Film-Tech Forum ARCHIVE: Meyer Sound Acheron Designer vs. JBL M2

my profile | my password | search | faq & rules | forum home

»	Film-Tech Forum ARCHIVE » Community » The Afterlife » Meyer Sound Acheron Designer vs. JBL M2 (Page 1)

This topic comprises 2 pages: 1 2

Author

Topic: Meyer Sound Acheron Designer vs. JBL M2

Haris Ellahi
Film Handler

Posts: 23
From: Dubai, UAE
Registered: Mar 2017

posted 06-02-2017 04:20 PM

For a home theater, would you guys prefer an Acheron Designer based setup or a M2 based setup?

| IP: Logged

Haris Ellahi
Film Handler

Posts: 23
From: Dubai, UAE
Registered: Mar 2017

posted 06-13-2017 04:26 PM

Any comments/opinions on this? Basically want to get some feedback on how the Acheron models compare to the M2.

| IP: Logged

Jay Wyatt
Film Handler

Posts: 33
From: Los Angeles, CA
Registered: Mar 2015

posted 06-15-2017 05:12 PM

Both are highly regarded and probably more than sufficient for any home theater environment.

For a commute to the grocery store, would you prefer a Ferrari or Aston Martin?

| IP: Logged

Daniel Schulz
Master Film Handler

Posts: 387
From: Los Angeles, CA USA
Registered: Sep 2003

posted 06-16-2017 02:04 AM

Both good choices. Need more info though; what is the size of your theatre? Will it be fully soundproofed such that you'll able to play at full reference level, if that's what you're after?

Powered speakers can be awesome (and your two options are great examples of going this road) but create interesting issues with wiring a home theatre. Are you sure you don't want to go with passive speakers with all of your amps in a rack or equipment room?

| IP: Logged

Haris Ellahi
Film Handler

Posts: 23
From: Dubai, UAE
Registered: Mar 2017

posted 06-16-2017 12:11 PM

Thanks for the replies.

The room has yet to be built but will have dimensions that are roughly 20 ft long x 14.5 ft wide x 9.5 ft high. It will most likely be made of concrete all around so sound leakage should be at a minimum. I'm looking to achieve reference level (at a minimum) with no stress or strain. The equipment rack will be placed outside the room so that is not an issue. I actually prefer powered/active speakers as you get the "complete package" instead of having another variable in the mix (i.e. amplifiers) that can alter the final result in ways that might not always be favorable.

Coming back to the topic, I've read from others that the M2 is far ahead in terms of technology and design when compared to the Acheron speakers. The horn on the Acheron models looks quite simple whereas the M2 has a unique waveguide. I've also read reports from those who compared the Meyer Sound Amie monitors to the new JBL 7 Series monitors that the Amie is quite directional (i.e. it sounds as if the sound is coming from the speakers) whereas with the JBL 7 Series they sound "invisible" with a much larger sweet spot and much better imaging. Not sure what this means when comparing the bigger brothers. I actually currently own the JBL LSR305 monitors with the matching LSR310S subwoofer for my desktop PC setup. I can attest to the great imaging and overall sound quality I get out of these.

| IP: Logged

Daniel Schulz
Master Film Handler

Posts: 387
From: Los Angeles, CA USA
Registered: Sep 2003

posted 06-17-2017 01:19 AM

I think you are leaning in the right direction. Do you have a JBL Synthesis dealer you can tap? M2s for the LCR and then some corresponding JBL for all the surrounds, with the corresponding Synthesis electronics supporting whole thing, is a good way to go. The JBL Synthesis ARCOS room correction and especially their Sound Field Management system for handling multiple-subwoofer bass management, are without peer.

| IP: Logged

Jarod Reddig
Jedi Master Film Handler

Posts: 513
From: Hays, Ks
Registered: Jun 2011

posted 06-17-2017 05:29 PM

Id go with the M2s and matching surrounds from the same line.

| IP: Logged

Haris Ellahi
Film Handler

Posts: 23
From: Dubai, UAE
Registered: Mar 2017

posted 07-12-2017 03:44 AM

While the 705 and 708 match the M2 and are designed to be used with the M2 for immersive applications, how much of a "disadvantage" would I be at if I were to mate M2 LCRs with JBL SCS 8 for all surround and ceiling speakers in order to save cost? Will there be a noticeable tonal/sound quality shift when sounds pan from the M2 speakers to the SCS 8s? I know that JBL used the M2 as LCR and SCS 8 for all surround and ceiling speakers during their CEDIA demo in 2014 or 2015 so I guess it can work fine but would still like some feedback.

| IP: Logged

Steve Guttag
We forgot the crackers Gromit!!!

Posts: 12814
From: Annapolis, MD
Registered: Dec 1999

posted 02-12-2018 08:59 PM

It looks like I'm going to audition an M2 for my new home theatre. My theatre will be a mix of JBL and QSC and definitely done with a commercial cinema type layout.

| IP: Logged

Daniel Schulz
Master Film Handler

Posts: 387
From: Los Angeles, CA USA
Registered: Sep 2003

posted 02-13-2018 03:47 PM

quote: Steve Guttag
It looks like I'm going to audition an M2 for my new home theatre. My theatre will be a mix of JBL and QSC and definitely done with a commercial cinema type layout.

Nice! Also have a look at the newish JBL SCL-2. Similar compression driver and waveguide, but an in-wall speaker, good for a baffle wall setup.

| IP: Logged

Marcel Birgelen
Film God

Posts: 3357
From: Maastricht, Limburg, Netherlands
Registered: Feb 2012

posted 02-13-2018 04:37 PM

I'd prefer a JBL SCL-2 compared to an M2, simply because it's better suited for a baffle wall setup. The form factor of the M2 is more suited for a classical studio setup. If you're not planning a baffle wall and just want to put your speakers on a stand behind the screen, I guess the M2 is fine though.

Both are a bit overpriced though and if you can't get them at a steep discount, I'd consider other options with a bit more bang for the buck.

| IP: Logged

Steve Guttag
We forgot the crackers Gromit!!!

Posts: 12814
From: Annapolis, MD
Registered: Dec 1999

posted 02-13-2018 06:27 PM

Not baffle wall ready? Oh yeah? When one is making the cabinet, anything is baffle wall ready!

This is our mock up so we get the ports tuned just right and everything tweaked...then the real speakers will be made from that. And yes, they will be fitted with a full baffle wall, though, at 5-across, they will nearly be their own baffle.

For the subwoofer...I'm thinking maybe a variant of the SUB18. Definitely 2269 driver(s). How can one not like a driver that can take 4000-watts and can deliver down to 18Hz?

| IP: Logged

Marcel Birgelen
Film God

Posts: 3357
From: Maastricht, Limburg, Netherlands
Registered: Feb 2012

posted 02-14-2018 02:28 AM

You didn't mention you're building your own cabinets, you can hardly call it an authentic M2 anymore then. [Wink]

I agree on the SUB 18, in our screening room we're using custom-built subs based on two of the JBL 2269H drivers, which we recovered from an MD7. One should actually be enough for the entire room though. Positioning them correctly in tandem was harder than we initially thought and the added value for MDA formats like Atmos for having two of them is not really worth it.

| IP: Logged

Steve Guttag
We forgot the crackers Gromit!!!

Posts: 12814
From: Annapolis, MD
Registered: Dec 1999

posted 02-14-2018 07:44 AM

The thing with the 2269 is it isn't efficient. It is only a 92dB sensitivity driver so you need a massive amount of power to light it up, even in a small space. Using two just bumps you to 95dB. Sure, the 2269 can take massive power but with just one driver, you'd need a massive amplifier, probably run on 220V to avoid tripping breakers (120V is most common here but, since it is in my house, 240V would be easy to have). Two drivers just makes more sense from a sensitivity standpoint.

Did you hear the MD7? If so, what did you think? I know it is supposed to be for "Dance" rooms and all but they horn like nature of it has me curious about it for some applications.

I'm actually considering making the sub a sealed box.

| IP: Logged

Marcel Birgelen
Film God

Posts: 3357
From: Maastricht, Limburg, Netherlands
Registered: Feb 2012

posted 02-15-2018 02:08 AM

quote: Steve Guttag
The thing with the 2269 is it isn't efficient. It is only a 92dB sensitivity driver so you need a massive amount of power to light it up, even in a small space. Using two just bumps you to 95dB. Sure, the 2269 can take massive power but with just one driver, you'd need a massive amplifier, probably run on 220V to avoid tripping breakers (120V is most common here but, since it is in my house, 240V would be easy to have). Two drivers just makes more sense from a sensitivity standpoint.

Yes, you can't just use any amp to drive it. It has to be a real powerhouse. Right now we're using two Crown Xti 6002s in bridged mono, which are a bit out of place, since all the other amps are QSC amps. But the Crowns are the best "bang for the buck" we could find and are performing well.

Both amps have their own 20A breaker at 230V and are on different phases, although besides the initial power-on of those amps, they'll not draw anything near that 20A@230V in production. Still, it's good to have some headroom.

Although it was not the initial idea, we decided to give the screening room a separate fuse box and run thee phases from the main switchboard to the room. It saved a lot of headaches and a lot of wiring in the end.

quote: Steve Guttag
Did you hear the MD7? If so, what did you think? I know it is supposed to be for "Dance" rooms and all but they horn like nature of it has me curious about it for some applications.

I did hear it in action at a friend who does many live productions. He also has the gear to actually drive it at 16kW peak... It's really a massive speaker and driven near maximum in a relatively small room, it's hard to distinguish anything anymore with your fingers in your ears. [Wink]

The thing is though, compared to most of those generic PA subs, it has a very clean sound, not the typical "boomy" bass you'll get from your average PA sub, but more like the clean bass you'd expect from a cinema or studio setup. The horn-loaded design certainly helps to achieve it. I think you could easily use the MD7 in an actual cinema setup, if you don't need to integrate it into the baffle wall. You'll need to find the appropriate amp to drive it though.

quote: Steve Guttag
I'm actually considering making the sub a sealed box.

A sealed box is probably the easiest way to handle it, you don't need to bother about getting the bass reflex ports right. You won't be able to go down all the way to 16~18 Hz without those ports though, like the SUB18. We ended up with two ports per sub with almost the same dimensions as the SUB18 and about the thickest MDF available around here for the cabinets.

| IP: Logged

All times are Central (GMT -6:00)

This topic comprises 2 pages: 1 2

Printer-friendly view of this topic

The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion and agrees to release the authors from any and all liability.