TEST: EAW MW12

Yes, our beloved wedges. The wedges, which are usually placed on the stage floor, have to endure a lot. Loveless pushing and kicking, if the placement is not right, water or beer fountains if the singer has swallowed in his greed again and last but not least wild hopping around and "one leg on box" posturing of the heavy metal guild.

Then one should be still possible invisible, generate no feedback and work forever and three days. Floormonitors are really the poorest sows under the speaker sun, they are usually only noticed when the tweeter was shot through again or quote: "the sound is shit...", "I can't hear myself...", "make vocals louder...", "like, I have to share the way with the bass player..." and so on and so on....

In addition, the entry-level price of in-ear systems has been dropping consistently in recent years, which has once again brought additional competition to the wedge department. So nowadays you have to come up with a few fine tricks to stand out from the crowd, or to place yourself on the market sustainably.

And then a company like EAW comes along and brings with the MW12 a relatively small floor monitor on the market at a retail price of over 3,000 euros (!) and prepares to clean up the field from behind with everything that the high-end sector has to offer. We are curious about that!


Construction

What immediately catches the eye, or rather is noticeable in the arms, is the rather unusual shape of the Chinese-made product and the relatively high weight of almost 24 kilograms.

The latter results from the extremely stable multiplex construction of the monitor, which comes along very space-saving with the dimensions 334 mm x 439 mm x 580 mm (H x W x D). The MW12 is covered with a very resistant textured varnish, which also knows how to compensate for hard road use.

In contrast to many floor wedges, which can be tilted at 45 degrees or 65 degrees to the artist, the EAW has a fixed angle, which, according to the manufacturer, should have an exceptionally good coverage angle due to complex acoustic calculations.

On the underside, the MW12 rests on four stable hard rubber surfaces, and there is also a transverse mounting rail for flown operation.

The acoustic feature of the product is a coaxially driven combination of a 12-inch woofer and a 1.4-inch driver, which has a total load of 600 watts (!) at 8 ohms. The system can be operated both in the sum passive and 2-way active.

The entire internal wiring of the construction was very cleanly executed and has only very good components.

The speaker construction is protected by a solid steel grille, which can easily withstand even intensive climbing actions of the very hard kind.

In addition, the monitor has a bass reflex port on the foot side, which provides a high reflection surface, especially on smooth stage floors, and increases the dispersion area even more.

Very nicely solved in terms of practicality was the problem of the connector panels. The two Speakon sockets are placed opposite each other in the reflection channel. As a result, the cables are routed out of the front of the case and tightly to the side of the case.

Consequently, the danger of cable kinking is zero and the small, nasty grabby hands of cheeky fans, who like to finger the wedges on stage from the auditorium and pull on the cable strands, can also not cause any damage.

In the reflection channel is also the toggle switch, which decides on the active / passive operation.

Due to its shape, the MW12 can be driven in a row, as well as in a closed semicircle, whereby one can seamlessly join the individual elements due to the cable routing.





Practice

Who knows me, knows that I am a man of practice. The most beautiful measurement diagrams and the most benevolent hymns of praise in the product info honestly don't interest me one bit, if the use in practice speaks a different language.

Without a doubt, the measurement curves look impressive, an almost linear reproduction over the entire frequency range from 68 Hz up to 19 KHz with a small resonance at 500 Hz, also a very moderate distortion behavior.

And the sound? Yes, that's where the sun rises! But whoops! Both at low volumes and at almost full load, the MW12 has a very detailed reproduction of the input signal. There is little coloration here, very little compression with increasing volume, and very vivid delineation over the entire frequency range.

The absolute highlight for me, however, is the radiation behavior of the design. Due to its bass channel, which also transmits a fair amount of midrange, you can hear the signal at the base very well even at a distance of several meters, so even a remote placement of the construction is possible.

That's not all, the construction also has a significantly higher lateral radiation behavior than all other wedges, which I have experienced live so far. Even if at large open airs around the frontman sometimes up to 5 floor monitors are arranged in a semicircle and just the above-mentioned cable routing would make the same very well possible, it is actually no longer necessary.

The MW12 radiates so evenly even to the sides that one is inclined to place only one of this construction in the center of the stage between two artists and the same actually still hear each other sufficiently. In addition, the drummer at the front of the stage also gets an acoustic share due to the refection channel if the speaker is aligned correctly.



Conclusion

The EAW MW12 is a floomonitor of the absolute top class! Frequency response, linearity, processing, radiation behavior and unfortunately also the price are sovereign in the high-end range.

In addition, the volume of the product is pleasantly small, the power handling quite high and its flexibility in terms of flown small PA also very large.

I would like to see this product more often on the stages of this world due to its excellent sound characteristics, but I fear that the high price will deter many rental companies. Please prove me wrong.

Rating-wise clearly 5 points, but a deduction because of the price.


Additional informations:

- EAW Audio, founded in 1978, is a leading manufacturer of high-quality sound systems for various applications, including live events, touring, corporate events, sports venues, and theaters. The company has been delivering cutting-edge technology and innovative designs for over four decades, and its products are renowned for their exceptional sound quality, reliability, and durability.

EAW Audio's product portfolio includes a range of loudspeakers, subwoofers, line arrays, stage monitors, digital processors, and amplifiers. The company's engineering team works closely with its clients to design and deliver customized solutions that meet their unique needs and specifications. EAW Audio's commitment to excellence and its focus on innovation have earned the company a loyal customer base and a reputation for being one of the industry's most trusted and respected brands.

History and Evolution of EAW Audio

EAW Audio was founded by Kenton Forsythe and Ken Berger, two audio engineers with a passion for developing high-quality sound systems. Their goal was to create a company that would focus on providing innovative designs and cutting-edge technology that would deliver exceptional sound quality to its customers.

In its early years, EAW Audio focused on developing products for the touring and live events markets. The company quickly gained a reputation for delivering loudspeakers and subwoofers that were among the best in the industry. In the 1980s, EAW Audio expanded its product line to include line arrays and stage monitors, which helped to establish the company as a leader in the sound reinforcement market.

Throughout the 1990s, EAW Audio continued to innovate, developing new products and technologies that set the standard for the industry. The company introduced digital signal processing (DSP) technology, which allowed for greater control over the sound quality and helped to reduce the weight and size of its products. EAW Audio also introduced the KF850 and KF750 series of loudspeakers, which became popular choices for touring and live events.

In 2000, EAW Audio was acquired by Mackie Designs, a leading manufacturer of audio equipment. Mackie's investment in EAW Audio allowed the company to expand its product line and reach new markets. EAW Audio continued to innovate, introducing new products such as the AX and KF series of loudspeakers, which were designed for large-scale touring and events.

In 2006, EAW Audio was acquired by LOUD Technologies, a company that specializes in audio equipment and professional audio solutions. The acquisition allowed EAW Audio to expand its global reach and continue to develop new and innovative products for its customers.

EAW Audio's Product Portfolio

EAW Audio's product portfolio includes a range of loudspeakers, subwoofers, line arrays, stage monitors, digital processors, and amplifiers. The company's products are designed to deliver exceptional sound quality, reliability, and durability, making them ideal for a range of applications, including live events, touring, corporate events, sports venues, and theaters.

Loudspeakers: EAW Audio's loudspeakers are designed to deliver high-quality sound in a range of environments. The company's product line includes point source, line array, and column array loudspeakers, as well as weather-resistant and installation loudspeakers.

Subwoofers: EAW Audio's subwoofers are designed to deliver deep, powerful bass in a range of applications. The company's product line includes compact and portable subwoofers, as well as large-scale touring and installation subwoofers.

Line Arrays: EAW Audio's line arrays are designed to provide even coverage and consistent sound quality in large venues. The company's product line includes compact, mid-size, and large-scale line arrays.

- Floor monitors are essential pieces of equipment for any live music performance or event. These speakers, which are designed to sit on the floor and face the performers, allow musicians to hear themselves and their fellow band members clearly on stage. In this guide, we'll take a closer look at floor monitors, including how they work, the different types available, and how to choose the right ones for your needs.

How Floor Monitors Work

Floor monitors work by amplifying and projecting sound directly towards the performers on stage. Unlike traditional PA (public address) systems, which are designed to project sound to the audience, floor monitors are intended to help performers hear themselves and their fellow musicians more clearly. They accomplish this by picking up sound signals from microphones or other instruments and amplifying them through a speaker that is placed on the floor and pointed towards the performers.

Floor monitors are typically placed at the front of the stage, facing the performers. This allows them to hear themselves and their bandmates without having to rely solely on the main PA system. Depending on the size of the performance space and the number of performers, multiple floor monitors may be used to ensure that everyone can hear clearly.

Types of Floor Monitors

There are several different types of floor monitors available, each with its own unique features and advantages. Let's take a closer look at some of the most common types of floor monitors:

Passive Floor Monitors: Passive floor monitors are the simplest type of floor monitor. They do not have their own power source and must be connected to an external amplifier or powered mixer in order to function. Passive monitors are often less expensive than active monitors, but they require more equipment to set up.

Active Floor Monitors: Active floor monitors are self-contained speakers that have their own built-in amplifier. They do not require an external amplifier or powered mixer to function, which makes them easier to set up and use. Active monitors tend to be more expensive than passive monitors, but they offer greater convenience and flexibility.

Coaxial Floor Monitors: Coaxial floor monitors feature a single speaker driver that combines both the high-frequency and low-frequency elements of the sound spectrum. This allows for greater accuracy and clarity in sound reproduction. Coaxial monitors are often more expensive than traditional monitors, but they offer superior sound quality and performance.

Stage Wedges: Stage wedges are a type of floor monitor that is designed to sit at an angle on the floor, with the speaker pointing up towards the performer. This allows for greater flexibility in terms of placement, and can help to reduce feedback and other sound issues that can occur with traditional flat floor monitors.

Choosing the Right Floor Monitors

When choosing floor monitors, there are several factors to consider, including:
Size of the Performance Space: The size of the performance space will have a major impact on the type and number of floor monitors required. A larger space will require more powerful monitors with greater projection capabilities, while a smaller space may only require a few smaller monitors.

Number of Performers: The number of performers will also impact the number and type of monitors required. A larger band or group may require multiple monitors to ensure that everyone can hear themselves and their fellow musicians clearly.

Type of Music: The type of music being performed can also impact the type of monitors required. For example, rock or heavy metal music may require more powerful monitors with greater projection capabilities, while acoustic or classical music may require more precise and accurate sound reproduction.

Budget: Finally, budget is always a consideration when choosing floor monitors. Passive monitors are generally less expensive than active monitors, while coaxial monitors are typically the most expensive. Consider your budget carefully and choose the best monitors that you can afford.