FBT JMaxX series now shipping
Tuesday, 23 July 2019
fbtThe new range is now available throughout the UK
UK - Having made its world debut at Prolight+Sound 2019, the new JMAxX line of portable loudspeakers from FBT is now available throughout the UK.
The successor to the original FBT MaxX series, JMaxX combines ease of use and versatility for many portable or installed sound applications, making the speakers suitable for musicians, DJs, AVL contractors, rental sound reinforcement, corporate events, houses of worship, bars and clubs.
With its gas-injected forms designed to virtually eliminate undesired enclosure resonance and reinforce strong low frequency performance, the JMaxX series of powered loudspeakers is available in three two-way models: the 14” JMaxX 114A; the 12” JMaxX 112A; and the 10” JMaxX 110A. All are equipped with FBT’s latest 90° x 60° HF horn design which delivers “improved projection, accuracy, and dispersion of the mid and high frequencies”.
Each JMaxX model is actually four loudspeakers in one. Derived from a decade of experience of portable sound reinforcement, the carefully tailored equalisation pre-sets offer highly intelligible response for vocals and floor monitoring; slightly boosted response in lounge bar applications; punchy and forward sound for DJs; and a general-purpose EQ setting that mirrors the original and familiar FBTMaxX voicing, says the company.
Common to all JMaxX models is FBT’s latest generation lightweight 700W + 200W Class D power amplifier with universal switch mode power supply, delivering abundant power and headroom to reproduce “even the largest transients without distortion”.
JMaxX’s versatility is further underscored by the many mounting and fixing options that the ergonomically styled cabinets provide. Mounting in fixed installations is made easy using the M10 suspension points or wall bracket flange plates, while portable use is facilitated by the built-in 35mm pole mount socket.
Finally, for stage monitoring, JMaxX’s cabinet profiles are designed with 12°, 40°, and 55° wedge angles, and when used with the specific floor monitoring EQ pre-sets, will “ensure that performers hear themselves with ultimate clarity”.
(Jim Evans)

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