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JBL Ceiling Speakers Demystified

by | Jan 14, 2025 | Pro Audio, Sound Engineering, Uncategorized

Ceiling speakers are an integral part of most commercial AV projects, and whether your project is a corporate boardroom, a classroom, a multi-purpose room, or even a large warehouse, selecting the correct speaker type to fit your application and budget is of critical importance. Fortunately, in today’s market there are plenty of excellent choices, and one of the most recognizable and respected brands, JBL, offers a wide range of ceiling-mounted loudspeakers to fit your needs.

But with nearly 30 different ceiling-mounted speaker models to choose from, selecting the right JBL ceiling speaker for your application can be a daunting task. That’s where this guide comes in – by asking your customer (and yourself) a few simple questions, you will be able to narrow down your options and make the right choice for your project.

Cracking the Code

Let’s start by demystifying some of the meaning behind JBL product codes. Once you understand the nomenclature behind JBL model numbers, you’ll be able to find the product you’re looking for more quickly. Here’s an example:

Understand JBL product codes with this Control 47C/T example

JBL control 47ct ceiling speakersHere we have the Control 47C/T. The first number (in this case 4) denotes which series the product comes from (here the 40 Series, high-performance, full-range speakers). The second number (in this case 7) identifies the approximate size of the low-frequency speaker in the enclosure. This number is typically rounded up to the nearest whole number (in this case, 6.5” rounds up to 7).

The letters after the model numbers signify various characteristics of that particular model. The full list can be found at the bottom of this document, but here are a few of the more common model suffixes:

  • C = Ceiling Speaker
  • CT = Ceiling Speaker with non-bypassable 70V transformer (can only be used in 70V mode)
  • C/T = Ceiling Speaker with bypassable 70V transformer (can be used in low-impedance or 70V mode)
  • LP = Low-profile
  • HC = High Ceiling
  • P = Pendant
  • S = Subwoofer

Asking the Right Questions

Now that we have a basic understanding of JBL nomenclature, let’s dive into making a product selection. In order to select the right JBL ceiling speaker for your project, you should ask three basic questions:

  • What will the speaker system be used for? (What is the application?)
  • What is the budget for the speaker system?
  • Are there any special requirements or limitations I should account for?

Application

“What will the speaker system be used for?” – it seems like a simple question (and it is), but the answer will provide you with the best information to narrow down your product selection. Will the system be used for high-energy foreground music or simple background music? Will the system be used for voice reinforcement in a large classroom or training center, or will the primary application be paging and mass notification?

JBL control 226ct ceiling speakersFor applications where high-quality, full-range music playback is the main goal, the Control 40, Control 200, and Control 300 series should be your first choices. The speakers in these lines are designed and tuned to provide a full-range frequency response at higher volume levels, and to operate much like a standard loudspeaker cabinet, but in a compact ceiling device.

JBL control 24ct micro ceiling speaker pairIf your project requires high-quality voice reproduction, or a combination of voice reproduction and low-to-medium level background music, your first choices should be the extremely popular Control 10 and Control 20 series. The speakers in these series are some of the most popular ceiling speakers on the market for a good reason – they provide excellent voice intelligibility and good music reproduction in a cost-effective and installer-friendly package, and are an excellent choice for a wide variety of commercial applications.

For projects which require only simple paging or voice notification, JBL has you covered with the CSS Commercial and 8100 series. These easy-to-install, no-frills speakers provide excellent voice reproduction and reliability at an entry-level price point.

Budget

Different projects have different budgetary restrictions, and fortunately JBL provides a wide range of speaker options to ensure that you can find the right product for your project’s budget.

For example, lets say that you are outfitting a multi-purpose room with standard acoustical ceiling drop tiles. Your first choice for this application might be the Control 26CT. This is a great choice, but if you need a similar speaker at a lower price point, you could consider the Control 16C/T. The Control 16C/T lacks the Control 26’s SonicGuard overload protection circuit, and the woofer is made from a different material, but the sonic character of both of these speakers are very similar.

JBL 8128 ceiling speakersSimilarly, for a paging application where aesthetics are a consideration, the 8124 is an excellent choice. However, if a modern look is not required, the CSS8004 provides very similar performance at a much lower price point.

JBL css8004 ceiling speakersPlease note that despite the overlap between JBL models between various series, you should not assume that there is always an “apples-to-apples” comparison. For example, some series will have necessary accessories or features included like back cans or tile bridges, while others may not. Always research to make sure you are making the right choice, and contact us if you have questions!

Special Requirements

JBL control 47hc ceiling speakersDoes your project have any special circumstances where a typical ceiling speaker won’t work? Don’t worry – JBL has you covered!

For rooms with especially high ceilings where precise pattern control is needed, the Control 47HC provides a 75-degree beamwidth pattern for increased clarity and intelligibility.

JBL control 47lp ceiling speakersHave a ceiling with limited above-ceiling clearance? Try the Control 47LP low-profile ceiling speaker. It features the same sonic profile and coverage as the Control 47C/T but is only 5.6” deep.

JBL lct 81ct ceiling speakersLooking for a low-profile speaker which is easy to install and fits seamlessly into a standard drop-tile ceiling? Try the LCT 81C/T – it is a full-range speaker designed to drop into a 2’ x 2’ suspended ceiling grid without cutting or trimming.

 Summing It Up

Hopefully this guide was able to provide you with a better understanding of the many, many ceiling speaker options JBL provides. But this is just a start – to view the full lineup of JBL ceiling speaker options, refer to JBL’s Control Contractor Brochure. And – as always – if you have any questions or need product recommendations, reach out to Exertis Almo’s Audio Support Team!

JBL Suffix and Prefix Guide

C Ceiling speaker
CT Ceiling Speaker w/ non-bypassable 70V transformer
C/T Ceiling speaker w/ bypassable 70V transformer
LP Low-Profile
HC High-ceiling
P Pendant
P/T Pendant speaker w/ bypassable 70V transformer
S Subwoofer
C-VA Voice Announcement (special certification for use in voice announcement settings)
LS UL Life Safety
AV AV shielded
W In-Wall Speaker
WT In-wall speaker w/ non-bypassable 70V transformer
MTC Mounting bracket or accessory
WMG WeatherMax Grille
MK Marine-Kit
UB U-Bracket
CM Ceiling-mount adapter arm
NC New-construction Installation Bracket
MR Plaster “mud ring” installation bracket
BB Back box (or backcan)
SG Square Grille
RG Round Grille
TB Tile Bridge
TR Trim Ring

 

Want more audio tips? Check out “Enhance Your AV Projects with Pro Audio Solutions“.
John Rossman - headshot-frame

About the Author

John Rossman | CTS

BDM II – Technical Specialist

Supported Manufacturers: Harman Professional – AKG, AMX, BSS, Crown, DBX, JBL, Lexicon, Martin, & Soundcraft

Why Is Quality Important When Selecting Audio?

by | Nov 12, 2024 | Pro Audio, Sound Engineering, Uncategorized

I was pondering this topic recently when I met a friend for lunch at one of my favorite eatery places. They recently moved to a new location and ever since moving, it’s been difficult to really enjoy eating at the place. My friend and I were discussing how incredibly loud the place gets, to the point that it’s difficult to really have a conversation with each other.  As a result, I often just pick up the food and bring it home.  This situation really made me wonder what was missing in the audio design when they moved to this new location. I decided to do some research by talking to our Exertis Almo Audio Experts to gain some insight and, hopefully, help you avoid this common mistake.

When choosing the audio technology for a project, every installation is a reflection of your brand and reputation. Customers expect their audio systems to perform without trouble, and it’s essential to select quality solutions that deliver exceptional functionality and reliability. Fortunately, there are many high-quality audio options with cost-conscious price tags, so you won’t have to compromise on excellence.

Additionally, quality is often reflected in the ease of installation. Specifically in meeting rooms, huddle spaces, and classrooms, audio technology should be simple to use and strive to avoid any frustration for the end-user. This simplicity can help ensure that the technology is used effectively, avoiding the common pitfall of equipment going unused due to user confusion.

Here are a few key considerations when selecting quality audio technology.

Assess your environment.

Before installing audio equipment, it’s important to evaluate the space itself, as there are many factors that affect audio quality. It’s essential to consider the acoustics of an environment, as a particular space might require a few changes to adjust the echo and create a more comfortable listening experience once the audio equipment is installed.

In fact, it’s common to run into acoustical issues in multi-use spaces, as they’re designed with several functions in mind. For example, a school might utilize a single space for their gym and auditorium, which can cause acoustical design to be overlooked.  In essence, you’ll want to assess an environment before investing in any audio technology, as acoustical treatment is an essential step in providing a high-quality audio experience.

Consider service and warranty.

Along with functionality and reliability, quality often correlates with the level and service and warranty provided by manufacturers. Although you aim to avoid any issues with a particular product, you should ensure that support is readily available if problems arise with a manufacturer’s technology. This aspect of product selection is frequently overlooked, but having a product warranty and readily available support can help save time and protect your reputation with your customers.

See the products in action.

When you get to experience the way in which products function across various environments, you can understand the practical applications of those solutions. There are a variety of educational resources available to strengthen your understanding of a product, and you can later apply that knowledge in the field to truly understand how the technology functions in a particular space.

Don’t overlook the audio.

If you’re looking to achieve high-quality audio in a space, it’s essential to ensure that the audio is not overlooked in the planning and design process. Oftentimes, the visual aspects receive far more attention, like displays and protection technology. In order to design a well-rounded, comfortable space for users, the audio and visual components must both be at the top of the list.

The bottom line is that quality audio is paramount for successful, comfortable communication.

For me, the main takeaway was simply that it’s crucial to assess the environment, because, in my scenario, the restaurant would have identified ways to absorb the noise. Would that have fixed it completely?  It would make it more comfortable for their patrons to chat, and they’d potentially spend more time and money.  It might’ve cost a few more dollars, which would have paid off in the long run.

You always have available resources to assist with all of your audio and video needs at Exertis Almo.  Please feel free to contact me or your Exertis Almo team.

Check out Angie’s previous blog, “Is TAA Compliance Required for Audio?“.
Angie Greene
About the Author

Angie Greene | DSCE

Business Development Manager

Supported Manufacturers: Panasonic Connect

Getting to Know Programming Services: A Conversation with Tom Kehr & Drew Metherall

by | Jun 4, 2024 | Business Development, Pro Services, Programming, Sound Engineering, Uncategorized

In a recent video, Exertis Almo’s Tom Kehr, Systems Designer and Trainer, and Drew Metherall, Programming Manager, discuss different programming topics and how you can position these services to give your business an edge.

Let’s dive into their conversation with key points mentioned in their discussion.

Control and DSP Programming Services

With decades of experience, Kehr and Metherall acknowledge the long and unique history of programming in the AV industry and the complex work completed by programmers.

“There’s a user interface, be it a button panel or touch panel, and often a lot of sensors, and you’re expected to tie all this together to make the experience better for the end user,” explained Kehr.

Kehr begins the discussion with a question.

“What makes Pro AV control so different and unique from a residential system?”

AMX AV control systemMetherall attributes this difference to the added flexibility with Pro AV control and aspects like macros, which you can build and interface with various products, sensors, temperature controls, and lighting, noting that residential universal remotes have limitations in what you can do and are more of a configurable system whereas Pro AV is actual programming of a device.

Regarding the products not distributed by Exertis Almo, Metherall explains that there are some systems that Exertis Almo will not program if they are not up to the level of necessity required in Pro AV.

When discussing the different systems, Kehr brings up the topic of certifications and training within programming.

“I held an AMX certification for 20 years. One of our programmers has a Crestron Silver Level. Our new programmer coming has a Platinum Level. We all hold certifications in Extron, we’ve gotten most of our certification for Q-SYS,” Metherall said. “And if we don’t have [a certification], we’re getting there.”

Kehr elaborates on Metherall’s point, explaining that there is always room for ongoing training.

Kehr and Metherall then discuss the advantages of using Ethernet for an audio-visual control system, explaining that although there are some challenges when mixing audio, video, and control on the same network, you can have a low voltage network company to come in to do all the wiring, since it’s all network, simplifying installation.

Another challenge exists in making changes to an existing control system, as many control files are compiled files. Kehr and Metherall explain that if the client has the original code, or they are willing to invest in a rewrite, Exertis Almo can do that work.

“During an installation, we see the bill of materials, and we have a system schematic or a flow diagram,” Kehr said. “What other documentation do you need as you begin to put the program together?”

In response, Metherall explains that he usually requires a Scope of Work or a Programming Narrative. We typically need a Bill of Materials and a signal flow. While Exertis Almo does not need all these just to do a quote, but once we get into the work, we definitely want all that information.

Kehr mentions that a lot of programming work is event-driven and poses the question, “What can you incorporate into a system for easier use?”

Metherall notes that most programmers utilize a video sync signal off some of the digital or Ethernet-based video transmitters. “We can take that signal and have the system turn on and route to that source without having to even touch a button,” he said.

Metherall elaborates, explaining that many programmers also use sensors on touch panels. Additionally, timers are a frequent addition to a system, allowing the system to turn off after a certain time or turn on at a prescribed time.

Kehr and Metherall also discuss decreased incorporation of voice assistance, acknowledging that these capabilities, like Siri or Alexa, are more present in residential systems.

The duo concludes their conversation by encouraging listeners to learn more by attending the industry-leading expo, E4 Experience.

The discussion offers a detailed look into the world of Exertis Almo Programming Services, with valuable insight on how to expand your reach. Watch the full conversation on YouTube.

If you learned something from this blog and video, you may also enjoy learning how to “Grow Your Business and Expand Your Reach – A Guide to EA’s Commissioning Services” blog.

Tom Kehr

About the Author

Tom Kehr

CTS-D, CTS-I, Network+, LEED Green Associate, ISF-C, ATD Master Trainer

In-House System Designer and Trainer

Supported Applications: System Design

Audio – Twenty Years Ago. One Almo BDM’s Fond Memories and Meager Beginnings

by | Dec 28, 2017 | Pro Audio, Sound Engineering, Uncategorized

Hello Almo Customers!

As the New Year begins, I thought I’d take a moment to introduce myself, as I am one of the newer Business Development Managers here at Almo.

My name is Steve Alexander, I came on board with Almo in July of 2017 to help grow the audio offerings we provide to you, our customers. I’ve been involved in professional audio since the early 1980’s, graduating from the music business program at Belmont College in Nashville, Tennessee.

Click Image to Listen  

Like many of you, while in school I did various jobs to supplement my meager student existence. My first “real” job in pro audio was working in a Music Row recording studio making cassette (you remember those, don’t you?) tape copies for songwriters and publishers wanting to pitch their songs to artist to put on their next release.

I eventually made my way to the control room, wrapping cables, setting up mics, and observing everything I could in order to have a chance to sit in front of the mixing console. During my tenure, I managed to work in various studios around town, eventually making my way up to chief engineer.

A number of years later I am still in love with audio. I’ve had gigs selling equipment to broadcast facilities, did some IT work as a Cisco engineer, and ran a team of AV pros supporting AV & VC technologies at the World Bank in Washington, DC.

I eventually married and settled in beautiful Annapolis, MD. Annapolis is blessed with a great number of talented musicians I got to know over time and thought, what’s an audio guy with an unfinished basement to do other than make the basement into a studio! Now remember, this was twenty years ago. So with a small budget I got to work. I triple-walled the control room and performance space to ensure as little noise as possible, made it into a performance space and built out the control room and vocal booth.

I decided to stick with a tape based system as a full blown Pro-Tools system was out of my financial reach at that time. So I decided on three Tascam DA-38’s synced together using their RC-848 transport remote, a Behringer 24×8 console was my recording desk, and I had a good bit of outboard gear to supplement what the Beheringer didn’t offer sonically, a Focusrite mic-pre & EQ, a number of dbx compressor/limiters, urei leveling amps, a Hafler audio amp,  JBL monitors and Auratone’s for my car audio mix. All this was tied together using Whirlwind TTL patchbays to route signals.  Over the years I had assembled a nice collection of microphones, from Shure SM57’s, to Sennheiser 421’s, and AKG D10, C391B’s, 414, etc.

One of my favorite projects was a compilation Christmas CD featuring local Annapolis artist. That CD provided the impetus for the still running two night live show of “An Annapolis Christmas” that occurs every December at our local music venue the Rams Head on Stage.

I’ve included a mix of “This Christmas” as performed by the Annapolis based band, Majesty 12.

No, it won’t sound as if it was recorded at Capital Studio A, but it ain’t bad considering it was recorded in my basement… ahh, my salad days…

Twenty years later, the technology is exponentially better, just to say you don’t need a million dollar budget to put together a decent sounding recording facility. This translates into the install and integration markets as well. With the convergence of AV and IT, the possibilities are truly endless. It’s an exciting time to be an AV professional. Almo ProAV is dedicated to helping our partners provide the best in class solution to their end users.

I hope you will allow me to assist you with any upcoming projects you have that involve audio.

AV in the National Park Service: Preserving the Sounds of Nature

by | Aug 30, 2016 | Pro Audio, Sound Engineering

I’m a huge fan of the park service and visit them quite frequently. This summer I’m headed to Theodore Roosevelt National Park in North Dakota and Mount Rushmore in South Dakota. My idea of camping is with a full service hotel and restaurant but I do like it when there’s no TV and no cell phone reception, which was the case on my visit to Mesa Verde National Park in Colorado. Check out these pictures of ancient Pueblo Indian dwellings from yours truly.

Pueblo Indian

Pueblo Indian

 

 

 

 

 

 

 

This year the National Park Service is celebrating its 100 anniversary in August and there have been lots of stories on the news providing coverage on the celebratory activities throughout the country. A few weeks ago, NPR did a segment on how sound engineers are going deep into the parks to record the natural soundscapes of streams, waterfalls, animals and all parts of nature that make our parks so spectacular. I was thinking about all those kids that grow up wanting to be a park ranger, then get into a band in high school carting around their own A/V equipment. Then through a turn of events, they end up in the A/V industry. Well guess what? Apparently you can do both!

One thing that was particularly interesting are the studies they are doing on how humans and our sound pollution affect the animals. The bio acoustical scientist in the interview, Kurt Fristrup, explained that just a few changes in decibels can have a great effect on their ability to hunt.

“Imagine you’re an owl looking for your dinner,” Fristrup said. “A three decibel increase in sound level cuts in half the area in which you could hear those sounds,” he said. “So you are half as efficient in finding food, with a relatively subtle increase in background sound level.”

Click Here to read the entire interview or download the segment.

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