JBL HLA 4895 User manual

HLA 4895 & 4897
Horn Loaded Array
System Owner Manual

Cover photo taken at Werchter Music Festival July 5, 1997. EML Belgium provided 48 HLA 4895s and
24 HLA 4897s for coverage of 50,000 European music fans. Photo credit: Bill Gelow; Guy Hawley photo model.

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Table of Contents
Section 1. Introduction and system overview Page 12
Section 2. Getting started with system setup Page 13
Section 3. Using system controllers Page 17
Section 4. Matching transducers to power amplifiers Page 15
Section 5. Input / output connector panels and cabling Page 17
Section 6. HLA system array design setups Page 19
Section 7. Hanging and rigging information for HLA arrays Page 29
Section 8. System transport and truck-pack information Page 32
Section 9. System maintenance and repair tips Page 35
Appendix A, HLA Polarity Issues Page 42
Appendix B, DSC280 system controller settings Page 43
Appendix C, Available JBL parts and accessories Page 44
Appendix D, Supplemental Info - ATM Fly-WareTM Page 45
Appendix E, Additional information resources Page 46
Appendix F, Typical HLA Array Setups Page 47

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HLA System Owner Manual
Section 1. - INTRODUCTION AND SYSTEM OVERVIEW
Congratulations on purchasing the latest in sound reinforcement speaker technology from JBL
Professional. HLA’s high acoustical power output capabilities and pattern-controlled coverage characteristics
allow fewer speakers to achieve superior results with significant weight savings when compared to systems that
rely on traditional speaker technology. HLA’s superior performance is derived from not one, but a collection of
several new technologies, each offering a unique advantage over conventional speaker designs.
HLA’s New Technologies
Differential Coil Drive (DCD) New voice coil and motor assemblies have twice the thermal surface area of
traditional speakers. This enables HLA systems to provide higher peak output with less power compression, better
heat dissipation and a flatter impedance curve at higher frequencies. These transducers are one-third the weight
of a traditional speaker, with 16-ohm impedance ratings which enable more efficient use of today’s high-powered
amplifiers.
Direct cooling of DCD drivers provides a simple method for greater thermal transfer of heat away from the voice
coil. This allows for long-term high-power operation.
Composite magazine A non-wood speaker enclosure made of space-age man-made material contributes lighter
overall system weight and improved rigidity. Benefits include better transducer loading for low distortion, direct
cooling, and weather resistance.
MultiBand WaveguideTM Triple-section horn combines low, midrange and high-frequency waveguides into a
single device, offering wide-band acoustical pattern control with low distortion, and reduced interference from
adjacent elements. The benefit: better-sounding loudspeaker arrays.
SpaceframeTM A rigid aluminum frame structure that distributes weight and lifting stress, enabling pull tests of
25,000 pounds (11,400 kg) without failure or structural deformation. The Waveguide is tiltable within
Spaceframe.
Linear Dynamics ApertureTM Contoured subwoofer ports virtually eliminate high-level turbulence found in
traditional subwoofer port designs. At 25 Hz, this provides for 8 dB less port compression at full output, and offers
3 dB greater output than conventional subwoofers. Approximately one-half the number of HLA Model 4897
subwoofers will typically be required for equivalent acoustical output compared to conventional subwoofers.
Any of the above technical innovations would give a sound system a competitive advantage. JBL’s HLA
system combines them to provide an unprecedented high-performance package for portable sound
reinforcement.

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Section 2. - GETTING STARTED WITH SYSTEM SETUP
The 4895 three-way HLA full-range speaker has a shipping weight of 230 pounds (105 kg). The 4897
dual-eighteen HLA subwoofer speaker, shipping weight of 240 pounds (110 kg). Both speakers are shipped
wrapped in cardboard and fit two per shipping pallet. At least one 4897 subwoofer is recommended for every two
4895 full-range speakers.
Wheel Bars (HLA-WHEELS) are used for moving portable or touring HLA speaker systems. Each speaker
can be ordered with pairs of Wheel Bars for use in moving HLA speakers from the truck or storage to the position
in the venue where the array will be assembled.
A Wheel Bar is a 34-inch (86 cm) long L-shaped aluminum extrusion with two wheel-castors
mounted. Two Wheel Bars slide into guides along each side of the bottom of the speaker from the back. Wheel
Bars are shipped in pairs in a cardboard box weighing 25 lbs. (11 kg).
Connecting and lifting hardware
Connecting Bars (HLA-CB) are used in pairs to link one speaker to another. With one speaker
suspended above another, a Connecting Bar slides into both speakers’ guides, one Connecting Bar on each side.
Two Connecting Bars are needed for every speaker that is not in the top row of a speaker array.
Lifting Bars (HLA-LB) are used in pairs to connect each speaker in the top row of an array to the
individual Truss Module above it with 1/2-inch screw pin anchor (SPA) Shackles. Lifting Bars slide into the two
guides on either side of the top of the speaker and each has two reinforced holes to accept suspension clips, or
Shackles. Two Lifting Bars are needed for every speaker in the top row of a hanging speaker array. This is the only
approved method for hanging HLA speakers. Four 1/2-inch SPA Shackles or load-rated safety-hook assemblies
can be used to attach an HLA-LB to the Truss Module above it (see Section 6, “Hanging and rigging information
for HLA arrays”).
HLA Model 4895 Three-Way HLA Model 4897 Subwoofer

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HLA-CB (Connecting Bar) HLA-CA, HLA-LB, and HLA-WHEELS
Connecting Bars and Lifting Bars are both black I-shaped aluminum bars that are 2.5 inches (6 cm)
tall, 3/16 inches (5 mm) thick and 34 inches (86 cm) long. Lifting Bars and Connecting Bars are sold by JBL in
pairs. Shipping weight is 7 lbs. (3 kg) per pair.
Speaker input signals: the system controller
The recommended system controller is the DSC280 Digital System Controller, which provides
processing for a stereo HLA speaker system. It is factory-loaded with presets that include the correct adjustments
for several different array configurations. The DSC280 is two rack-spaces (3.5 inches) high, 14 inches (36 cm)
deep and weighs 16 lbs. (7 kg). (See Section 3, “Using System Controllers”).
The back panel of the DSC280 has 2 female XLR input connectors, and two sets of four male XLR
output connectors, one for each band pass of a stereo system, for a total of 8 male XLR outputs. If the DSC280 is
located close to the power amplifiers, 8 short XLR cables will connect them.
If the DSC280 is located at a control position removed from the amplifiers’ location, 8 balanced (3-
wire) cables are needed to connect them. This can be accomplished using 8 XLR return lines in the microphone
snake, or preferably by using a separate, dedicated multi-pair cable with at least 8 channels total, terminating
inside the racks with XLR connectors.
A stereo HLA system requires 8 distinct channels of amplification, two channels for each band-pass
output. The subs, lows, midrange and high-frequency amplifier channels should be able to cleanly provide a
minimum of 1,600, 2,400, 1,600 and 800 watts respectively into four ohm loads. Three stereo amplifiers with
sufficient power, one each for lows, mids and highs, will work with eight 4895 three-way speakers, driving four
16-ohm transducers on each channel. Two additional amplifiers will power four 4897 subs, with two 8-ohm
transducers on each channel. Five amplifiers running 4-ohm loads can power a basic HLA block of eight 4895
speakers and four 4897 subs if the amplifiers can provide the required power for each type of transducer (See
Section 4, “Matching transducers to power amplifiers”).

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Typical HLA System Configuration showing controller, amplifiers and loudspeakers
HLA Series Basic Module
One Channel Shown
Output D
Output C
Output B
Output A
MPA600, Stereo mode MPX1200, Stereo mode MPX1200, Bridged mode MPX1200, Bridged Mode MPX1200, Bridged Mode
Spare Amplifier Channels to be used for additional Speakers
HF
MF
LF
JBL 4895 JBL 4897
Loop-through Connections

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The HLA 4895 speakers and 4897 subwoofers come standard with Neutrik NL-8 Speakon connectors.
The NL-8 Speakon connector has four pairs of speaker connections, but the two speaker models have different
circuit assignments. A different but identical speaker cable can be used for the two kinds of HLA speakers. Each
4897 sub-woofer is cabled individually to its amplifier channel. Note: only one of every four 4895 three-way
speakers must be cabled to the amplifiers. Up to three more 4895 speakers can be connected in parallel to the
first with short jumper cables. Speaker cables that will reach from the amp rack are needed for each 4895
subwoofer. Only one speaker cable that will reach from the amp rack is needed for one of every four 4895
speakers, and short jumpers are used to connect the remaining three out of four 4895 speakers together in
parallel.

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Section 3. - USING SYSTEM CONTROLLERS
JBL’s HLA system requires the use of precision-adjusted system controllers for best results. These devices
combine crossover, signal delay, equalization and limiting functions in a single digitally-controlled analog signal
processing package.
The DSC280 system controller from JBL Professional is recommended for use with the HLA system.
Alternatively, a pair of DSC260 system controllers can be used, or a single DSC260 can be used for 4895’s in fill or
delay speaker applications.
DSC280 Digital System Controller DSC260 Digital System Controller
Using the Model DSC280 Digital System Controller
The DSC280 is a stereo 4-way programmable speaker controller with 60 memory locations. Refer to the
DSC-280 User Manual for complete operating instructions.
On the left of the front panel of the unit, each output has 8-segment LED signal meters and a mute
switch. On the right is the control screen surrounded by its menu keys, function keys, and cursor control.
The Edit key at the bottom right steps through the four display screens for each preset. The Utility key
displays the utility menu that corresponds to each of the four display screens. The Menu keys to the left of the
screen are assigned functions that are labeled on each screen. The Store and Recall keys are also used for
comparing changes made while in Edit mode
There are two switches that control the left and right linking of control. Users are cautioned against
accidentally adjusting only side of the system by inadvertently touching both buttons at once. To operate both
sides of a stereo system in the same manner, make sure that both the “L” and “R” indicators are lit at all times.
Multiple system files
The DSC280 digital controller has 60 user-programmable memories and files with pre-programmed
settings for different JBL products. HLA pre-sets are stored starting in memory location 20. The memory number
is indicated in the upper left corner of the display screen. Each of these files is set to fine tune the system for
particular configurations. Memory locations for different configurations of HLA arrays:

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DSC280 Memory # 12 13 14 15 16 17
Array HLA HLA HLA HLA HLA HLA
Configuration SML 2x2 2x3 3x3 4x4 4x4
(4895 + 4897) 1 + 1 2 + 2 4 + 2 6 + 3 10+6 10+10 (extra subs)
The first preset in location #12 has less HF boost for shorter-distance applications of one 4895 and one
4897, intended for small-space demonstration only. Subsequent presets are for longer-distance, actual use
situations. Other presets can easily be configured by recalling one that is close to the desired performance
characteristics and then modifying it. For example, a preset for a 6 + 3 array (six 4895 speakers and three 4897
subwoofers) can be created by recalling location #15 (6 + 3) and then adjusting the output gain levels of each
crossover bandpass (lows, mids, highs, etc.) as required. Note that system tuning in DSC280 Memory Location
#17 is the same 4x4 array as in #16, but with additional subwoofers on the ground.
DSC280 Display Screen
Four display screens.
There is one default display screen that shows the combined response curves of the output bands, plus
three more display screens for inspecting and adjusting delay, equalization, and crossover parameters. Each band
output has parameters for setting parametric EQ, delay, phase and polarity. Some of these are used to pre-set the
system and, along with the crossover parameters, are locked in system software. Parameters that are critical to
HLA performance are locked into the OEM program and blanked out from being displayed.
Delay Display.
The delay screen has adjustments for individual Band outputs and the overall system delay, since the
subwoofers may not always be placed in alignment with the 4895 three-way speaker and thus could need minor
adjustments. The signal delay adjustments for the three transducers in the 4895 three-way speaker are linked and
locked, since all three transducers are physically aligned in the same speaker.
Four Utility Menus.
Each of the four display screens (Main, Delay, EQ and Xover) has its own utility menu screen for
inspecting and modifying additional parameters related to each display screen. From the Delay utility menu,
units for delay adjustment can be selected as milliseconds (ms), feet (ft) or meters (m).

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EQ.
Some filters have been used for important system optimization e.q. and are in OEM lock mode. Each
output has up to two parametric equalization filters that can be assigned. The other frequencies in each band
can be adjusted by the user.
Xover.
The crossover settings are symmetrical 24 dB/octave slopes set at 120, 297 and 1.14kHz. The
subwoofer’s high-pass is set at 28 Hz. These are locked by the OEM programmer to prevent damage. Each output
band’s level can be adjusted + or - 15 dB. The gain for each pass band should be adjusted in reference to the
power amplifiers in use (See Chart, “Recommended DSC280 Settings”).
Limiters.
Each output band’s limiter should be adjusted to fit the power amplifiers that are being used. These
limiters must be carefully set to protect the drivers in each band, particularly the Highs (band D). The limiters
must be set for the gain and sensitivity of the model of amplifier used in each band.
From the Xover Utility menu screen the Sub band outputs can be summed together in mono on this
screen and this is also indicated by an LED on the left of the front panel when engaged. (Also notice an LED
indicator on the far left to show when the +10 dB input boost switch, located on the back between the XLR
inputs, is engaged.) The units in which the output band limiters are set can be changed to either millivolts (mV)
or dBu on this screen.
On the default screen’s Utility menu there is a Lock mode control as the third item in the first column.
With the Lock Mode set to ON, the name and number of the current preset is displayed along with the JBL startup
screen and only the current preset operates. Those familiar with the DSC will find it easy to turn off the Lock
mode from the default Utility screen. With the Lock mode set to OFF, user-level access allows recall of other
presets, modification of all parameters left unlocked by the OEM programmer, except the limiters if the Owner’s
lock is engaged.
Owner lock and bandpass limiters
The Owner lock is engaged when the word “Owner” appears in the lower left corner of the display
screen. Changing the Owner lock is done from the default utility screen by placing the cursor in the Lock
parameter and toggling the up cursor once or twice until the DSC asks for a four-letter password (shipped as
“DSC”). If you change the password, be sure to make a note of it as problems may result if you forget it.
The Owner lock restricts parameter access to only recalling presets and modifying them as allowed by
WARNING: Misadjustment of the DSC280’s limiters can allow transducers to be
damaged under high-power conditions. These parameters should only be modified by
knowledgeable users, then Owner locked to prevent transducer damage or degraded
sound quality. When the Owner lock is engaged these parameters cannot be seen or
adjusted.

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the OEM design, excluding the limiter settings. Files cannot be deleted and the default, or “blank slate” preset in
memory location 0 cannot be recalled. It is recommended that the password be changed to something unique
and meaningful that will easily be remembered by those responsible for the system.
When a knowledgeable technician is not present, it is recommended that the Owner lock be engaged,
as it still offers a generous amount of system control adjustment.
If the system will be left in the care of curious yet unqualified operators, it is recommended that only
presets for the current speakers and amplifiers be left in memory and the Owner lock be engaged. In this way
only valid presets can be recalled and operated. Presets can be deleted by disengaging the Owner lock, pressing
Recall and then Utility to get to the Delete File soft key.
Each output band has a mid-band limiter. Disastrous results can occur if the limits are set incorrectly,
either too high, too low, or not at all. Limiters should be carefully set for the gain and sensitivity of the specific
amplifier used in each band. (See Section #4, “Matching Transducers to Power Amplifiers).
HLA speakers can be used with a variety of professional power amplifiers and it is not possible to know
in advance which amplifiers may be chosen by a particular owner. The limiter engages when each bandpass
output’s signal reaches the set limit, either in millivolts or dBu (with 775 millivolts equal to 0 dBu). By first
choosing an output level for the limiter and then gauging the maximum amount of power this will allow the
amplifiers to feed to the transducers, the limiters can then be safely set for the rigorous demands of contemporary
live music.
Frequency System HLA System Maximum
Section on Bandpass Component Input Voltage
DSC280 Recommended
Band A Subwoofer 2242HPL 72 volts RMS, 144v Peak
Band B Low Frequency 2254J 98 volts RMS, 196v Peak
Band C Mid Frequency 2251J 80 volts RMS, 160v Peak
Band D High Frequency 2451SLJ 24.4 volts RMS,60v Peak
Careful calculations should be made prior to using the system, to correctly set the limiters. For
protection, this can only be done with the Owner lock released. After the limiters are set for use with the specific
amplifiers chosen for the system, their presets should be re-stored to preserve them. If the only files in the DSC are
HLA presets with the limits correctly set for the amplifiers, no other presets can be run with the Owner lock
engaged. With the Owner lock engaged, files cannot be deleted, the default program cannot be recalled and
limiters cannot be adjusted.

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If amplifiers go into clipping, either the limiter setting should be lowered or the amplifier must be
replaced with a more powerful model. Limit settings should be carefully re-examined whenever the make or
model of amp used for an output band is changed and Gain parameters may also need to be changed. Limiter
thresholds and Gain (drive level settings) are two different parameters. The Gain output for individual bands can
be increased or decreased by +/- 15 dB in 0.2 dB steps for balancing the band outputs. The output limiter
threshold value remains set independently of the output gain.
IMPORTANT: Different amplifier makes and models can have different gain and input
sensitivity. Consult the particular amplifier’s specifications for input sensitivity ratings.
Amplifiers with switchable input sensitivity should be set for 0.775 volts = 0 dBu. At this
sensitivity the limiter settings can be calculated by reducing the number of dB from the
maximum amplifier output to match the driver’s AES power rating.

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PCMCIA cards
There is a PCMCIA card slot underneath the top cover in the front, left corner of the DSC280 unit. HLA
files stored to a PCMCIA card can be loaded into the unit. This makes an excellent field method for confidently
and accurately updating system characteristics for the DSC280 that have been carefully worked out in a
controlled environment such as a test bench or system warehouse. After the cover has been removed and a card
has been inserted, press “RECALL” while in the default screen. Press the middle soft key on the left of the display.
Use the up or down cursor key to make the middle soft key show “Cprg” ( Card program). Press the top soft key
(“PICK”) and press the up or down cursor key to select the program from the card. A second press of Recall will
load the program. The preset should now be stored in the DSC280’s internal memory for future use.
MIDI command information bulk dump
The controls for performing a MIDI bulk dump are located on the Utility menu of the default screen.
This operation copies all data from one DSC280 into another via a MIDI cable connecting the two units.
Instructions are found on page 19 of the DSC280 manual.
For more detailed information on using the DSC280, refer to the User Manual.
Using the Model DSC260 Digital System Controller
A cost-effective alternative to the DSC280 is the DSC260. It is a single rack space, two-channel digital
controller with six outputs assignable to either or both inputs. As such it may be used as an HLA system controller
for 4895’s only. For example, it is well-suited for applications where it will reside in a dedicated amplifier rack to
provide control for a group of 4895 speakers. This application may be useful when setting up dedicated down-,
front-, near-fill or delay speaker systems. It can also be used as a dedicated controller for subwoofers on a
separate console output.
When using 4895’s and 4897’s together, a pair of DSC260’s will offer full stereo system control, with one unit
handling the left and right feeds to the three-way 4895’s and the second unit handling subwoofer feeds to the
4897’s.
In the DSC260, Over 600 milliseconds of delay can be assigned in 21 microsecond increments. A
budget of up to 30 bands of parametric equalization can be assigned to the inputs or outputs, depending on the
slopes of the assigned crossovers. Permanent installations will benefit from this additional equalization as the
DSC260 can be used for all room e.q. adjustments.
Like the DSC280, output limiters on the DSC260 can be set for each band. Gain levels can be adjusted
from -30 to +10 dB. “MIDI sysex dump” can be used to save and transfer presets between units and to archive
settings.
On the left of the front panel of the DSC260 there are six Mute keys for the outputs, along with four-
segment LED bargraph metering on the outputs and on the two inputs. On the right of the front panel is a 2 x 16
character LCD display screen. The bottom line of the display shows the program number and the name of the
stored program. To the left of this display are the parameter increment and decrement keys, labeled “+” and “-”
and used for adjusting individual parameters. Next to these there are keys to Store and Recall presets, also used to
confirm certain operations. To the right of the display are four access buttons for moving the display through the
locations on the parameter grid.
For more detailed information on using the DSC260, consult the DSC260 Owners Manual.

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Suggested Power Amplifier DSC280 Controller Settings
DSC280 Gain Settings
Passband Amplifier Mode Power Amp Gain DSC Limiters Memory12 Memory13 Memory14 Memory15 Memory16 Memory17
JBL
HF MPA 600 Stereo 75 35 dB -2.0 dBu -8 dB -7 dB -6 dB -5 dB -5 dB -6 dB
MF MPA 1100 Bridged 400 44 dB -3.3 dBu -9 dB -6 dB -6 dB -5 dB -5 dB -8 dB
LF MPA 1100 Bridged 600 44 dB -1.6 dBu -6 dB -6 dB -4 dB -6 dB -6 dB -3 dB
Sub MPA 1100 Bridged 2 x 800 44 dB -3.3 dBu -4 dB -4 dB -4 dB -4 dB -4 dB -4 dB
HF MPX 600 Stereo 75 35 dB -2.0 dBu -8 dB -7 dB -6 dB -5 dB -5 dB -6 dB
MF MPX 1200 Bridged 400 44 dB -3.8 dBu -9 dB -6 dB -6 dB -5 dB -5 dB -8 dB
LF MPX 1200 Bridged 600 44 dB -2.0 dBu -6 dB -6 dB -4 dB -6 dB -6 dB -3 dB
Sub MPX 1200 Mono 2 x 800 38 dB -2.2 dBu -2 dB -2 dB -2 dB -2 dB -2 dB -2 dB
HF 6670 Stereo 75 32 dB -1.0dBu -5 dB -4 dB -3 dB -2 dB -2 dB -3 dB
MF 6670 Bridged 400 38 dB -2.2 dBu -3 dB -0 dB -0 dB -1 dB -1 dB -2 dB
LF 6670 Bridged 600 38 dB -4.0 dBu -0 dB -0 dB -2 dB -0 dB -0 dB -3 dB
Sub 6670 Bridged 2 x 800 38 dB -2.2 dBu -2 dB -2 dB -2 dB -2 dB -2 dB -2 dB
Crown
HF K2 Max Stereo 75 33 dB -0.1 dBu -6 dB -5 dB -4 dB -3 dB -3 dB -4 dB
MF K2 Max Bridged 400 39 dB -1.4 dBu -4 dB -1 dB -1 dB -0 dB -0 dB -3 dB
LF K2 Max Bridged 600 39 dB -3.1 dBu -1 dB -1 dB -1 dB -1 dB -1 dB -2 dB
Sub K2 Max Bridged 2 x 800 39 dB -1.4 dBu -1 dB -1 dB -1 dB -1 dB -1 dB -1 dB
.775v Sensitivity
HF M-T 2400 Stereo 75 38 dB -5.4 dBu -11 dB -10 dB -9 dB -8 dB -8 dB -9 dB
MF M-T 5000VZ Stereo 400 42 dB -2.1 dBu -7 dB -4 dB -4 dB -3 dB -3 dB -6 dB
LF M-T 5000VZ Stereo 600 37 dB 4.8 dBu -1 dB -1 dB -3 dB -1 dB -1 dB -4 dB
Sub M-T 3600VZ Mono 2 x 800 42 dB -1.6 dBu -2 dB -2 dB -2 dB -2 dB -2 dB -2 dB
1.4V Sensitivity
HF M-T 2400 Stereo 75 33 dB -0.3 dBu -6 dB -5 dB -4 dB -3 dB -3 dB -4 dB
MF M-T 5000VZ Stereo 400 37 dB -3.0 dBu -2 dB -1 dB -1 dB -2 dB -2 dB -1 dB
LF M-T 5000VZ Stereo 600 37 dB -4.8 dBu -1 dB -1 dB -3 dB -1 dB -1 dB 4 dB
Sub M-T 3600VZ Mono 2 x 800 37 dB -3.5 dBu -3 dB -3 dB -3 dB -3 dB -3 dB 3 dB
Crest
HF 7001 Stereo 75 32 dB -1.0 dBu -5 dB -4 dB -3 dB -2 dB -2 dB -3 dB
MF 9001 Stereo 400 32 dB -8.2 dBu -3 dB -6 dB -6 dB -7 dB -7 dB -4 dB
LF 9001 Bridged 600 38 dB -4.0 dBu -0 dB -0 dB -2 dB -0 dB -0 dB -3 dB
Sub 9001 Mono 2 x 800 32 dB -8 dB -8 dB -8 dB -8 dB -8 dB -8 dB -8 dB
QSC Powerlight
HF 2.0 Stereo 76 36 dB -2.9 dBu -9 dB -8 dB -7 dB -6 dB -6 dB -7 dB
MF 4.0 Stereo 400 38 dB -2.2 dBu -3 dB -0 dB -0 dB -1 dB -1 dB -2 dB
LF 8.0 Stereo 600 40 dB -1.7 dBu -2 dB -2 dB -0 dB -2 dB -2 dB -1 dB
LF 3.4 Bridged 600 44 dB -1.9 dBu -6 dB -6 dB -4 dB -6 dB -6 dB -3 dB
Sub 8.0 Mono 2 x 800 40 dB -0.0 dBu -0 dB -0 dB -0 dB -0 dB -0 dB -0 dB
Note: All calculations are based on the HLA data sheet power ratings for the drivers in each section.

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Suggested Power Amplifier DSC260 Controller Settings
DSC260 Gain Settings Gain Settings (dedicated 2nd unit required for subwoofers)
Passband Amplifier Mode Power Amp Gain DSC Limiters (Small) (2 + 1) (4 + 2) (6 + 3) (10 + 6) (12 + 6)
JBL
HF MPA 600 Stereo 75 35 dB -2.0 dBu -18 dB -17 dB -16 dB -15 dB -15 dB -16 dB
MF MPA 1100 Bridged 400 44 dB -3.3 dBu -19 dB -16 dB -16 dB -15 dB -15 dB -18 dB
LF MPA 1100 Bridged 600 44 dB -1.6 dBu -16 dB -16 dB -14 dB -16 dB -16 dB -13 dB
Sub MPA 1100 Bridged 2 x 800 44 dB -3.3 dBu -14 dB -14 dB -14 dB -14 dB -14 dB -14 dB
HF MPX 600 Stereo 75 35 dB -2.0 dBu -18 dB -17 dB -16 dB -15 dB -15 dB -16 dB
MF MPX 1200 Bridged 400 44 dB -3.8 dBu -19 dB -16 dB -16 dB -15 dB -15 dB -18 dB
LF MPX 1200 Bridged 600 44 dB -2.0 dBu -16 dB -16 dB -14 dB -16 dB -16 dB -13 dB
Sub MPX 1200 Mono 2 x 800 38 dB -2.2 dBu -18 dB -18 dB -18 dB -18 dB -18 dB -18 dB
HF 6670 Stereo 75 32 dB -1.0 dBu -15 dB -14 dB -13 dB -12 dB -12 dB -13 dB
MF 6670 Bridged 400 38 dB -2.2 dBu -13 dB -10 dB -10 dB -19 dB -19 dB -12 dB
LF 6670 Bridged 600 38 dB -4.0 dBu -10 dB -10 dB -18 dB -10 dB -10 dB -17 dB
Sub 6670 Bridged 2 x 800 38 dB -2.2 dBu -18 dB -18 dB -18 dB -18 dB -18 dB -18 dB
Crown
HF K2 Max Stereo 75 33 dB 0.1 dBu -16 dB -15 dB -14 dB -13 dB -13 dB -14 dB
MF K2 Max Bridged 400 39 dB 1.4 dBu -14 dB -11 dB -11 dB -10 dB -10 dB -13 dB
LF K2 Max Bridged 600 39 dB 3.1 dBu -11 dB -11 dB -19 dB -11 dB -11 dB -18 dB
Sub K2 Max Bridged 2 x 800 39 dB 1.4 dBu -19 dB -19 dB -19 dB -19 dB -19 dB -19 dB
.775v Sensitivity
HF M-T 2400 Stereo 75 38 dB -5.4 dBu -21 dB -20 dB -19 dB -18 dB -18 dB -19 dB
MF M-T 5000VZ Stereo 400 42 dB -2.1 dBu -17 dB -14 dB -14 dB -13 dB -13 dB -16 dB
LF M-T 5000VZ Stereo 600 37 dB -4.8 dBu -19 dB -19 dB -17 dB -19 dB -19 dB -16 dB
Sub M-T 3600VZ Mono 2 x 800 42 dB -1.6 dBu -12 dB -12 dB -12 dB -12 dB -12 dB -12 dB
1.4V Sensitivity
HF M-T 2400 Stereo 75 33 dB -0.3 dBu -16 dB -15 dB -14 dB -13 dB -13 dB -14 dB
MF M-T 5000VZ Stereo 400 37 dB -3.0 dBu -12 dB -19 dB -19 dB -18 dB -18 dB -11 dB
LF M-T 5000VZ Stereo 600 37 dB -4.8 dBu -19 dB -19 dB -17 dB -19 dB -19 dB -16 dB
Sub M-T 3600VZ Mono 2 x 800 37 dB -3.5 dBu -17 dB -17 dB -17 dB -17 dB -17 dB -17 dB
Crest
HF 7001 Stereo 75 32 dB -1.0 dBu -15 dB -14 dB -13 dB -12 dB -12 dB -13 dB
MF 9001 Stereo 400 32 dB -8.2 dBu -17 dB -14 dB -14 dB -13 dB -13 dB -16 dB
LF 9001 Bridged 600 38 dB -4.0 dBu -10 dB -10 dB -18 dB -10 dB -10 dB -17 dB
Sub 9001 Mono 2 x 800 32 dB -8 dB -12 dB -12 dB -12 dB -12 dB -v2 dB -12 dB
QSC Powerlight
HF 2.0 Stereo 76 36 dB -2.9 dBu -19 dB -18 dB -17 dB -16 dB -16 dB -17 dB
MF 4.0 Stereo 400 38 dB -2.2 dBu -13 dB -10 dB -10 dB -19 dB -19 dB -12 dB
LF 8.0 Stereo 600 40 dB -1.7 dBu -12 dB -12 dB -10 dB -12 dB -12 dB -19 dB
LF 3.4 Bridged 600 44 dB -1.9 dBu -16 dB -16 dB -14 dB -16 dB -16 dB -13 dB
Sub 8.0 Mono 2 x 800 40 dB -0.0 dBu -10 dB -10 dB -10 dB -10 dB -10 dB -10 dB
Note: All calculations based on the HLA data sheet power ratings for the drivers in each section. 14

15
Section 4. - MATCHING TRANSDUCERS TO POWER AMPLIFIERS
Transducers used in JBL’s HLA system are conservatively rated. Each transducer in an HLA system has
been tested with pink noise with a crest factor of 6 dB, over its intended range, simulating realistic operating
conditions with music program peaks of four times the RMS power.
Power is calculated based on a minimum impedance (when the driver is cold) and the RMS voltage of
the noise input signal. The AES specification used by JBL requires the transducer to operate at this level for 2
hours with no degradation in performance.
It is recommended that amplifiers have a peak output capacity of double the RMS power rating at full
power, taking amplifier dynamic headroom into account, to avoid clipping the signal. For this reason maximum
Recommended Power Levels per Transducer (RPL/T) exceed the AES power rating of individual drivers.
Transducer specifications and power levels:
Frequency HLA Frequency, Impedance AES power RPL/T Sensitivity,
Band Driver in Hz rating 1w/1m
SUB 2242HPL 35-120 8 ohms 800 W 1,000 W 98 dB
LF 2254J 120-297 16 ohms 600 W 700 W 107 dB
MF 2251J 297-1.14k 16 ohms 400 W 500 W 107 dB
HF 2451SLJ 1.14-16k 16 ohms 75 W 200 W 116dB
Power amplifier requirements for HLA system
Four 4895 three-way speaker systems need only three channels of amplification, one for each output
band. Each band uses 16-ohm transducers, and four paralleled transducers represent a 4-ohm load.
A 4897 subwoofer requires a single channel of amplifier power. 4897 subwoofers use two 8-ohm
transducers with separate Speakon circuit connections. One 4897 subwoofer presents a 4-ohm load to a power
amplifier, with its two transducers in parallel.
Choosing the correct amplifier for each bandpass.
The 4897 subwoofer uses two 8-ohm transducers with separate pin-outs for maximum energy transfer.
The subwoofer amp should be capable of 1,600 to 2,400 watts output into four ohms. The use of 16-ohm
transducers in the 4895 speakers allows four drivers in each band pass to be driven in parallel from an amplifier
running at 4 ohms, for efficient use of amplifiers.
The suggested minimum number of HLA units recommended by JBL to be used together in a system
are qty. four HLA-4895’s and qty. two HLA-4897’s. This quantity of loudspeakers is called an “Array Module”. A
minimum of two array modules would be used for a stereo (left/right) system. Four 4895 three-way speakers will
need three channels of four-ohm power at these power ratings:

16
Lows: 2,000 - 3,200 watts
Midrange: 1,200 - 2,400 watts
High-frequency: 600 - 800 watts
As few as five stereo amps can power eight 4895 speakers plus four 4897 subs at four ohms.
Four-ohm loads and amplifier performance
The HLA Array Module is designed to present 4-ohm loads to the amplifiers. Many amplifiers are
capable of running two-ohm loads for extended periods of time. Users intending to run loads lower than four
ohms should consult with the manufacturer and carefully consider the power available per transducer and the
distortion specification at the amplifier’s two-ohm rating. Amplifiers can deliver a single (bridged) 4-ohm
channel that is double its 8-ohm rating. Using a bridged amplifier requires twice as many amplifiers for that
band’s output.
CAUTION! System setup requires careful setting of the limiters for each band-pass to
protect against transducer overload and amplifier clipping. See Section #3, “Using
System Controllers”.
Speaker,
Low Freq (2)
2242 HPL
Cone Repl
C8R2242
Speaker
High Freq
2451SLJ
(125-400001-01)
Diaph Repl
D16R2451SL Connector
Plate
Assembly
129-00005-00
Speaker
Mid Freq
2251J
(114-31002-01)
Cone Repl
C16R2251
RED
BLK
WHT
BLK
GRN
BLK
Speaker
Low Freq
2254J
(124-37005-00)
Cone Repl
C16R2254
Connector
Plate
Assembly
129-00006-00
RED
BLK
RED
BLK

17
Section 5. - INPUT / OUTPUT CONNECTOR PANELS AND
CABLING
Speaker cables terminate at the speakers with 8-conductor Neutrik NL-8 connectors. One cable reaches
from the amplifiers to a single 4895 full range speaker. Short jumper cables then connect additional 4895 full-
range speakers in parallel to the first. Connecting 4 speakers in this manner divides the amplifier’s 4-ohm power
by 4.
One cable must reach from the amp rack to every 4897 subwoofer. Jumping sub-woofers in parallel
reduces the amplifier’s damping characteristics and is not recommended.
4895 full-range speaker connections on the rear connector panel:
Two (2) Neutrik NL-8 connectors in parallel are wired as follows :
* Lows to conductor pair 2 +/-,
* Midrange to conductor pair 3 +/-,
* Highs to conductor pair 4 +/-
4897 sub-woofer connections on the rear connector panel:
Two (2) Neutrik NL-8 connectors in parallel are wired as follows
* First sub-woofer driver to conductor pair 1 +/-
* Second sub-woofer driver to conductor pair 2 +/-
Other connectors besides the Neutrik NL-8 can be custom-ordered.
Examples include the ITT Cannon EP series of 4, 6 and 8-conductor connectors.
JBL offers two cables to its customers:
JBL Part No. Description Length Use
3805N 8-conductor 13-ga. 5 ft.* Array jumper cables
Cable w/Neutrik
connector
3850N 8-conductor 13-ga. 50 ft. Cross-stage cable and
Cable w/Neutrik flying arrays
connector
(*Longer cable required for vertically-stacked 4895’s)
NL-8 Speakon Couplers can be used to extend cables by joining two together. For flying array “mults”,
custom harnesses can be fabricated using connectors from manufacturers such as Veam and Socapex. Multi-
conductor 12-gauge cable can be used with fan-out and fan-in NL-8 tails.
Amplifier rack speaker cable panels with multi-conductor connectors can be wired with 3-foot (1
meter), 4-pair fan-out, with labeled and color-coded MDP banana jacks. The minimum recommended panel is 4
circuits of Neutrik NL-8 Speakon formatted as 2 circuits for 4895 full-range, and 2 circuits for 4897 subwoofer
outputs.

18
Amplifier rack panels
A labeled panel on the back of each amplifier rack fitted with individual female XLR connectors for
each channel will put them in plain view for system technicians, and saves wear to the amplifiers’ connectors.
Along with individual connections, multi-cable disconnects in parallel can be used to distribute signals in
portable systems to make setup quick and infallible. By placing all signals onto pre-assigned channels of a multi-
core snake dedicated for sending signals to the amps, correct hookup is rapid and certain. Dedicated send snakes
with 10 or 20 channels are common, with extra lines in the send snake often used for fill-in zones of speaker
coverage, intercom and talk-back functions.
Socapex fly-mult cables
Rather than run several individual 8-conductor cables to a speaker array up in the air, another
common cabling design is to run several circuits by using a 18-conductor cable with a Socapex-type connector
such as is used widely in theatrical tour lighting. One Socapex cable can carry power for four 4897 subs and a
second Socapex cable can carry power for two sets of four 4895 three-way speakers. At the back of the speaker
array an adapter changes the standard Socapex multi-connection back into several Neutrik connectors to
distribute power to the speakers: One Socapex-to-Speakon adapter fanning out to four 4897 subwoofer
connections, while a second Socapex-to-Speakon adapter fans out to two 4895 speaker connections, for two
groups of four 4895 speakers.
At the amplifier racks, panels with the two different kinds of Socapex assignments are connected to the
outputs of their respective amplifiers. Several companies in Europe have agreed on a circuit assignment design
for accomplishing this in order to promote inter-vendor compatibility. Note the “Low” circuit doubles up
conductors in the Socapex to allow for the higher current in that band of output. (There are other methods of
organizing the Socapex circuits for this application.)
EML European Socapex pin-out standard:
Socapex Pin (2) 4895 speakers - NL-8 pin (4) 4897 subs - NL-8 pin
11 Low 1121Sub 1111
12 Low 1`2`Sub 1121
13 Low 1121Sub 1`1`
14 Low 1`2`Sub 1`2`
15 Mid 1131Sub 2111
16 Mid 1`3`Sub 2121
17 High 1141Sub 2`1`
18 High 1`4`Sub 2`2`
19 Low 2121Sub 3111
10 Low 2`2`Sub 3121
11 Low 2121Sub 3`1`
12 Low 2`2`Sub 3`2`
13 Mid 2131Sub 4111
14 Mid 2`3`Sub 4121
15 High 2141Sub 4`1`
16 High 2`4`Sub 4`2`
17 n. c. n. c.
18 n. c. n. c.