JBL Professional enjoys worldwide prestige for its loudspeakers, including those designed for studio applications. The LSR6300 Series offers a wide range of options for music recording, broadcast and post-production. A sophisticated design and high performance, along with an exceptional choice of materials (such as titanium, neodymium, Kevlar and carbon fiber), make possible the precise sound they are known for.
In fact, many of our readers have praised the quality of this series, and it wouldn't hurt to find out and explain why.
This new LSR6300 Series (which does not replace the well-known 4400) answers the most professional demands in music, pro audio and television environments. Each model, from the most compact to the most complex, offers excellent linearity in its frequency response along with a good sound pressure level (SPL). The different models in the series are not positioned as different price points, but according to the customer's space and needs. With that in mind, we got our hands on two models: the small, compact LSR6325P monitor (499.20 euros) and the majestic LSR6328P (1,599.20 euros).
LSR: an idea, a concept
LSR stands for Linear Spatial Reference technology. Under this name, JBL offers a solution that ensures (according to them, of course) a completely linear frequency response at the listening position (not that the cabinet offers a linear response on its own). Their thinking is that, beyond doing a good job in choosing the components and building the enclosure, electronics and amplification, the main use will be as a reference with two units in stereo for a single listener, strategically placed in the best position.
Too bad JBL's distributor in our country decided to give us one unit of each model instead of a pair, which made it impossible for us to verify this supposedly better response or other aspects as decisive as the "stereo image." We'll have to take the manufacturer's word for it.
Another feature of this new series is seamless integration when a subwoofer is used. In that case, an acoustic correction system is provided that lets you track down those troublesome frequencies in playback that shouldn't affect the final product. Using a dedicated sound level meter, software and a few simple steps, you can parametrically equalize the monitor to reduce the presence of the annoying frequency.
Even in rooms where the monitor has to be placed very close to the wall (which increases the presence of bass) or when we use a setup beyond stereo (read: multichannel), a set of "jumpers" lets us reduce the bass boost and get a more suitable response. And they say these aren't versatile speakers.
The baby of the family
Under the "scientific" name LSR6325P we find a small-format cabinet with a long-excursion 5.35" midrange driver, a 1" titanium tweeter and 150 W of built-in amplification. The sturdy metal body gives it a "tough and aggressive" look, even if you forget that it's just under the size of a shoe box. Hooked up to our test system at the Bucbonera recording studios in Caldes de Montbui, we quickly noticed the limitations inherent to a compact cabinet. Although JBL aims to give this speaker a "professional" status as a studio monitor, we have to be realistic and give it a different role. It's not a speaker designed for serious, professional production. First, because of the lack of mids and lows that comes with a volume as small as this cabinet's (a subwoofer would be needed, which complicates the potential solution even further); second, because of its low power (150 W sounds like a lot, but fidelity breaks down before that), which makes "precise" mixing difficult; and third, because of the limited dynamics it offers. It lacks room at the top and bottom: it needs better high-frequency performance for precise control of, say, reverbs or delays, and the same in the lower spectrum to properly handle a bass alongside a kick drum and the low end of a choir.
But it's its more than perfect construction, which includes the power switch on the front next to the volume control, that lets you use them, and perfectly so, in other kinds of applications. For example, as "listening monitors" in control rooms (in a theater, for example), as a "definitive" second reference (what would happen if I listened to my production on a lesser system than the one I use?), etc. Another aspect, though it hardly changes the sound, is that I find them perhaps a bit expensive.
The magnificent LSR6328P
Three times more expensive, but not "just" three times better because of it. No. According to JBL itself, "it is THE choice for stereo and multichannel music." Well, that arrogance is justified.
We're looking at a speaker with a flat frequency response (+1 dB, -1.5 dB) between 50 and 20,000 Hz (though it easily goes beyond 20 kHz), with extension down to 36 Hz using techniques exclusive to the company (with the RMC parametric calibration system). Bi-amplification with 120 and 250 W for each of its ways: 120 for a 1-inch titanium dome tweeter, and the other 250 for an 8" woofer of exclusive design. Very good construction, including handles for carrying. Perhaps even a bit bulky, although that allows it to achieve a volume other speakers can only dream of.
The first thing to highlight is an extremely well-defined and very clear treble. It doesn't shine enough to become harsh. Kick drums come across as tight and punchy, which means good bass performance. There may be a certain tendency toward a nasal sound, although I attribute that more to the bass driver not being broken in. All speakers are "stiff" when you buy them. After using them for a few hours, the cone material, and above all the materials responsible for the return movement, acquire their "nominal" characteristics. They need time, and it's worth keeping that in mind when we test new speakers that we unboxed barely five minutes ago.
The critical zone of any monitor (and loudspeaker) with two or more ways is right at their crossover frequency. This JBL has a "danger" zone around 3,000 to 4,000 Hz, exactly where the tweeter and woofer join hands. Unlike other speakers where the transition is more obvious, in this case I'm including a very critical remark. In fact, if it weren't for our eagerness to find some flaw or other, we wouldn't have found this small Achilles' heel, which can make a very subtle female choir blur with trumpets that should be coming from behind. I insist: this is very surgical.
The result of these LSR6328Ps gives meaning to the "American sound." The highs are present but don't sparkle, and the lows are tight and precise.
This monitor's power is more than enough to fill a medium or large room. There isn't a hint of distortion until extremely high volumes, but I swear up and down that nobody can mix comfortably at those volumes.
Subjectively, they're quite suitable for almost any kind of music, although their appeal lies in that tight low end, which makes them ideal above all for acoustic music. But surely those working in the hardest-hitting rock (and anyone who demands good dynamics) will find a good ally in these JBLs.
Missing a stereo pair
Although in the previous paragraphs I've shown a favorable attitude toward these speakers, the absence of the opposite speaker in a stereo setup left my test half done. It remains to be seen to what extent a faithful stereo image can be achieved with these JBLs. Especially with the top model, which passes with flying colors when it comes to dynamics and punch. Trying to find a precision angle, the JBL LSR6328s offer one that is somewhat narrow vertically (although 15-20º is more than enough) and more than adequate horizontally. In the latter case, there is a tendency toward a better stereo image, since it is neither too narrow (which would make it hard to create the ideal listening position for two or more listeners) nor too wide (which would create a diffuse or overly open field).
That's why I can't evaluate them as I'd like. Although I have no doubt that the quality of their tweeters allows for more than adequate two-dimensional coherence. The power aspects won't change, since even if the figures double, it will amount to no more than a +3 dB increase. If the punch was more than enough in mono, imagine it with 3 dB more.
Conclusion
Both JBL models, flagships of the recent LSR6300 Series, offer different solutions for different applications. While the compact LSR6325P is suitable for less demanding uses (I recommend them for "listening"), its big sisters, the LSR6328Ps, far exceed almost any professional demand. A good choice for anyone who wants faithful sound in their editing, production and even mixing stages.
