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any EV Phoenix users?


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I think the Phoenix series from EV has been canned, its not listed on there site anymore. And I believe I read somewhere that it was not a big seller for them thats why they shelved it.

 

Hmmm...just checked there site now and it has been added back, maybe it's still available....

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I guess when they changed over to the new site they still had some bugs in it to work out!

 

 

Anyway, I have never heard a phoenix system myself but I am very familiar with the QRX system. From every review I have read where people have A/B'd the two systems the phoenix rig has one every time.

It should for the difference in price!

 

I am very happy with my QRX boxes but if I could afford (or had the need) a phoenix system it would already be loaded in my truck.

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The phoenix boxes are phenomenal, but as an upgrade from QRx? I don't really think it's worth the potential gains. If you're looking to upgrade from QRx boxes I'd suggest going for something a little higher end, make it worth it.

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Haha, i don't mean like concert style sound ... more for smaller venue gigs, and speakers in the same group as EV Qrx series ... no arrays or anything like that ..

 

 

http://www.jblpro.com/catalog/general/ProductFamily.aspx?FId=16&MID=4

 

http://www.fbtusa.net/PSRpage.html

 

http://www.dynacord.com/en/products/7/1/5_madras.html

 

http://www.rcf.it/web/rcf/touring-and-theatre

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Whats higher end than an EV phoenix or QRX boxes in your opinion. I've used both, and like both .... but am always looking for better ... what in your opinion is better ?

 

Well, Ev Phoenix are kind of a "high end consumer" box, as I see it. Focused at a market where some want more power than QRx boxes, but don't have the budget or the need for more professional boxes. Maybe that's you?

 

If I were looking to upgrade from QRx... I'd be looking at Meyer, Adamson, d&B audiotechnic, Martin Audio, EAW (well, maybe), l'acoustics...

 

If you want high end, flyable trap boxes... look at Meyer JM-1P or Ev X-array. These are touring grade boxes, and need to be utilized in multiples to be effective... so small venues are a no.

 

I want to ask though, why do you want to upgrade? For smaller venues and the like, without getting into line arrays or professional point-source arrays, QRx are about the best solution.

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I have a QRx rig (8 153's over 8 218s), and I had the local EV reps demo the Pheonix boxes when they came out. The Phoenix is definitley louder than the QRx, but I thought the QRx's sounded better (I took 2 tops and 2 bottoms and we did a direct A/B comparison in the room).

 

If you need just a little bit more output and you want to stay with a trap box, I can see the usefullness of the Phoenix. But I routinly provide for "C" grade nationals with crowds up to 2,000 outdoors with the QRx boxes and I get compliments from the band's engineers on the rig. My point is:

 

If you have QRx boxes, and you need significantly more output, then I think you are ready to look at a line array or a significantly higher end trap box than the Phoenix.

 

Me personally, If I need to cover more people than 2K, I will be looking at an EV XLc rig. I have loaned my 8 QRx 218s to a larger local sound co who has an XLc rig and they used them under 4 XLc 127's per side (4 QRx 218s per side) and the subs kept up very well.

 

I just have a hard time seeing a situation where QRx boxes are not loud/good enough, but the Phoenix boxes are.

 

If you were buying new boxes period, then I would give the Phoenix a good look, but I believe you were talking about replacing QRx with Phoenix, and I can't see the cost justification on that.

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No, i'm very happy with my QRX's ... i was just wondering what more higher end options were ... not looking to replace my QRX's just yet. I do have one question .... we use the 115's as tops ... what do you guys feel the advantages of the 112 is and the 115 is ... my band typically plays venues anywhere from 200 people to 800 people. What is the advantages/disadvantages of the 12" top and the 15" top ... ?

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I believe the general consensus of 12" vs. 15" is that the 12" is a smoother sound in the mids and the 15" gives more bottom end. If you are using subs, then the 12" is the way to go.

 

By the way, if you were to move the 15" boxes to wedge duty and pick up a pair of QRx 212's, I think you would be very impressed with the output difference. I ASSumed that you were using something like 2 QRx212's per side and looking for more output, my bad.

 

In your situation (assuming you are using subs), I would audition the QRx212, QRx153, the Phoenix 2122, and the JBL SRX722. There are certainly other options, but those are the ones I am most familiar with. All of those boxes have a good reputation, good output and sound quality, and can be used in multiples to some degree (that is dependant on the individual box).

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I guess when they changed over to the new site they still had some bugs in it to work out!

 

Oh yeah, and the X-array page is only showing the Xb, Xf, and Xn boxes. Well, plus the Xw12A and Xw15a. I wonder where the mid/short throw boxes went?

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That's good to hear, almost surprising! All the C nationals I've done for crowds up to 2,000 were with X-array, dV-DOSC, xlc, or flash/flood rigs. Honestly, though, I'd take the QRx rig (yours is 153's, right?) over the dV-DOSC rigs. The line arrays are nice, but the little drivers just can't throw that much power in those kinds of environments (outdoor fields). The xlc are fine. Of all the rigs I've had my hands on though... X-array still makes me drool.

 

 

I do mostly festival work, so I am not as bound by rider's as I would expect to be if I was doing a single act concert. I also usually work as a sub under a larger company that reads the rider's and signs the contracts, so if the BE dosen't like something I am happy to let him and my boss figure it out (although this has only happened once in 5 years)The band's I have worked with seem to understand that a festival is more of a "the promoter provides what he provides" (at this level anyway). I have been asked to provide for a band specific concert with an expected capacity of about 2,000, but I directed them to a bigger sound company as I wasn't sure my rig would cut it (it was a metal band), and since I do this as a hobby, I don't need a pissed off national driving my rig. Not a good day for them or for me.

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That makes a lot of sense. We've done festivals but the majority of the national acts we do are for them, basically, so we're pretty stuck to what the rider says. Give 'em what they want, or something similar, and everyone's happy. It's our job, anyways.

 

I know how pissed off I am when I'm BE facing a rig that's nowhere near rider spec, so I do all I can to make those guys happy when I'm on the other side of the issue.

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