Guide to Assist in the Specifying of JBL Installed Sound Products
Featuring 44 Pre-Designed Arrays of Application Engineered
Precision Directivity
TM
5000 Series Products With Array Optimization Tips
lication Guide
TM
Series and
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Rev. C
Table of Contents Page
Introduction 3
Suspending Loudspeaker Arrays 4-5
Array Applications: 6-9
Speech Systems
Combination Speech & Music Systems
High-Impact Music Systems
Array Tips: 10-12
Modeling Arrays in Rooms
Optimizing Long-Throw/Downfill Systems
Signal Processing
Low Frequency Pattern Control
Planar Array Frames
Array Types:
A series –
B series – Two-Element Horizontal Array 19-22
C series – Three-Element Low-Profile Horizontal Array 23
D series –
E series – Two-Element Horizontal Array with Single Downfill 26-31
F series –
G series –
AE & PD Weather Resistant Configurations 43
Painting AE & PD Enclosures 44-45
AE & PD Series Connector Pin-out Guide 46
Two-Element Vertical Array with Vertical Orientation 13-18
Two-Element Horizontal Array with Subwoofer 24-25
Two-Element Horizontal Array with Dual Downfill 32-34
Two-Element Vertical Array with Horizontal Orientation 35-42
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Introduction
This third edition of the Array Application Guide illustrates how Application EngineeredTM and
Precision Directivity
TM
Series loudspeakers can provide the building blocks to construct arrays
that fit almost any room size or application. New to this edition are arrays B4, G7 and G8. Also
included in this latest edition are updated explanations for ordering weather resistant models,
general guidelines for painting AE and PD enclosures, and an AE/PD Series connector pin-out
guide to illustrate proper speaker wire terminating.
The arrays in this guide are categorized by configuration. These configurations help emphasize
the scalability of the AE and PD 5000 Series loudspeakers as the arrays are upgraded in terms
of power handling, bandwidth, and pattern control. General performance information including
frequency range, nominal coverage, SPL capability, size, and weight are provided for each
array.
Many of the arrays take advantage of the available hardware developed to rig some of the more
popular configurations. This includes the PAF Planar Array Frames. A further description of this
hardware can be found in the JBL publication: AE Series Bracket and Array Frame Handbook
available on the JBL Professional website.
Also included in this guide is a section that describes some array application examples as they
might be used in some typical rooms given various program requirements. The guide provides
notes that can assist in the final optimization of the arrays and provides references to additional
resources.
Although each room and project has its own demanding set of circumstances, we hope this
Array Guide provides some footing for understanding the wide variety of effective solutions that
are possible with the AE and PD series of loudspeakers.
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Suspending Loudspeaker Arrays
IMPORTANT SAFETY WARNING!
The information in this section has been assembled from recognized engineering data and is intended for
informational purposes only. None of the information in this section should be used without first obtaining
competent advice with respect to applicability to a given circumstance. None of the information presented
herein is intended as a representation or warranty on the part of JBL. Anyone making use of this
information assumes all liability arising from such use.
All information presented herein is based upon materials and practices common to North America and
may not directly apply to other countries because of differing material dimensions, specifications, and/or
local regulations. Users in other countries should consult with appropriate engineering and regulatory
authorities for specific guidelines.
Correct use of all rigging hardware is required for secure system suspension. Careful calculations should
always be performed to ensure that all components are used within their working load limits before the
array is suspended. Never exceed the maximum recommended load ratings.
Before suspending any speaker system always inspect all components (enclosure, rigging frames, pins,
eyebolts, track fittings, etc.) for cracks, deformations, corrosion, missing, loose or damaged parts that
could reduce strength and safety of the array. Do not suspend the speaker until the proper corrective
action has been taken. Use only load-rated hardware when suspending Application Engineered™ Series
and Precision Directivity™ Series loudspeakers.
Are You New to Rigging?
If you are new to rigging, you should do the following:
•Read and study JBL Technical Note Volume 1, Number 14: Basic Principles for Suspending
Loudspeaker Systems (available at http://www.jblpro.com/pub/technote/tn_v1n14.pdf).
• Know the rules for safe rigging.
• Attend a safe rigging seminar, such as that presented by professionals like Rigging Seminars™
(www.riggingseminars.com
Corp. (manufacturers of the C/M Lodestar).
•Meet and establish a relationship with a licensed mechanical or structural engineer. Get in the
habit of asking them questions instead of guessing about their answers. Learn from what they tell
you.
• Meet and discuss this aspect of your business with your Insurance Agent.
• Research and understand the codes, practices, and requirements in the venues where you intend
to install and operate sound systems.
General Hardware Information
Any hardware used in an overhead suspension application must be load rated for the intended use.
Generally, this type of hardware is available from rigging supply houses, industrial supply catalogs and
specialized rigging distributors. Local hardware stores do not usually stock these products. Hardware that
is intended for overhead suspension will comply with ASME B30.20 and will be manufactured under
product traceability controls. Compliant hardware will be referenced with a working load limit (WLL) and a
traceability code.
Attachment to Structures
A licensed Professional Engineer must approve the placement and method of attachment to the structure
prior to the installation of any overhead object. The following performance standards should be provided
) or by Chain Motor Hoist manufacturers like Columbus McKinnon
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to the Professional Engineer for design purposes; Uniform Building Code as applicable, Municipal Building
Code as applicable, and Seismic Code as applicable.
The installation of the hardware and method of attachment must be carried out in the manner specified by
the Professional Engineer. Improper installation may result in damage, injury or death.
Inspection & Maintenance
Suspension systems are comprised of mechanical devices and, as such, they require regular inspection
and routine maintenance to insure proper function ability. JBL AE Series and PD Series loudspeakers
must be inspected for fatigue at least annually. The inspection shall include a visual survey of all corners
and load bearing surfaces for signs of cracking, water damage, de-lamination, or any other condition that
may decrease the strength of the loudspeaker enclosure. Accessory rigging hardware provided with or for
the JBL AE Series and PD Series loudspeakers must be inspected for fatigue at least annually. The
inspection shall include a visual survey of the material for signs of corrosion, bending or any other
condition that may decrease the strength of the fastener. Additionally, any eyebolts shall be checked for
possible spin-out from the enclosure. For all other hardware and fittings, refer to the hardware
manufacturer's inspection and maintenance guidelines for process.
JBL is not responsible for the application of its products for any purpose or the misuse of this information
for any purpose. Furthermore, JBL is not responsible for the abuse of its products caused by avoiding
compliance with inspection and maintenance procedures or any other abuse.
Prior to suspending the system, an expert, trained and experienced in flying speaker systems should
inspect all rigging parts and components.
Safe Rigging
WARNING!
Suspending any loudspeaker system should be done by qualified persons following safe rigging standards.
The JBL AE Series and PD Series are supplied with built-in internal brackets. The system is designed to
facilitate the suspension of the loudspeaker by a qualified person familiar with rigging hardware and
industry practices. Threaded M10 shouldered eyebolts are available for purchase from JBL Professional
for use when suspending AE and PD Series enclosures utilizing this internal bracket system.
AE and PD enclosures are capable of a maximum load of 470lbs/213kg from 2 points equally loaded. The
single point maximum load is 235lbs/106kg. Improper installation may result in damage, injury or death.
Prior to suspending the system, an expert, trained and experienced in flying speaker systems should
inspect all rigging parts and components. A licensed Professional Engineer must approve the placement
and method of attachment to the structure prior to the installation of any overhead object.
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Array Applications
The arrays described in this guide are developed to meet the performance goals of a wide
variety of applications. Array recommendations are largely dictated by the intended function of
the sound system along with the size and shape of the room. For this discussion, we will divide
the function of the sound system into three broad categories: Speech, Speech & Music, and
High-Impact Music, and describe some typical solutions to three common room types.
Referenced array types begin on page 13.
Speech Systems
A speech-only system’s primary function is to provide good intelligibility throughout the
room. For these systems, there is more of a tendency to use a center cluster system or a
more distributed approach since cost and evenness of coverage are generally driving
factors in the design. Center clusters provide good localization to the talker. Delay fills
improve gain before feedback and coverage, but at an increased cost. These systems
are typically run in mono mode.
Figure 1: Array B3 (p. 19) as
Center Cluster in small theater
For small to medium sized rooms, Application Engineered™ two and three-way arrays
are most appropriate. A simple single-tier solution such as array types B or C may be
appropriate if the vertical coverage requirement is less than 50 degrees (see Figure 1).
Larger rooms require higher SPL levels, better directivity, and usually a two-tiered array.
In these cases, clusters that include the AM6340 or the PD5322 will provide the levels
and broadband directivity to make these systems successful (see Figure 2).
For fan-shaped rooms or larger auditoriums, a three- or four-cluster system provides
more consistent horizontal coverage and better localization to the stage. Systems
designed primarily for speech should have as little overlap as possible between adjacent
clusters. These systems can also improve coverage close to the stage (see Figures 3, 4
& 5).
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Figure 2: Array E4 (p. 26) as Center
Cluster with AM4212 fill speakers in
large auditorium
For larger center clusters, consider the D or E series of arrays. For three- and four-cluster
systems as described above (see Figure 3), the G series of arrays are particularly useful given
their low profile and excellent polar characteristics. The stacked LF drivers of these arrays
combine to increase LF power and directivity, improving gain before feedback. They are also
very simple to rig.
Figure 3: Array G4 (p. 34) used as an exploded
cluster in a fan-shaped room
Combination Speech & Music Systems
A majority of sound reinforcement projects fall into this category. Here, all the elements
associated with a successful speech system (evenness of coverage, consistent pattern
control, and good intelligibility) need to be combined with a system that goes lower in
frequency and gets louder. These systems require a strong proscenium system to
provide source localization and solid low-frequency support.
The preferred configuration of these systems is often an exploded arrangement, although
other building constraints or preferences may dictate otherwise (see Figures 4 & 5).
Clusters must provide good directivity to lower frequencies in order to provide evenness
of coverage and improved system gain before feedback.
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Figure 4: Array G4 (p. 34) used in an
exploded configuration in an auditorium
Figure 5: Array E3 (p. 25) used in an exploded
Some of the array types described have subwoofers integrated into the array; others do
not. Of course, subwoofers are often a requirement for this kind of system and can
always be flown adjacent to the arrays or ground supported.
configuration in a fan-shaped room
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r
High-Impact Music Systems
While these systems are also sometimes used for speech, their primary purpose
indicates that the arrays must produce high SPL Levels and have extended bandwidth by
integrating subwoofers – whether flown or ground supported – into the system.
Rectangular and auditorium shapes can have enhanced L/R only systems or exploded
cluster systems – the center channel sometimes being optimized for speech. Fanshaped rooms once again must use three- or four-cluster systems to provide proper
coverage and localization to the stage.
Many of the Speech-only or Speech & Music scenarios described above may be used as
a basis for a high-impact music system provided the SPL levels are high enough
(>110dB in the seating area) and subwoofers are included in the system. Similarly, the
array types described will generally be appropriate for this use if sized correctly for the
room and properly augmented with subwoofers.
Summary
These are only some examples of the uses of the array types that follow. These arrays may be
modified or augmented to meet the particular needs of the project. Hopefully, they are useful in
providing a starting point for configurations you can consider for your project.
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Figure 6: Array D1 (p. 21) used in a
Right-Left configuration in a small
theate
ARRAY TIPS
Modeling Arrays in Rooms
The arrays included in this array guide have been developed to provide good coverage
consistency throughout their specified range and balanced power response throughout their
bandwidth. They are arranged to produce systems that are easy to rig and meet common
coverage and performance needs.
To better understand how these arrays will work in a particular room, it is always preferred to
model the room with EASE or a similar type of predictive analysis tool. With these tools,
array orientation and angles can be adjusted to optimize their use in the room. It is also a
good way to determine how different elements of the system – multiple arrays and fills –
combine to produce the complete solution.
EASE models for selected arrays are available on the JBL web site.
Optimizing Long-throw/Short-throw Loudspeaker Systems
Many sound reinforcement applications call for loudspeakers to be arranged in a “longthrow/short-throw” configuration. To set-up a system like this, we recommend the following
procedure:
1) First, optimize the long-throw loudspeaker or system by itself (including separate
LF). Store your optimized trace for later reference.
2) Optimize the short-throw (downfill) speaker by itself (with long-throw off).
Note: When using a full-range downfill device, use the same high-pass as the
long-throw device. For a mid-high downfill device, use the same high-pass as
the long-throw M/H high-pass. This is important since using different
crossover points is detrimental to how the loudspeakers interact due to phase
mismatches through the crossover regions.
3) Level balance the downfill on-axis measurement to match the long-throw
loudspeaker’s on-axis measurement. This should be done above 1 kHz, where both
devices are clearly in the effective range of the waveguide. This may be done by
matching traces on an analysis system such as Smaart or TEF; or by simply
using an SPL meter.
4) With both long-throw and short-throw sections on, analyze the downfill region
again. The additional energy in this region, which resulted from the combined
contribution of the long-throw device(s) and the downfill device, may be reduced by
adding broad parametric EQ cuts to the downfill loudspeaker.
Note: The use of parametric filters introduces less phase shift between the
long-throw and downfill devices than raising the high-pass crossover point of
the downfill loudspeaker. This ultimately creates a smoother transition
between the devices.
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5) If both loudspeakers are full-range devices, the addition of the down-fill device will
affect the long-throw response by increasing level in the LF region. This is usually
beneficial since the overall array will provide greater LF levels, producing a more
balanced system and better LF polar characteristics. However, this means that the
final low-frequency EQ must be done with all devices on.
Note: Below 250 Hz, treat all components of the array as one device with the
same EQ filters.
This proven procedure provides very good, consistent results for this common arrangement.
Signal Processing
Loudspeakers shown in this array guide are described in their most passive
configuration; the number of DSP channels required and amplifier recommendations
shown for each array type reflect this.
A separate DSP channel is required for the downfill loudspeakers. With the exception of
the AM4315, the low-frequency section of a three-way system or separate LF enclosure
will require an additional DSP channel, as will the subwoofers.
DSP signals for each individual array may be paralleled symmetrically. For instance,
where two loudspeakers are side by side horizontally, there is no benefit to providing
independent DSP. Level differences may be done at the amplifier if required.
Loudspeaker DSP settings may be found on the JBL web site. For the crossover
between the subwoofers and the low-frequency section, a 24 dB/octave L-R crossover
slope on each side is recommended. Also, it is good practice to use as a minimum an 18
dB/octave high-pass on the system with the corner frequency somewhere between the –
10dB and –3dB down point of the loudspeaker reproducing the lowest frequency. Refer
to the loudspeaker specifications for this data.
Low Frequency Pattern Control
Most of the arrays described in this guide have integral to them low-frequency devices
that are arranged to provide improved directivity. No special DSP techniques are
required to realize these benefits.
It is generally better to arrange LF devices vertically rather than horizontally, as the
vertical arrangement tends to collapse the vertical polar pattern, which is beneficial in
keeping energy off of the stage and projecting it into the room. Where it is important to
limit the LF energy on the stage and to gain additional level and impact, look for solutions
that stack two or more LF drivers vertically.
To further explore low-frequency arraying please refer to the following JBL white papers:
1) Basic PD5322 and PD5122 Array Applications; Technical Notes Volume 1,
Number 32.
2) Forward Steered Arrays in Precision Directivity
Notes Volume 1, Number 28.
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Speaker Systems; Technical
3) Loudspeaker Array Low-Frequency Pattern Control using Filtered Array
Technology
4) JBL Audio Engineering for Sound Reinforcement by John Eargle and Chris
Foreman (Hal Leonard Publications, 2002).
These papers describe some of the most popular and effective low-frequency arraying
techniques for performance systems including:
• Frequency-shaded or Bipole arrays
• Gradient or Cardiod arrays
• Filtered Array Technology (FAT) arrays
• Forward Steered arrays
Each of these arrays may be realized using product from the AE and PD series of
loudspeakers. For additional information on the use of these arrays please contact the
JBL application support staff.
; JBL Professional Application Note.
Planar Array Frames and Rigging Brackets
Planar Array Frames (PAFs) provide a pre-engineered solution to rig many of the arrays
found in this guide. Please refer to the AE Series Bracket and Array Frame Handbook for
more details.
When tilting an array that utilizes a PAF frame downward at angles greater than about 35
degrees, understand that the center section of the array will end up with more down-tilt
than the outside sections. If this is undesirable, consider changing the rigging to a
spherical array, where each box is aimed down independently. Spherical arrays can
require more complex rigging, but have the benefit of independent adjustment of
speakers on each axis.
Often the top tier of a multi-tiered array is aimed downward together at a shallower angle
and the downfill boxes are aimed independently below that. This is how the two-tiered
arrays in this guide are shown.
MORE INFORMATION
For more information on designing loudspeaker system arrays, refer to JBL Audio Engineering
for Sound Reinforcement by John Eargle and Chris Foreman (Hal Leonard Publications, 2002)
Additional system design information, including advanced design concepts, can be found at the
"Technical Library” available on the JBL Professional’s website.
Information on amplifier recommendations found in this guide can be obtained at the Crown
website: http://www.crownaudio.com/
Information on DSP hardware recommendations found in this guide can be obtained at the BSS
Audio, Crown and dBX websites. All websites are accessible from: http://jblpro.com/
• This array is a good choice for small to medium-sized rooms as part of a center cluster,
Left/Right, or exploded cluster system. The configuration is particularly appropriate for use as
a Left/Right system flanking a proscenium opening in a speech only system.
Medium Power Solution: (1) AM4200/64 + (1) AM4200/95 downfill
• Overall Coverage: 60°/90° horizontal x 85° vertical
• Downfill enclosure vertical splay angle: -50°
• Frequency range: 200 Hz – 19 kHz
• Maximum SPL (1 meter equivalent): 133 dB-SPL cont. avg.
• Total Power Capacity: 700W
f
• Overall Dimensions: 45” H x 21.5” W x 34” D (1143 x 548 x 864mm)
• Total Loudspeaker Weight: 128 lbs. (59kg)
(350 Hz – 23 kHz for Medium Power)
(250W for Medium Power)
(127 dB-SPL for Medium Power)
Recommended Amplification:
AM6200 x 2: 2 ch. 600W [Crown CTs1200]
Recommended DSP:
Available Accessories
Medium Power Solution: 2 ch. 300W [Crown CTs600]
2 channels required
334, BSS FDS-366, BSS SoundWeb]
3 pc. M10 x 35mm Forged Shouldered Eye-Bolt Kit (JBL part #229-00009-01)
(2 channels for medium power)
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. [Crown PIP-USP3, dbx Driverack 260, BSS FDS-
Array A2
Two-element Vertical Array in Long-Throw/Short-
Throw Configuration
Application Engineered 3-way 15” and Mid-High loudspeakers
oriented and splayed vertically
ARRAY OVERVIEW
• This array is a good choice for small to medium-sized rooms as part of a Left/Right or
exploded cluster system. The configuration is particularly appropriate for use left and right of
the proscenium opening for speech or speech + music program requirements.
• This system may be augmented with ground supported subwoofers. (e.g. ASB6128)
• This array is an excellent choice for larger rooms as part of a Left/Right or exploded cluster
system where high SPL levels and excellent gain before feedback are required.
• Spaced-Source Bipole low-frequency driver arrays combine with the large mid-frequency
waveguide to maintain pattern control through 125Hz.
more information about PD5322/PD5122 LF steering). Also see page 18.
• This system may be augmented with ground supported subwoofers. (e.g. ASB6128V)
Processing for both LF sections is identical for standard use.
Available Accessories
3 pc. M10 x 35mm Forged Shouldered Eye-Bolt Kit (JBL part #229-00009-01)
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Array A5 Application Notes
A sometimes unanticipated problem in sound system design is excessive low frequency energy
beneath the flown array. Related to this can be poor low frequency coverage into the audience
area and a system with excessive ‘lobing’ onto the performance area. This is usually caused by
arranging low frequency devices in such a way they do not work together in an efficient
manner.
A single low-frequency device by itself has very little directivity. However, by spacing a pair of
low frequency devices the resulting ‘spaced-source’ array has a directivity defined by the
distance between the devices and the frequency. Additionally, spacing the drivers above and
below the MF waveguide has the effect of extending the effective working height of the system,
thus allowing the resulting array to work together smoothly through a lower frequency. This is
commonly known as a bipole array.
Not only will this reduce LF energy on the stage, thus increasing gain before feedback, it will
also have the effect of improving the evenness of coverage in the audience area.
The diagram below (Fig 1.) describes how the levels of the loudspeaker system must be
controlled in the vertical plane to achieve consistent direct levels in the seating area.
Fig. 1: Section Drawing
To achieve the spaced-source effect, a PD5122 is simply placed below a standard PD5322. The
low frequency device spacing creates a directivity pattern that essentially matches that of the
mid-frequency waveguide. The result is a smooth transition in directivity performance through
crossover.
Since the PD5122 is simply the LF section of a PD5322, the response of the LF sections will be
identical and they can utilize the same DSP processing settings. No additional steps are required
to realize the increased vertical directivity offered by this array configuration. Refer to JBL
Note V1 #32
for additional information and polar data concerning this array.
• This array is a very good choice for small to medium-large rooms as a center cluster speech
system offering very high intelligibility, yet maintaining a low vertical profile.
• Provides a cost-effective center cluster solution for good coverage and full-range program.
• Alternate AM4000 Series Medium Power devices can be substituted where pattern control is still
critical but maximum SPL requirements are lower.
Array Specifications
•Loudspeakers: (2) AM6200/64, (1) AL6115 Low Frequency Enclosure
Medium Power Solution: (2) AM4200/64, (1) AL6115
• Overall Coverage: 110° horizontal x 55o vertical
• Splay angle between AM6200/64 enclosures: 60
• Frequency range: 40 Hz – 19 kHz
• Maximum SPL (1 meter equivalent): LF: 129, MF/HF: 133 dB-SPL continuous average
dB-SPL for Medium Power)
• Total Power Capacity: 1700W
• Overall Dimensions: 22.1” H x 63.75” W x 31” D (562 x 1620 x 788 mm)
with vertically splayed Application Engineered mid-high downfill
ARRAY OVERVIEW
• This array is a good choice for medium-sized rooms as a center cluster or as part of a Left/Right
or exploded cluster system.
• The additional dual 15” low frequency enclosure increases bass output and impact for improved
musical performance and improves vertical directivity in the low-frequency bandpass.
• Array may be augmented with ground stacked subwoofers such as the ASB6128V.
• This array is an excellent choice for medium to large rooms as a center cluster or as part of a high
impact Left/Right or exploded cluster system.
• Spaced source 12” drivers (PD5322 + PD5122) create directivity through 125 Hz to improve gain
before feedback and optimize evenness of coverage.
more information about PD5322/PD5122 LF steering. also see page 18.)
• Array may be augmented ground stacked subwoofers such as the ASB6128V to create a system
with optimized pattern control and high impact music reinforcement.
WEATHER RESISTANT Configurations for AE and PD Series
JBL offers two standard levels of weather resistance for AE and PD Series loudspeakers. WRC is for outdoor
placement where the loudspeaker will be sheltered from direct exposure to the elements. WRX is for direct
exposure or extreme environments, such as tropical or beach, or in areas with salt air, with extreme high
humidity or rapid changes in temperature.
Model Numbering – WR designation is a suffix to the standard model number.
For example, AM4215/95-WRC or AM4215/95-WRX.
ENVIRONMENTAL RATINGS
ENCLOSURE
Covering
Dimensions
Color
Horn Orientation
Enclosure
Hardware
GRILLE
Shape
Grille Material
Grille Backing
INPUT & NETWORK
Input Connection & Cable
Network Mode
COMPONENT TREATMENT
Driver Treatment
Network Treatment
Delivery – WRC and WRX are Build-to-Order
shipment from JBL factory) is typically 4 to 6 weeks.
• Custom colors (dark colors to be avoided if installed in warm climates or areas with direct exposure to sun).
Covered/Protected
Exterior Cabinet: 0.060” (1.5mm)
thick DuraFlex coating
Interior Cabinet
AE Series WRC/WRX are LARGER than standard AE Series cabinets.
Standard AE Series brackets do NOT fit these cabinets. Contact JBL
Professional for dimensional information. PD 5000 Series
Rotating the horn in the field can be difficult. Horn is default oriented with
wider horizontal coverage than vertical coverage in the vertical cabinet
orientation. To order with horn rotated, add “-H” (Ex: AM4215/95-WRX-H)
unterminated. Cable rated for permanent outdoor installation: UV, ozone &
Comes in the “most passive” mode (unless ordered otherwise): bi-amp on
normally bi-amp/tri-amp models (i.e., AM63xx models), full passive on
normally passive/bi-amp models. On multi-driver LF and subwoofer systems
each driver is wired independently. Mode is NOT re-configurable in the field.
products and not stocked. Lead time (from when the order is cleared by JBL Credit Dept to
-WRC -WRX
Direct Exposure or
Outdoor
IP55 per IEC 529 IP56 per IEC 529
: Wood sealer
dimensions are the same as standard versions.
LIGHT GRAY, similar to RAL 7035 and Pantone PMS428C
Black open cell foam over fine gauge stainless steel mesh
Sealed glan nut, permanently attached 20 ft (6 m) captive cable,
Other powering modes are available, contact JBL for options.
Cones treated for water resistance, metal parts urethane-coated
Conformal urethane-coating
Extreme Environment
Exterior Cabinet:
corners wrapped for maximum
structural reinforcement
Interior Cabinet
Flat front
water resistant.
Fiberglass, all
: Gelcoat sealed
WRC/WRX
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Painting AE and PD Series Loudspeaker Enclosures
JBL AE and PD Series loudspeakers are available in black, white or unfinished. When ordering, the
default color is always black. White is signified by a –WH suffix on the model number. Unfinished models
are signified with a –UF suffix and are delivered “paint ready”. JBL recommends that for custom color
installations, the unfinished versions (-UF) should be ordered and painted as required. If however, you
wish to paint an enclosure over the JBL “Duraflex” finish, the instructions below should be used as a
general guide.
DuraFlex is a multi-layer finish. The top aliphatic layer provides a surface to which most paints bond.
Note: Some JBL portable loudspeaker models do not include a top aliphatic coating – these models are
not paintable. All standard AE and PD Series loudspeakers do include a top aliphatic coating and are
paintable.
1) SURFACE PREPARATION
Important:
Do NOT sand or scuff the surface! This could remove the top aliphatic coating
which is required for good paint adhesion.
Prepare the surface by cleaning and wiping dust with a damp cloth. It may be necessary to use a mild
household cleaner to remove grease. If so, be sure to rinse off the detergent and give plenty of time for
the surface to dry completely. Avoid using a cloth that will deteriorate over the textured surface.
2) PRIMING THE SURFACE
Some paints may adhere well directly. Starting with a primer is highly recommended for ensuring proper
long-term adhesion. Use an oil-based primer, not a water-based primer.
PAINT SELECTION
3)
With Primer – If you use a primer, select a paint that works well over that primer.
Without Primer – Ifyou are applying paint directly without using a primer, oil-based paint is
recommended. Water-based paint does not adhere as well. Avoid epoxy-based paints as they do not
stretch adequately for the expansion and contraction of a wooden loudspeaker cabinet and can crack.
4) MASKING THE BAFFLE
It is often desirable to leave the baffle (behind the grille) black.
PAINT APPLICATION
5)
Apply as many coats as is required. Paint may be applied by rolling, brushing or spraying.
6) GRILLE
Care must be taken when painting the grille to avoid clogging the grille backing material (open cell foam
on some models and grille cloth on other models). Clogging the pores will degrade the performance of
the loudspeaker.
Painting Grille with Backing Attached – It can be very difficult to paint the grille with the backing
attached without clogging the grille backing material.
Removing the Grille Backing – It is a good idea to remove the grille’s backing (foam or cloth) and
reattach it after painting. Spraying is perhaps the best way to paint the grille.
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It is highly recommended to leave the grille backing unpainted. If you must add some color to the backing,
give it a very quick spray dusting of the color, making sure not to clog the pores in the backing material.
Reattach the backing securely using 3M Super 77 or similar spray adhesive, sprayed onto the back of the
metal grille (spray only a minimal amount onto the backing because otherwise the backing could tend to
pick up dust from the air).
If the backing is damaged in the removal process it will be necessary to order a replacement – either from
JBL or from a third-party foam or grille cloth provider -- if indeed a backing is required for your application.
Painting Weather Resistant AE and PD Models
Most AE and PD models are available in two levels of weather resistant models. Weather resistant models
are signified by a –WRC or –WRX suffix to the standard product model.
Important:
Simply painting a non-weather-resistant speaker is NOT acceptable protection for
outdoor use.
Internal Protection – The WRC and WRX models are constructed with necessary additional internal
protection, including: full internal surface sealant to protect the wood from the inside, special corrosionresistant internal hardware, weather protection for the cones, protective coating for the metal parts on the
back of the drivers, protective coating on crossover network, waterproof glues and special grille backing
that breaks up driving rain. For speakers that will be used outdoors, always start with a WRC (DuraFlex
finish) or WRX (fiberglass finish) as the base model to insure proper construction for outdoor use.
Painting WRC
thick DuraFlex finish. Follow the same instructions in the sections above, which apply to all models with
DuraFlex finish.
Painting WRX
standard procedures for painting over fiberglass.
For further information on weather resistant JBL models and the technical definition of the
–WRC and –WRX process go to the “WEATHER RESISTANT Configurations
for AE and PD Series” section available in this guide and also online at the JBL Professional
Website: www.jblpro.com.
Enclosures -- Models with the WRC-level of weather resistant are coated with an extra-
Enclosures – WRX-level weather resistant models have a fiberglass finish. Follow
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AE/PD Series Connector Pinout Guide
igh
(
)
AE Seri
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(p
)
Connectors: All models contain one (1) Neutrik Speakon® connector (either NL4 or NL8, specified
below) AND one (1) set of terminal strips. Terminal strips are marked with same pinout labels as
below (1+ / 1-, etc). Speakon and terminal connections are in parallel with each other and can be
used for loop-through purposes.
All models are shipped in their most passive configuration.