Page 1
Cabaret
Series
Technical
Manual
Page 2
Index
Introduction 2
Protective Cover 2
Speaker Placement 2
Nameplate Reorientation 4
Road Handles 4
System Connection 4
System Adjustment 4
Power Capacity 5
Component Removal 5
Enclosure Maintenance 5
Specifications See insert
Introduction
Thank you for purchasing a JBL Cabaret Series system.This
manual has been prepared to help you achieve maximum
performance from your system. If, after reading this manual,
some questions are left unanswered, consult your local JBL
dealer. He has the knowledge required to provide expert
advice and assistance. If he is unable to assist you, write
directly to Applications Engineering, Professional Division,
JBL.
4602 Monitor
The 4602 is designed to be an extremely flexible system
that can function in a number of applications. It can be used
as a stage monitor, acoustic guitar speaker system, or small
vocal reinforcement system. Naturally, each application will
call for a different speaker position.
When the 4602 is used as a s'tage monitor it should be
placed on the floor and aimed upwards at either a 30 or 60
degree angle depending on your distance from the speaker.
Optimum floor location will be directly in front of you with
the speaker's sound energy focused towards the rear of your
microphone as shown in Figure LThis will provide an ideal
balance between sound level and system feedback rejection.
If this placement is not possible (as in the case of a drummer
or keyboard player), the speaker should be placed to the
side and kept as far forward as possible. The speaker should
never be placed behind you or in any position where it would
be aimed into the microphone's pickup pattern as this may
cause severe feedback problems.
Protective Cover
Each Cabaret Series system is equipped with a sturdy flush-
fitting cover. It is designed to protect the system's speakers
and grille from shipping damage and indirect moisture. With
this in mind, each cover has been sized to provide an
extremely tight fit.
To remove the cover, grasp the top handle and pull sharply
towards yourself. Once the upper snap-fit fasteners have
been released, peel the cover downwards to release the
lower fasteners. If more than one system is used, the covers
may be attached to each other for storage.
To reinstall the cover, place it over the grille and apply firm
pressure in the area of each fastener. Do not use excessive
force as this may damage the fasteners.
Speaker Placement
Under ideal conditions speaker placement may be calculated
precisely. Unfortunately, you seldom perform under ideal
conditions. Instead, you're faced with a series of tiny stages
and acoustically impossible rooms. It is difficult to establish
firm speaker placement rules, but we can suggest some
general guidelines that will help you get the best possible
sound from each system in a variety of environments.
Figure 1: Optimum stage monitor location.
For use as an acoustic guitar system, the 4602 should be
placed in an upright position and aimed at your audience's
ear level. If you intend to use a microphone with your guitar,
avoid placing the speaker behind the microphone. This will
help eliminate feedback problems.
If the 4602 is to be used as the main house sound system,
at least one speaker should be placed at each front corner
of the stage. Speakers should be placed upright and kept as
far forward as possible to minimize feedback. Elevating the
speakers as high as possible with sturdy tables, scaffolding,
or specially designed speaker stands will help ensure com-
plete room coverage. If a speaker stand is to be used, the
speaker should be turned on its side and the stand should
be mounted at the speaker's center of gravity as shown in
Figure 2. Only stands designed for speaker support should
be used.
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Figure 2: Proper location for mounting
speaker stand.
4622 Lead Guitar
The 4622 is designed for use with electric guitars and may
be used in eithera horizontal orvertical position.Thespeaker's
performance will be enhanced if it is slightly elevated. This
will minimize high frequency absorption and obstruction and
allow you to monitor your performance levels.
Should the enclosure be rotated 90 degrees for horizontal
placement, however, the dispersion pattern will also be rotated
90 degrees. The resultant pattern will be extremely wide in
the vertical plane and narrow in the horizontal. This pattern
is far from ideal for most applications. Horizontal placement,
therefore, is not generally recommended.
Under some conditions, permanent installation of the 4680
(or other Cabaret Series Systems] may be desirable. For
these applications the speakers may be suspended by cable,
chain,
or rope. It is advisable to use two or more suspension
lines attached to separate points for stability and safety.
If two 4622s are to be used, they may be stacked either
horizontally or vertically using the enclosure's special
interlocking corners. Vertical stacking, it should be noted, will
produce a column effect (a narrowing of vertical dispersion
and improved horizontal dispersion] and should only be
used when such a dispersion pattern is desired.
4680 Line Array
The 4680 is a line array loudspeaker system engineered
for sound reinforcement. Under most conditions, the best
performance levels will be obtained when the speakers are
located at the front corners of the stage. Speakers should be
placed as far forward as possible to minimize feedback.
If several speaker systems are used in a single-channel
installation, and they are placed more than 20 feet apart,
they should be arranged so their coverage patterns overlap
as little as possible for best results.
As with all line arrays, the 4680 will exhibit controlled vertical
sound dispersion and wide horizontal dispersion when the
speaker is set up so that the longer dimension is vertical.This
type of dispersion pattern (called a column effect] is caused
by the linear relationship of the drivers within the system. In
most cases, this kind of pattern will enable you to obtain
complete coverage of the audience area while minimizing
unwanted sound reflections.
Figure 3. Mounting eye bolts to 4680 Line
Array.
To begin permanent installation, remove the top 250 mm
speaker from the 4680 enclosure. Next drill two or more
holes in the top and/or sides of the enclosure and insert high-
strength 1/4-20
used both inside and outside to prevent the bolts from pulling
free.
After all bolts are secure, replace the top speaker. The
enclosure is now ready for suspension.
[or larger) eye bolts. Washers should be
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If the amplifier is inadvertently connected to the output jack,
and additional systems are not connected to the input jack,
the system will not operate and the amplifier will not be
terminated. This is because, unlike other systems, the
speaker voice coils are shorted when no plug is inserted in
the input jack. This helps prevent speaker damage during
shipment by restricting cone movement.
Whenever plugs are not inserted, the snap covers on the
jacks will spring closed to maintain the acoustical charac-
teristics of the enclosure and to protect the interior of the
enclosure from moisture during shipment and storage.
The rear terminal plate may be removed from the enclosure
and modified for the installation of alternate connectors.
loud-
Figure 4. The JBL nameplate is keyed at 90 degree
intervals.
Nameplate Reorientation
The JBL nameplate on any Cabaret Series system may be
reoriented to read correctly when the enclosure is inverted
or placed horizontally. First remove the speaker grille by
loosening the screws found in the center of each snap-fit
cover fastener. Once the screws are loose, gently lift the g rille
free of the enclosure. Next, take out the screw holding the
nameplate and backing plate together, remove the nameplate
and replace it in the proper position. Note that the backing
and nameplate are keyed at 90-degree intervals, and that
the backing plate has a keying ridge which matches a groove
on the grille frame. See Figure 4. Reinstall the screw without
overtightening, and replace the grille.
Road Handles
Each Cabaret Series enclosure is equipped with flush-
mounted professional road handles. To prevent unwanted
handle vibration and noise during your performance, the
dles should be locked in place once initial setup is completed.
This may be done by pressing the handles firmly into the en-
closure recess.To release the handles, pull sharply outwards.
System Connection
Input to each Cabaret Series system is through the 6 mm
[}A
inch) phone jack labeled "Input" located on the recessed
terminal plate at the rear of the enclosure. A positive voltage
applied to the tip of the phone plug will cause the loudspeaker
cones to move forward. Additional loudspeaker systems can
be connected to any Cabaret system by using the 6 mm
(1/4
inch) phone jack labeled "External Speaker Out'.'The
systems will be wired in parallel, so care should be taken to
ensure that the total impedance is compatible with the ampli-
fier's minimum load requirements.
han-
For input cable connections, 1.3 mm (16-gauge) insulated
wire is the minimum size recommended for connections up
to 15 m [50 ft). Heavier gauge wire is recommended for
greater distances; 1.6 mm [14-gauge) from 15 m (50 ft) to
30 m [100 ft) and 2 mm (12-gauge) from 30 m [100 ft) to
60 m (200 ft).
Important: When connecting or disconnecting loudspeakers
from an amplifier, the amplifier power must be turned off.
Making connections while the amplifier is operating could
seriously damage the loudspeaker system and void
the warranty.
System Adjustment
Both the 4602 Monitor and the 4680 Line Array feature
specially designed dividing networks. Crossover point for
each system is 3 kHz. For ease of adjustment both systems
provide a high frequency attenuation control that extends
through the grille. High frequency balance adjustments can
be made from the front of the system without removing the
grille from the enclosure.
To adjust the system, use a coin or a large-blade screwdriver
to turn the attenuation control. Maximum attenuation will be
obtained when the control is turned fully counterclockwise.
Figure
5.
High frequency attenuation
control.
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Power Capacity
Live performance conditions can place incredible demands
on even the best musical sound systems. High power levels,
use of controlled distortion, wide instrumental dynamic
range,
and explosive transients continuously challenge a
system's reliability.
Because these conditions are so severe, we prefer the
"Continuous Sine Wave" method of rating the power capacity
of JBL sound systems. This laboratory standard test is far
more demanding than actual performance situations and
provides a credible measure of a systems power capacity.
Since a number of manufacturers continue to use the less
stringent "Continuous Program Power" rating, we have
included these figures for your reference.
The dividing network in the 4680 is mounted on the rear
of the baffle board with machine screws going through the
board into fasteners on the network. Access to the network
is gained by removing the transducer closest to the high
frequency assembly.
The dividing network in the 4602 is mounted in a similar
manner but is mounted on two boards: one on the rear
of the baffle board and one located on the side of the en-
closure. Access to the network is gained by removing the
cone transducer.
Replacement of the system components is done by reversing
the removal procedure. Mounting screws for all devices
should be tightened evenly and just enough to prevent air
leaks.
When making an amplifier selection you should be aware
of the fact that a severely distorted signal can place very high
demands on a speaker. In fact, under some conditions a
distorted 75 watt signal may damage a speaker more easily
than an undistorted 150 watt signal. Because of this, amplifier
distortion levels must be taken into consideration when
you select an amplifier for use with a Cabaret system. In
applications where high distortion is expected [such as a
guitar system) it is best to use only those amplifiers whose
ratings fall well within the speaker system's "Continuous Sine
Wave"
power capacity.
Component Removal
Each Cabaret Series system is supplied with all components
installed,
not be required under normal usage. If access is needed,
note that the enclosure is filled with fiberglass, which can be
irritating to the
and gloves be worn for protection when working in contact
with the fiberglass.
To remove the components, the enclosure should be placed
on its back.The grille should then be removed as described
under the section of this manual concerning nameplate
reorientation. All cone speakers are mounted from the front
of the baffle board with machine screws threaded into T-nuts
on the rear of the board. High frequency drivers are mounted
from the rear of the baffle board with machine screws
threaded into tapped holes in the mounting flanges of the
drivers. When removing the screws, do not apply pressure
which might dislodge the T-nuts. Note the color coding of the
wiring carefully before removing the wires from the trans-
ducers so that they may be properly connected when
reassembling the system.
wired, and tested. Access to the components should
skin.
It is recommended that long sleeves
Enclosure Maintenance
The Cabaret Series enclosures are finished in an unusually
durable black polyurethane material. Simple cleaning can be
accomplished with a damp cloth. If additional lustre is desired,
treatment with a silicone-based product is recommended.
While the enclosure's nylon grille should not require any
regular maintenance, it may be cleaned by gently dusting it
with a vacuum cleaner.
JBL continually engages in research related to product improvement. New
materials, production methods, and design refinements are introduced into
existing products without notice as a routine expression of that philosophy. For
this reason, any current JBL product may differ in some respect from its
published description but will always equal or exceed the original design
specifications unless otherwise stated
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Cabaret Series
Specifications
Frequency Range 50 Hz-15 kHzx
Power Capacity
4602 4622 4680
55 Hz-15 kHz A, ,
100 watts
%
50 Hz-6 kHz
200 watts 300 watts
(continuous sine
wave)
Power Capacity 200 watts
400 watts 600 watts
(continuous program)
Sensitivity
1
101 dB SPL,
1 W, 1 m (3.3 ft)
104 dB SPL,
1 W, 1 m (3.3 ft)
105 dB SPL
1 W, 1 m (3.3 ft)
Nominal Impedance 8 ohms 4 ohms 8 ohms
Dimensions
508x406x374mm
20x16x14% in
Net Weight
1
Sensitivity measured with an input averaged from 500 Hz to 2.5 kHz.
16 kg (35 lb)
767x512x478mm
303/6x 20/
/
x
183/(6Ìn
8
1322x402x372mm
525Ax16%x145/6 in
25 kg (55 lb) 37 kg (81 lb)
UBL
Professional Division
James B. Lansing Sound, Inc., 8500 Balboa Boulevard, Northridge, California 91329
U.S.A.
Page 7
UBL
Professional Division
James B. Lansina Sound, Inc., 8500 Balboa Boulevard, Northridqe, California 91329
U.S.A.
PTMC/9-79 . Printed in
U.
S.A.
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