By Mark Farmer
Opinions, everyone has them when it comes to sound related issues. How to mix a band or which microphone to use and who makes the best sounding speaker enclosures are a few of the debates taking place in the world of live sound on a daily basis.
Let me introduce the EV X•Array, the most talked about loudspeaker enclosures to storm the live sound industry in years. A revolutionary new way to market a sound system is to hand it over to one of the largest tours of 1997-98 and let them test it, fine tune it, and spread the word. The Rolling Stones became the testing ground for the X•Array Expanded Resolution Touring System. Early in 1997, EV and db Sound Limited set up a demonstration in the back yard of db by flying one side of the to be Rolling Stones sound system. They invited Jake Berry, Production Manager for the tour, and Front of House Engineer, Robbie McGrath and Mick Jagger to listen. The backyard demo was impressive enough to win the tour over long term client, ShowCo. Electro-Voice’s involvement with Harry Witz and db Sound Limited allowed EV’s engineering team to use db as a source of live sound knowledge. Using EV’s advanced skill in speaker design and the live sound experience of Harry Witz, EV set out to create the ultimate touring enclosures. A line array system easily flown(rigged), compact in size, lightweight, powerful in its output and pristine in delivering audio reproduction. One of the biggest outcomes of the speaker development was the invention of RMD™ or Ring Mode Decoupling. Another was the development of three entirely new drivers for the X•Array. The rigging of these enclosures is also of an inventive nature.
Many months ago I was fortunate enough to hear the X•Array at a private EV demo. Shortly after that demo, the Rolling Stones came to town and I was able to hear the system in its second stadium debut of the tour. I have been eager to get my hands on these enclosures to hear their sound and finalize my own opinions. One of my first opportunities to use the X•Array was downtown Chicago, IL at a corporate event where Jim Belushi and his Sacred Hearts Band performed, more on this later.
GENERAL SYSTEM NOTES
Four different enclosures make up the major components, the Xn, the Xf, the Xb and a new add is the Xds ground sub. Overall system processing and crossover duties are performed by the Klark-Teknik DN8000. Amplification comes from EV-Dynacord P3000 amps, which power every driver in the package. Custom wire was developed by dB and manufactured by ETC made up of an eight conductor cable with four #11 AWG conductor and four #13 AWG connectors. By using the larger conductor wire a better damping factor is achieved with low frequency drivers. Input and output for each speaker are provided by Neutrik 8-pin NL8PC Speakon® connectors. Each pair of connectors is installed on well labeled, recessed panels on the rear of each box.
SPEAKER DESIGN
Each of the X•Array enclosures is manufactured from 18mm. 13 ply Baltic birch, complete with a non scratch textured black finish. All four enclosures are trapezoidal in shape. Mounted on the curved cabinet front is a black steel grille with foam affixed to the inside of the grille to keep out dust and water. The Xf and Xn weigh in at a mere 192 lb. with the Xb a light 184 lb. Four of what I call comfy handles are positioned on the side of all the enclosures in the X•Array package.
From day one, the goals for EV were to create a 22nd century enclosure Largest of the advancements in designing the X•Array was the unfolding of RMD© or Ring Mode Decoupling. RMD© was developed to rid these new speaker enclosures of unwanted resonance and system overtones. Much of RMD© came into play by de-coupling ringing modes between the high frequency horn and the mid bass driver. According to EV, at lower vocal frequencies all mid bass drivers produce a low-Q broadband ringing mode no matter how the midbass driver is mounted. Changes made in (speaker) cone material and how the entire speaker assembly was mounted to the frame. Specifically in the Xf an odd looking slot was developed along the way between the two horns. Special foam added to the Xf and Xn also plays a role in the RMD© technology.
Using an analyzer to make a set of speakers "flat" does not necessarily mean they will sound the same. Stacking up equal amounts of speakers from different manufactures would prove this theory. Reason being, each speaker enclosure has mechanical or acoustical resonance’s of their own. Additionally, these resonance’s are going to change in a linear or non-linear fashion depending on the volume level of the box or entire system. This is one of the major hurdles of most systems, in that the system EQ is often used to make up or rid speaker systems of these inefficiencies. Moreover, any amount of EQ or system processing is not going to eliminate these problems directly. The problem lies directly at the source of the speaker design.
SPEAKER ENCLOSURES
Once again three entirely new drivers were developed along the way to aid in RMD©, better output levels and pristine sound quality. A new Neodymium N/D5 high frequency compression driver was fabricated and added to the Xf and Xn enclosures. The titanium driver has an increased diameter and thickness. This adds to the 140 dB average of SPL this system will produce. Working in sync with the new horn driver is a totally new 12”, the N/D12A. The new 12” also uses a Neodymium magnet keeping cone distortions and speaker surround resonance to a minimum. The new N/D12A magnet allows for maximum control at high and low volumes that produce superior vocal reproduction paired with the N/D5 HF horn.
A third driver completing the X•Array lineup is a new long excursion EVX-18B. Improvements made were in the reduction of heat transfer and driver's suspension. This allows for better cone control and more output in the 48-160Hz bandwidth.
Beginning with the Xn which is a near-field, three-way enclosure with all newly designed drivers, the EVX-180B, the N/D12A, and the N/D5 for high frequencies. The Xn is a nearfield, 3-way enclosure. This cabinet becomes somewhat of the center piece for the X•Array. It is a full-range enclosure able to be used on its own without the assistance of other enclosures. The HF horn driver, N/D5 is mounted to a rotatable, yes rotatable, 60x40 constant-directivity horn flare. The horn flare for the Kevlar® based N/D12A is also a rotatable 60x40 horn. A EVX-180B covers the bottom octaves from 48-160Hz. With an overall frequency response of 48-16kHz this enclosure alone rivals most home speakers or studio monitors. Power requirements for the Xn are 800 watts per driver at 8 ohms. Crossover points of 140Hz and 1.6kHz are suggested by EV. Time alignment and related processing are pre-programmed within the EV DX34A and the KT DN8000.
Next in the lineup is the Xf. This enclosure is a far-field or long throw enclosure. Internally mounted inside this box are two N/D5 HF horn drivers and two N/D12A 12” mid-bass speakers. The two HF drivers are mounted on the rear of a teamed pair of 40Hx20V horn flares. Both horn exit points look as though they are one unit at first glimpse. The 12” drivers are mounted to the rear top and bottom half of the box, with the horns suspended dead center from all sides.
Something to be seen is the phase plug design inside the Xn and the Xf. This phase plug looks like a funnel that is curved from the center of the 12” to the rear of the horn flare. Frequency response for the Xf is 140Hz-16kHz. Recommended crossover points are 140Hz and 1.6kHz. Power requirements for the Xf components are 800 watts each, at 8 ohms.
Sub frequencies within the flown array, are handled by the Xb. The Xb features two EVX-180B 18” subwoofers. Each of the 18” speakers are in a manifold type of vented enclosure capable of output peaks near 150 db. This flown sub box covers frequencies of 37Hz-160Hz. Power recommendations are also 800 watts at 8 ohms for the Xb. The two speakers cone area face themselves in the center of the box. The magnet assembly point towards the top and bottom of each Xb.
If ground stacking subs is important, EV has designed a solution, the Xds. This is a double wide version of the Xb with no flying hardware mounting. The enclosure is essentially the same size as two Xb enclosures with the drivers mounted side to side instead of top to bottom as with the Xb. The vented manifold design is the same, the difference being a large vertical portal vent as opposed to a horizontal one. This portal comes into play when stacking and fulfills EV’s line array goals. These are the same subs I saw flown at the Rolling Stones show. In their flown state they completely covered the rear and upper decks of the Ohio State University Stadium. By lining up this portal the throw distance and directivity become greatly increased. Power recommendations for this box are 800 watts at 8 ohms. Frequencies from 37Hz-80Hz are there to rattle press boxes and distances beyond your expectations.
RIGGING
Any great loudspeaker reproduction system must be easily rigged and flown. The fly rig must not only be simple in setup and tear down but look good flown. This becomes a key feature in purchasing one main system to build from allowing for the system to do any type for event for any size room. EV has developed the newest box fly design with the X•Array. What EV terms the Spinal Chord(Xrhl) is a rear mounted hinge assembly that takes a major portion of the speaker's weight. The entire weight of the boxes can be hanged from the rear because the channel assembly is part of the main internal structure. The Xrhl is a well-designed rigging hinge made of aircraft quality. Pairs of these hinges slide and lock into matching channels on the rear top and bottom of all three X•Array enclosures. The angle of each cabinet is adjusted by a similar channel system that runs vertical outside of the grille. Short pieces of kelp steel attach to buttons that can be adjusted in various degrees depending on which hole is selected. EV calls the front adjustment steel Xrss and Xrsl respectfully. The Xrss(short) is about 4 inches shorter than the Xrsl(long). Venue coverage is determined by moving the steel straps up or down within the front channels slots.
Cabinet spread is adjusted with custom aluminum fly frames. These fly frames are custom made by db specifically for the X•Array. The aluminum frames allow for the smallest amount of spacing between boxes for an appearance untouchable by other manufacturers. These frames are extremely light and amazingly flexible in their setup depending on the fly configuration. One person can lift and carry a four-wide frame easily unlike a steel version of the same size. All rigging needs and questions are detailed in the EV X•Array Flying Manual and Structural Ratings Guide. This is a very insightful manual on the do’s and don’ts of using your new sound system.
SYSTEM PROCESSING
Loudspeaker control and management are coming of age by blending analog and digital features into a smaller packaged product. Klark Teknik managed to integrate some of the extensive features required in sound reinforcement into the KT DN8000. The DN8000 has become an anchor center piece to line of KT products making the 8000 the last in a chain of quality products integrating together, creating a solid sound system anchor. Network A crossover being the last in the chain before the amplifiers and most important feature dividing frequencies to the proper drivers and enclosures. Typically the system crossover is the last in a chain of other processing subsequent to reaching the system amplification.
The DN8000 is a single rack space 5-way crossover unit with a weight of only 4kg. High quality electronically balanced XLR connections are installed but in/out isolation transformers as well as an AES/EBU digital audio interfaces are available as options from KT. A total of +24dB of gain can be attained via the external output trim pots. As each Trim Pot is adjusted, the gain or level parameter on the main screen shows not only a bar graph representation of gain but a numerical display in dB. Located on the far left of the front panel is a pair of stacked separate input knobs. For monitoring input, a pair of multi-colored LED’s have been installed to the right. Output level can also be adjusted within the Options mode with two different settings. A 2.45V: Power Amps setting and a 9.75V Line Drive are selectable depending on how the limiter is set. This is a great way to get the system gain staging accurate and keep system noise to a minimum. Costly 20-bit analog to digital and D to A converters allows for a dynamic range of 114 dB and a frequency response of 20Hz-20kHz.
The DN8000 is substantially more than a 5-way crossover. Extensive sections of Digital Signal Processing(DSP) allow the 8000 to eliminate additional equipment usually needed at front of house(FOH). Because this crossover does so much more it is typical now to call such pieces' system processors or loudspeaker management systems.
Routings on the DN8000 can be configured through Outputs 1-5 and are source selectable from inputs A or B or both. Having two DN8000 units with a total of 10 crossover outputs allows for a 4-way stereo system with two extra outputs available for separate input to run subwoofers or a separately controlled delay system. Within the Main Edit area are Master Delay, Polarity, Phase Adjust, Output Level, and Output Delay settings for outputs 1-5. Access to each of these features in the Main Edit mode is made simple by pressing in one of the 1-5 Output Gain knobs lined up on the right half of the unit. When a selection has been made(1-5) the corresponding label in that output screen will flash. Labels for each of the 5 outputs can be customized by names that are backlit and choices of, Sub, Lo, Low-Mid, Mid, Hi-Mid, Hi, Full Range, and None. The main screen display is an adjustable orange back lit display. The display can be customized by giving each program a custom name up to 12 characters. Below the character name are output numbers with the input configuration[A, B, S] letter placed to the right of each letter showing the user specifically which input is going to what output. What KT terms the Encoder Wheel, is used to make adjustments of values shown on the main view in screen. Scrolling through memory presets changes the program name and program number for each internal preset or new custom program.
The Option button allows access to overall or general parameter indirectly related to audio and not associated with outputs on an individual basis. With the options button pressed menu selections parameters for Limit Threshold, Compressor Threshold Units, Comp Linkage, Output Meter, Meter Peak Hold, Delay Unit, Delay Temp Compensation, Clip/Limit Log and Max Output Level. These typically would be accessed prior to showtime or during rehearsal.
All five outputs are capable of 6-48 dB per octave slopes with three different filters, Bessel, Butterworth and Linkwitz-Riley. Polarity can be selected from Normal to Reversed and phase response is adjustable from 0-180 degrees. Overall Master Delays can be set individually for inputs A or B from 0-1300ms and Output Delays can be set from 2ms-300ms. By simply setting a thermometer on your console the Delay Temperature Compensation will do delay work automatically. Simply, call up this screen and enter the venue temperature from 0-+40 degrees Celsius. Two fully parametric EQ sections are usable with the ‘Q’ (bandwidth) being completely variable. Extra correction surfaces as high and low frequency shelving EQ.
A comprehensive dynamic control section is furnished for a multiple of applications. On each of the five outputs, eight different adjustments can be made related to dynamics, compression and gating. These are as follows, compressor threshold, ratio, attack, release, gate/expander threshold, gate/expander range, gate/expander decay and limiter threshold. What does all this mean, a system that can be protected by hard limiting or slight compression can save much time and money. By using these tools, components might not have to be replaced as often. The gating system can keep out unwanted noise in a permanent install or cut out system hiss in a quiet environment. Sixty presets are here for use with EV related speakers and even some for competitive speaker manufactures.
As with any review, space does not always permit detailed technical descriptions for each product. I must say I have only touched on the signal processing that is available inside the Klark Teknik DN8000.
AMPLIFICATION
Here is the true source of sound and volume in a loudspeaker reproduction package. In choosing amplification for the X•Array EV and db used a fancy gadget that allowed them to listen objectively to every major amplifier on the market. This device kept input and output the identical allowing them to hear each amplifier the same. This particular amp was specifically chosen to make the X•Array shine to the best of its ability. According to Harry Witz, the EV P3000 amp was the best sounding one of the bunch. The low end reproduction and clarity were top notch, according to Harry. Also, only one other manufacture even came close to putting out the wattage and reproduction of the EV/Dynacord P3000.
The EV P3000 Precision Series Power Amplifier is a 3-rack space, two-channel amp weighing in at 61.6 lb. The amp is rated to put out 850 watts per channel at 8 ohms, 1400 watts per channel at 4 ohms and 1,800 watts per channel at 2 ohms. For even more power the amp can be switched to Bridged Mode to turnout, 2,400 watts at 8 Ohms and 3,000 watts at 4 Ohms. These measurements were done with 120-volt AC throughout at lest than 0.01% total harmonic distortion (THD). A frequency response greater than 10-30,000 Hz is available at any rated power output. Out of the box all the EV P-Series amps come preset at 26 dB (.775 V rms) but can be modified internally by removing the cover and selecting two other options.
Keeping internal parts cool are four 3-speed temperature-controlled fans. As interior amp temperatures rise, the fan speed increases, which in quiet environments is a big plus. Take my word for it, even with five P3000 amps in one rack and all twenty fans on high speed the noise is very minimal. Slots in the front panel and rear panel allow air the air to enter and exit easily.
Without being detailed, there are some great features that are part of the EV Precision Series amps. Protection circuits on this amp as built-in limiters and switchable high and low cut filters. The limiting device compares the input to the output to maintain a constant quality sound. These comparator circuits are acoustically optimized time constants that, according to the manual, preserve the integrity of the source. My favorite part of this circuit is the two-position switch that accompanies it on the rear panel. Slow or Fast settings are available for matching of components and speakers for which amplification is employed. Note of mention here amplifier clipping is one of the main causes of speaker damage. The high/low filter switch is also located on the rear panel and can be switched on or off. This filter also protects drivers, keeping unwanted frequencies from being amplified and reaching the speakers. Over temperature, overload, shorted outputs, radio-frequency interference and direct current are a few of the related internal defense mechanisms. The outputs are also screened from back EMF(electrical energy) or reverse feeding. Relays will automatically switch on prevent transients from advancing to the speakers. Another fine feature is a turn-on delay protecting speakers from turn on/off transients.
The front panel contains two detented and calibrated gain knobs, an on/off switch and five LED’s for each channel(A and B). Via these LED’s power on, limiter on, protection active, input and output signal can be viewed.
Accessing the input, speaker outputs and related controls are located on the rear panel. Far upper left, away from all inputs and outputs is the AC cord, in my opinion just where it should be. Relating to AC problems, a ground-lift switch has been installed to eliminate the possibility of hum. In the center of the rear vents are three Neutrik Speakon® NL4MP connectors for speaker output A, B and bridged mode. A simple flick of the Bridged Mode switch places the amp in Normal(stereo) or Bridged mode determining which Neutrik connectors are used. Having a separate connector for the bridge output avoids the hassle of determining which is negative or positive and makes for a cleaner look. I must mention that in a pinch banana jacks would be helpful, because there is no way to bare wire a speaker cable to the P3000. Although most cities should have someone in town that is bound to have Speakon© cables of some sort. Upper right of the speaker outputs are 3-pin XLR inputs and outputs. Channel A and B each has their own paralleled XLR output for passing the signal onto amplifiers utilizing the same crossover send. The Input Routing switch has been placed between the Channel A/B inputs for Parallel Mono mode or Dual Stereo. Parallel Mono operation routes input to both channels but will still allow for independent level control.
IN USE
One of my complaints with most touring system packages is each product must stay together in order for them to work and sound appropriately. As an example, take two of speaker A, use them as monitor sidefills and see how they perform. This is not the case with the X•Array. In addition to using the Xn, full-range enclosures, as a flown rig, my monitor engineer, at a recent corporate event, in Chicago, Illinois managed to utilize a pair of Xn cabinets for sidefills.
In flown groups of two, I split the room evenly with the six speaker boxes. Getting pairs of boxes into the air was very simple. I made a few repeat adjustments with the front straps to cover the room from front to back symmetrically. Each P3000 amp was turned up all the way allowing for full control at FOH. I had no problems with the DN8000 and its processing control. I called up a preset for my particular application and went to town listening to speech and music. From the processor preset, I turned down the horns and pulled a few points from the main EQ. The six Xn were crisp, clear and accurate with voice and any music I played. I was so blown away for the simple fact I had not even turned on the subs in the room. One thing I like about these particular enclosures is the limited amount of sound emanating from the rear. Most enclosures have a tendency to wallow the stage with bass or certain frequencies, not the X•Array. I took numerous readings of SPL to see if the enclosures were fooling me. My dB guesses were usually 5-7 dB low compared to the actual reading. The musical tone of these enclosures is an in-your-face, phase-coherent sound. James Belushi and his Sacred Hearts Band played for an hour or so at around 105 dB C weighted. At first I had to work a bit harder on my instrument tone and blend(mix) than I was accustomed. After some time I was able to achieve a mix showing off the system. With another act, the weak link was ripped speakers cones in guitar amps or bad drum heads that became very noticeable throughout the X•Array. After the Belushi concert, the client, event producer and numerous attendees commented on the great sound, I wanted to hand them all X•Array brochures.
SUMMARY
As a user of many sound systems throughout the year, I find everyone has an opinion about them. Although I have not personally used or heard every sound system available, I can say the X•Array package is short of an amazing reproduction machine. From the first EV demo to the Rolling Stones concert to other numerous events I have heard and utilized the system have all been a remarkable encounter. Also I have never heard so many engineers discussing one product over the last year. A well-known sound engineer, using the system, told me he had to “dirty” the mix because it sounded too “clean." This is an indication to me that the system is performing as it was designed. Electro-Voice has created a true sound vision into the future with the X•Array Expanded Resolution Touring System.

THE SCORE
There is no need to remind yourself
that this is a world class sound system.

AT-A-GLANCE
Applications: Live sound, Monitors and Installations.

Key Features: Sound Quality, Ease of Rigging, Flexibility,
packaged system tested and re-tested by the largest tour of 1997.

Price: Depends on how much and what is purchased.