mentioning. The older JBLs had their own thing going on when they were turned sideways. I don’t know how you set yours up, but done a certain way they could burn your ears off (speaking of the 3 ways), but turn them a different way and on the right stands, or mounted the right way, they could sound very smooth.

JBL was some smart cookies, understanding the acoustics of typical older recording studios. When they got heavier into the home market or crossover between studio and home is when it got tough, yet they did a pretty good job with that issue. I’m a big variable listening guy and think that "one sound" systems are at a disadvantage because of how different each recording is. JBL was very up on this concept because they were in the middle of both worlds probably more than any other speaker company using domes. A perfect speaker? No. A fun speaker? One of the best. And setup with some creativity pretty darn amazing.

Another cool speaker we should not leave out was the Yamaha NS10 with subwoofer. The NS10 turned side ways is a way good sounding speaker. I build side ways monitors too. I got this from both of those companies.

If the new L100s kept some of the old sound and improved on a couple of things, leaning toward the home environment, at $4000.00 they're a bargain in todays HEA speaker market.

fun stuff

JBL, what a company!

mg

LOL

Not I. The NS10 is a great speaker to modify and so easy.

Yep, I agree with you guys, that’s why I tune. I think some of you, by reading your posts, grew up studio brats like me.

Plug & Play HEA is so different than what we did growing up in the biz. For some of us voicing a studio was something we had to do on almost a weekly basis or at least as long as a session would be taking place. Same thing those of us who went from live to studio to home as part of our total listening job.

When you take into account all the variables and have to take them with you you get into this "need a reference" mind set. For me I needed to keep a listening setup in the back of my van so when I would start listening I could run out to the parking lot and grab what I needing to bring back in to get that session started. This is something that happened all session long but that first few days it’s make or break. My studio monitors now I make (as of the late 80’s), but back in the 70’s and 80’s how many times did you guys throw up your hands and grab your set of headphones to do your first run mixes? Soffit monitors, to nearfield, to extreme near field to headphones and that’s just in the studio. How many of you did a quick mix and run out to the truck to listen to what you just did? Then how many of you would setup a system in your hotel room to playback all night what you did that day? Then on break you get to go home and use your playback systems in your house and all you can think about is getting to a Studer and Neve (or whatever your choice is) in a room you can trust and re-do?

The JBL Yammy thing didn’t happen by mistake. Nor did the references used when you went from Miami to London overnight. Would we have chosen JBL and Yamaha today to do the same thing we had to do back then, who knows, but having a place to start was the name of the game back then cause you were the reference some credit craving engineer and producer put on the plane to bring the reels to the next stage. It wasn’t really about the speakers but more the sound that was in your head that you had to justify when you landed. My most important tools that I carried with me were my tweaks (screwdrivers for those of you who haven’t done) and my soldering iron.

For you audiophiles reading this saying WTF (I said freak), you picture recordings being cookie cutters LOL. Those who were moderate engineers think stock with EQ, but for the guys who did the "must do" it was about having something to give you that quick picture then you went to town. It was an unappreciated existence maybe, but it was life. As I said, for me, I started making my own monitors to ship with me, but back before this you had quick cues to get you on track. Go look at pictures from control rooms back then and what do you see. Usually a soffit setup and one or two nears. Also look at the different control room acoustics. See any alike lol. Most engineers, producers and artist I dealt with had their own groove. I could go on and so could you, but I think you have to look at the practical applications here to understand the whole picture. You also have to ask what were the engineers looking for through the different stages of the production.

Live, to control, to preview, to control, to master, to playback, back to remaster, back to live, back to master, back to playback. It all has it's place, and I didn't even get into the mods lol.

mg

"Makes me wonder what Abbey Road Studios in London was doing back in the 60's and 70's. Or were they WAY ahead of the curve...."

Genius: exceptional intellectual or creative power or other natural ability

The whole recording thing was and is absolutely genius.

mg