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ELX200 by Electro-Voice

Wireless control and monitoring via the new Bluetooth® QuickSmartMobile app*
Perfect for both portable and installed applications
Heavyweight performance in a lightweight package
QuickSmartDSP provides best‑in‑class processing via EV’s signature single‑knob user interface with LCD
Electro‑Voice‑patented SST (Signal Synchronized Transducer) waveguide design combines a more compact footprint with enhanced acoustic performance
The ELX200 series offers professional Electro‑Voice audio quality, precision control, and robust, EV‑engineered components in an ultra‑lightweight package — a truly potent blend of performance and portability.

Get the smooth clarity of the EV sound in the right size to suit your needs: with 10‑inch, 12‑inch, and 15‑inch two‑way models, and 12‑inch and 18‑inch subwoofers* available, ELX200 is a flexible, feature‑rich choice for DJs, mobile entertainers, bands, and musicians.

*All are available in powered and passive versions.

LCT 81C/T | JBL Professional

Low-Profile Lay-In 2′ x 2′ Ceiling Tile Loudspeaker
with 200 mm (8 in) Driver
LCT 81C/T is a full-range ceiling speaker designed to lay into a 2 ft x 2 ft US-style suspended grid ceiling, with no cutting of ceiling tiles required, making for an easy and cost-effective installation with a minimum of mess. The low profile depth of only 100 mm (4 in) allows the speaker to fit in locations where deeper loudspeakers do not.

This loudspeaker is designed to provide excellent performance for paging and light-to-medium music in a wide variety of applications, including education classrooms, business music systems, retail stores, music/paging systems, airports, reception/waiting rooms, lounges, courtrooms, meeting rooms, and more.

The very high sensitivity of 96 dB provides maximum sound level, even at low tap settings. LCT 81C/T contains a 200 mm (8 in) dual-cone driver with a very high 96 dB sensitivity. The driver features a 25 mm (1 in) diameter voice coil with a Kapton coil-former and high-temperature wire for better power dissipation and long-term reliability. The speaker’s built-in 10 Watt transformer provides versatility by allowing use on 100V or 70V distributed loudspeaker lines, as well as at 8 ohms (low impedance) for driving directly from a low impedance power amplifier. Adjusting is convenient via a rotary switch on the side of the rear enclosure. Two safety seismic attachment tabs are provided for securing to ceiling deck, plus 4 holes are provided — one in each corner. The color of the perforated grille is white.

Not for metric 600 x 600 ceiling systems.

  • High efficiency 200 mm (8 in) dual-cone driver.
  • Easy lay-in installation into 2′ x 2′ US-style suspended grid ceilings. No cutting of ceiling tiles is necessary.
  • Perforated metal grille included.
  • Combined 70V/100V and low impedance direct operation.
  • 20 Watts at 8Ω (low-impedance) direct setting.
  • 10 Watt multi-tap at 70V/100V with taps at 10W, 5W, 2.5W (and 1.3W for 70V only)
  • Very low-profile at just 103 mm (4.1 in) deep, to fit into ceilings that are shallow or that contain obstructions.
  • Easy bare-wire connection in protected compartment. Wire entrance from either top or side via knock-out.
  • Very high 96 dB sensitivity turns power from small amplifiers into maximum sound level for listeners.
  • Designed for high speech intelligibility.
  • 100° coverage pattern (conical).
  • UL1480A and UL2043 certifications for use in ceiling plenum spaces.
Transducer High-efficiency 200 mm (8 inch) dual-cone driver with 25 mm (1 in) diameter voice coil, Kapton coil former, and high-temperature voice coil wire.
Frequency Range
(-10 dB)
100 Hz – 16 kHz
Nominal Sensitivity 96 dB
Nominal Coverage Angle 100° conical coverage (ave. 1 kHz – 4 kHz)
Rated Maximum SPL 108 dB @ 1 m (3.3 ft) average, 108 dB peak (at 8Ω setting)
Nominal Impedance 8 ohms (in Direct/Thru 8Ω setting)
Transformer Taps 10 W, 5 W, 2.5 W @ 70V or 100V (plus 1.3 W @ 70V only)
Recommended Protective
High Pass
90 Hz high-pass (24 dB/oct) for 8Ω direct or any 70V or 100V tap setting
Power Capacity
(at low-Z)
40 Watts Continuous Program Power
20 Watts Continuous Pink Noise
Input Connector Bare wire inside protected in touch-proof wiring compartment.
Tap Selector Rotary switch accessible from side of backcan
Materials Steel rear enclosure, front baffle, and perforated grille
Grille Color White
Safety Agency Suitable for use in air handling spaces certified per UL1480A, Speakers for Commercial and Professional Use; UL2043, Standard for Fire Test for Heat and Visible Smoke Release for Discrete Products Installed in Air-Handling Spaces; NFPA90 & NFPA70; S7232/UL Listed, Signaling Speaker.
Dimensions 607 x 607 x 103 mm (23.9 x 23.9 x 4.1 in)
Net Weight 7.1 kg (15.7 lbs)
Shipping Weight 8.3kg ea; 16.5 kg per pair-pack (18.3 lbs ea; 36.4 lbs per pair-pack)
Ceiling Cutout Size No cutout required. Speaker drops into ceiling grid
Suspension / Safety-Seismic Attachment Points Two tabs on back baffle, plus 4 holes in corners

Source: LCT 81C/T | JBL Professional

Common Techniques for Stereo Miking | Shure Blog

Common Techniques for Stereo Miking


History of Stereo Miking

The technique of stereo miking had been invented a little before the 1930s, but at that time, Bell Laboratories in the US and EMI in the UK performed a lot of research on the number of recording microphones and playback loudspeakers needed to create a sense of realism for the listener.

It turned out that two microphones on the front end and two loudspeakers on the back end were the minimum, but they found out that different microphone arrangements produced different results. Below are four of the most common arrangement techniques.

Stereo Miking Techniques

Spaced Pairs

The most basic technique is the spaced pair. This technique takes two identical microphones and places them on stands usually 3 to 10 feet apart. The distance will depend on the size of the musical group being recorded.

A spaced pair gives you a very open, spacious sound because the sound of the left-side players reaches the left microphone a little sooner than the right microphone. This time delay creates that extra spaciousness that most people like.

The downside is that the players in the middle of the stage sometimes don’t sound quite right because they’re being picked up by two microphones at the same time, and neither mic is directly in front of them. This causes some tonal variations and makes it a bit harder to tell exactly where the sound is coming from, so it’s not quite as accurate.

X-Y Pair: Coincident Pair

In X-Y Pairs, two identical microphones are mounted together in one location one above the other. The position of the microphone heads and the angle between the microphones are both important here. There are a few different X-Y pairings, and the first we’ll discuss here is the coincident pair.

In this arrangement, you mount the microphones so they’re arranged in a horizontal V, with the bottom part of the V aimed at the stage. The heads of the microphones should be at the bottom of the V. Stack them so that they are as close together as possible in a horizontal arrangement. That way, the sound arrives at each mic at the same time.

A coincident pair gives you excellent positional accuracy. Because the sounds from the sides arrive at the same time, it’s very easy to tell the location of each player on the stage. The downside is you don’t get quite as much spaciousness, which can make the recording sound dry or dull depending on the acoustics of the room.

X-Y Pair: Near-coincident Pair

A near-coincident pair will provide more spaciousness. This technique uses two identical microphones mounted in a horizontal X.

There are different standards for the angle and distances between the mics, but one of the most popular is the French ORTF arrangement. This uses a 110-degree angle between the microphones with the microphone heads positioned six inches apart. This slight separation between the heads mimics the spacing between our ears, resulting in very good positional accuracy and spaciousness. 

Mid-side (MS)

One of the most interesting stereo miking techniques is called mid-side or MS. In this technique, you use a cardioid microphone called the mid in the center and point it at the stage. It picks up the mono sound just like any microphone would. Then, use a bi-directional mic for the side mic. Position it just under the mid mic so it’s facing left and right. The side mic picks up the ambience and positional information.

The signals from the mid and side mics go through a small matrix circuit that combines them in certain ways so that you get a left channel output and a right channel output.

You can make mid-side recording with two separate mics (one cardioid and one bidirectional) or one dedicated stereo mic that has two elements in it and the processing circuitry build in.

Because both the microphones are at the same point in space, a mid-side recording gives you excellent positional accuracy, so it’s easy for the listener to visualize where the players are on stage. If you vary the level of the side mic, you can control the stereo image. In other words, you can control the amount of spaciousness, even in post-production. Plus, you only have to mount one microphone on a stand, which is both an easier setup and less distracting to the musicians and the audience.

Microphone Mounting Tips

You can use two different microphone stands, but if you want to make it easy, Shure makes a great adaptor called the A27M. This adaptor allows you to use one microphone stand and put two microphones on it while controlling the angle between the two microphones and the location of the microphone heads relative of each other.

Choosing the Right Stereo Miking Technique

Which one is right? It all comes down to personal preference and the source that you’re trying to mic. If you’re miking a small orchestra and you want a spacious sound, try the spaced pair. If you’re just miking a couple of cellos in a small group, try the near-coincident pair. If you don’t have much choice about where the mic stand can go at the venue, or you want to be able to remix the stereo image later, try a mid-side microphone or combination.

Check out our 40-page Microphone Techniques for Recording booklet for more information and ideas.

Source: Common Techniques for Stereo Miking | Shure Blog

HARMAN Professional Solutions Delivers a Seamless Audio Experience at Montreal’s Hotel William Gray

HARMAN Professional Solutions Delivers a Seamless Audio Experience at Montreal’s Hotel William Gray

by JBL Professional | Mar 22, 2017
Moog Audio installs an end-to-end networked sound system made up of JBL speakers, Crown amplifiers and BSS Audio systems for Montreal’s newest boutique hotel

MONTREAL—Systems integrator Moog Audio recently installed a complete audio system by HARMAN Professional Solutions at Hotel William Gray, a new boutique luxury hotel located in the heart of downtown Montreal. The building consists of a newly constructed glass tower integrated with two historic buildings that date back to the 18th century. Owner Group Antonopoulos hired Moog Audio to install a new audio system that would match the hotel’s chic style and provide a great listening experience for guests. Moog Audio selected a complete HARMAN solution consisting of JBL Control Series speakers, Crown amplifiers and BSS Audio networked audio systems. The integrated system provides Hotel William Gray with exceptional sound quality, easy-to-use operation and clean, modern styling.

“We were chosen for the project because our designs are very strong technically,” said Alexandre Kano, President of Moog Audio. “We always use the latest technology, and our clients know the system will be up to date. The JBL Control Series speakers are very compact, and they deliver so much sound for their size. Also, the colors and grills of the speakers are aesthetically beautiful.”

SC Media Canada supplied the audio equipment for the entire project. Using a single distributor and a complete HARMAN solution helped Moog Audio streamline the installation process and complete the project quickly and efficiently.

“For a big project like this, there are so many components involved—from audio processing and amplification to speakers and brackets,” said Kano. “The support from SC Media and HARMAN was amazing. They came to the site, tested everything and helped us solve any issues that came up. Instead of having to deal with 15 other distributors, we were able to use one manufacturer and distributor. The hotel staff has told us how simple and seamless the system is to use, and the client told us it was one of the best projects they’ve ever done. It was a huge project and everything is working flawlessly. The system is bulletproof.”

The eight-story Hotel William Gray features 127 guest rooms and 10,000 square feet of event spaces, including an upscale restaurant and lounge, roof terrace, luxury spa with outdoor pool, ballroom, indoor garden, fitness center, boutique clothing store and Café Olimpico—a famous Montreal establishment. Moog Audio wanted to create one centralized and interconnected audio system for the entire hotel, which would allow the staff to play the same music throughout all of the different locations in the building simultaneously, and create a consistent, cohesive atmosphere for guests.

Developing one system for the entire building proved to be a challenge, since each area had unique requirements. The restaurant needed larger speakers in order to accommodate musical performances, while the ballroom needed versatile speakers that could be optimized for speaking conferences and presentations. And the outdoor terrace speakers needed to be weatherproof to protect against the elements. Thanks to the wide variety of speaker sizes in the JBL Control Series line, Moog was able to customize the solution perfectly to each different environment.

“There are so many different Control Series models, that we were able to adapt to each different room and suit any occasion,” said Kano. “We used the JBL Control 25 speakers in the restaurant so DJs or small bands could play. During the hotel opening, they had a DJ hook his gear directly into the system without any additional speakers. People were coming up to the DJ and telling him how good it sounded.”

Due to the customizable nature of the BSS Audio system, Moog Audio was able to create presets to minimize any feedback and easily tune the system room by room, ensuring that everything was operating at maximum efficiency and there were no frequency issues.

“In the ballroom where they have a lot of conferences, we isolated all the frequencies that can cause feedback and saved them in the system,” Kano continued. “In the restaurant, we used a leveling feature to make sure the music stays at a constant volume while guests are dining. The entire system is very consistent.”

Source: HARMAN Professional Solutions Delivers a Seamless Audio Experience at Montreal’s Hotel William Gray

PRX800 Series Products | JBL Professional

The JBL PRX800W series is the most advanced PA in its class. Wi-Fi technology and sophisticated DSP give you complete control over system tuning and performance via the free PRX Connect app. An efficient 1500-watt class-D amplifier and patented JBL Differential Drive® technology provide best-in-class power and reduced weight. And the rugged all-wood cabinets feature a redesigned input panel and universal power supply for easy, reliable operation worldwide. Designed to deliver legendary JBL sound for bands, DJs and more, PRX800W represents the next generation in smart live sound reinforcement.

Source: PRX800 Series Products | JBL Professional

ADJ Starburst with 5x 15W HEX colored LEDs in a sphere effect


Possibly the most futuristic of the new Startec Series effects, the Starburst is a rotating “futuristic Mirrorball” fixture that sends out incredibly concise beams of colored lighting that create a moving array of super-effective ‘stars’ when projected onto walls, ceilings and floors. This ‘night-sky’ effect is enhanced by the unit’s powerful 50W source, which consists of five 15W six-color (RGBAW+ PURPLE) LEDs and generates highly powerful beams of light in a wide pallet of colors. Furthermore, the Starburst’s tight beam angle helps the shafts of light cut through darkness and fog to offer a futuristic, far-reaching effect that will transform any small-medium sized venue.

Using Sound Active mode, the Starburst’s effects will bounce and rotate in time with the music, for eye-catching, synchronized results. Or, using DMX-Controlled mode, users can go more in-depth with their programing; controlling color, rotation speed and strobing to mesmerize audiences with a varied and exciting display.

Source: ADJ Starburst with 5x 15W HEX colored LEDs in a sphere effect