JBL EON One Compact review: Life in plastic still fantastic after 30 years£520 / $699, jblpro.com
Time-travel back to 1995 and you would witness Pioneer DJ’s first-ever club mixer debut, Avid Pro Tools gaining traction, plus synthesizers such as the Korg Prophecy and Doepfer A-100, all transforming live performances. But overlook the launch of JBL’s EON PA systems at your peril.

READ MORE: Is PreSonus’ StudioLive Series III SE 24 the most flexible digital mixer on the market?

Until then, live systems consisted of heavy amplifiers, bulky wooden cabinets, and complex wiring, often requiring a sound engineer. The arrival of the polypropylene PA changed that, allowing anyone to plug and play their own sound.
Features now taken for granted — integrated power, lightweight durability, versatility as front-of-house speaker or floor monitor — were all JBL benchmarks. Life in plastic was fantastic, and 30 years on, the EON name still carries immense weight inside the brand’s Pro division.
The EON One Compact is the smallest expression of that lineage — a single-box system integrating speaker, amplifier, plus a four-channel digital mixer and effects processor you can carry in one hand. It’s aimed squarely at solo performers, mobile DJs, and anyone seeking PA capabilities without the full rig.
Its Pro status matters, too. This isn’t the consumer side of JBL, where party speakers are specced with Richter scale-troubling bass and jazzy RGB light shows; the EON One Compact is here to work, like Dolly Parton with a modest cup of amplification. But when you need to make an impact with your performance, how far can a £520 PA system really get you?
Image: Press
EON One Compact: Built to take bumps
There’s no attempt to disguise the utilitarian purpose here. The angular enclosure is a rugged shell built to survive the stage or booth, though JBL does offer an online configurator to personalise the black steel grille with your own graphics.
At 8kg, with a rubberised carry handle, it’s entirely portable with well-considered weight distribution. About the size of a 20-litre pedal bin, it tucks nicely into a car boot or cabin compartment at a squeeze.
The top panel is where things get interesting. Rather than burying controls in menus, JBL gives you direct physical access to gain, EQ and effects laid out clearly enough for mid-set adjustments. Each knob features a green LED ring for visibility in dim environments.
A built-in tilting tablet stand accommodates setlists, or the JBL Pro Connect companion app, and the system supports two orientations: upright as a PA, or horizontal as a floor monitor. Switch between them and the EON One Compact automatically adjusts its EQ tuning and LED indicators to match.
On the back, you’ll find a compartment for the removable 12-hour battery, while underneath there’s a built-in pole mount. Note, however, the lack of an IP rating, making it vulnerable during outdoor use amongst stray beers and diet cokes.
Image: Press
EON One Compact: Full of live features
At the core sits a full four-channel digital mixer that goes well beyond the basics. Each channel gets its own EQ and effects — reverb, delay and chorus — powered by Lexicon and dbx. For such a small, single-box system, that’s impressive.
Connectivity is equally comprehensive: two XLR/TRS combo sockets with phantom power, a dedicated 6.3mm high impedance input for instruments, 3.5mm aux, and Bluetooth streaming. Outputs include a headphone jack and a pass-through jack socket for daisy-chaining additional units.
Testing with a microphone produces minimal preamp noise, equating to balanced bliss. A handy ducking feature can be switched on to automatically lower background music when speech is detected — this feels completely natural while I’m calling last orders during a solo DJ set.
Bluetooth also serves as a control link for the companion app, handling deeper eight-band EQ, preset management, and simultaneous control of up to four units. It’s stable and practical rather than feature-rich, but responsive enough to trust mid-performance, offering remote operability if you’ve stepped away from the stage. A pair of USB 2.0 ports provides high-speed charging for devices.
Image: Press
EON One Compact: Finesse minus the fuss
Throwing the EON One Compact into varied situations, including home studio, booth monitor, guitar companion, and impromptu party starter, there’s little evidence of imposter syndrome.
The headline spec is 150 watts peak power with 112dB max level. An 8-inch woofer extends low-frequency response down to 37.5 Hz, nearly an octave lower than many competitors, and the low end is impressively full for a speaker this size.
It’s the midrange where the EON One Compact particularly shines. Vocals come through with clarity and consistency, well-suited to both music and speech. High frequencies are handled cleanly, maintaining detail without harshness. Even at higher volumes, the character remains composed, although the low end reaches a limit as you approach maximum output — an inevitable compromise with single-driver bass.
Battery life is rated at up to 12 hours, which is realistic in moderate use. The real advantage is the swappable battery; spares and an optional dual charger are available separately. Charging takes approximately 2.5 hours from flat, or around six hours while playing.
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Should you buy the JBL EON One Compact?
Buy if you’re a solo performer or mobile DJ who needs a genuinely integrated, portable PA that handles real-world, mixed use scenarios without external gear. The combination of a mixer with phantom power, instrument input, per-channel effects and swappable battery makes this one of the most complete single box solutions available.
Don’t buy if you want a lifestyle-friendly party speaker with monster bass, marathon battery life and weather resistance. It’s a professional tool that happens to be highly portable, not a Bluetooth boombox with aspirations.
At £520 it sits at the premium end of the compact PA market. Direct competitors include the Bose S1 Pro+, Mackie ShowBox, Yamaha Stagepas 100 and Electro-Voice Everse 8. For party speakers that blur into PA territory, the Marshall Bromley 450 and 750 offer vastly superior battery life and weather protection with integrated stage lighting, but forfeit the EON One Compact’s more serious mixing credentials.
If 1995 was dominated by gear that pushed artists to produce more, JBL PA systems made it easier by offering less. The EON One Compact continues to carry that torch by offering everything you need, and incredibly little you don’t, leaving you to concentrate on your craft and the crowd.
Key features

150 W peak power (Class D amplification)
8-inch woofer with bass response down to 37.5 Hz
1-inch tweeter
4-channel digital mixer with per-channel EQ
8-band output EQ via companion app
Built-in ducking for speech priority
Lexicon and dbx effects: reverb, delay, chorus
Pass-through jack output for system expansion
12 hours maximum battery life (swappable, tool-free)
Dual orientation: vertical PA/horizontal monitor (auto-detecting)

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Who will benefit most from SpaceX IPO? Mostly Elon — and a few from his inner circleElon Musk has the largest stake in SpaceX by billions of shares. The other biggest shareholders also have longstanding and deep ties to Musk.

FILM - TV - THEATER - GAMES: PROPS AND OPPS FOR MAY '26PROPS

There is still time to catch Sierra Madre Playhouse’s One Million Words – Rilke, a hit solo show created by and starring Ivo Müller, with performances on May 1-3. The production, inspired by the groundbreaking work of Austrian poet Rainer Maria Rilke, made its North American premiere in California as part of an international tour honoring the centennial of Rilke's death in 1926. Directed by Arieta Corrêa, the show follows both a present-day actor and a 19th-century poet as they explore themes of creativity, belonging, love, and human connection. Following its Sierra Madre run, the production will head to its U.K. premiere at the Edinburgh Festival Fringe. Contact Libby Huebner at libby@adlibpr.com for more information or visit sierramadreplayhouse.org for tickets. Photo credit: Priscila Prade

Andra Day

WhyHunger, a global nonprofit dedicated to ending hunger and advancing the human right to nutritious food, will host its annual Chapin Awards Gala on May 6 at Cipriani 25 in New York City. GRAMMY Award-winning singer/songwriter, activist, and actress Andra Day will be honored with the Harry Chapin Humanitarian Award for her dedication to social justice and philanthropy. Past recipients have included Barbra Streisand, Harry Belafonte, and Jon Batiste, among others. Day’s notable body of work includes a captivating portrayal of Billie Holiday in The United States vs. Billie Holiday—her very first on-screen acting role. The event will celebrate an organization that has connected 6.6 million people to food and invested $9.6 million in community-led solutions across 25 countries in the past five years. For more information, contact Luci Paczkowski at lpaczkowski@shorefire.com or visit whyhunger.org/chapinawards2026.

Music and game label Scarlet Moon has debuted Prescription for Pop, a crossover jazz series designed to bring a fresh sound to popular music. Composer and saxophonist Norihiko Hibino, renowned for his work on video games including Metal Gear Solid, Bayonetta and Yakuza, joined pianist AYAKI to form GENTLE LOVE. Following their Billboard-charting, 16-album run reimagining game and anime music as jazzy lullabies, the duo launched the new series with two albums dedicated to top 2025 and 2024 pop hits. Prescription for Pop: 2025 Hits and Prescription for Pop: 2024 Hits are now available, featuring highlights such as "Gone Gone Gone" and "Golden" from 2025 and "Too Sweet" and "Flowers" from 2024. Learn more at scarletmoon.com/sleep or by contacting Jayson Napolitano at jayson@scarletmoonpromotions.com.

OPPS

Young screen composers can have the chance to showcase their work through the World Soundtrack Academy’s annual Film Music Composition Contest. Registration is now open to composers under the age of 36, who have until May 15 to submit their work. The excerpt for this year's contest is from the 2020 horror television series Ratched. Get the competition guidelines and submit your work at worldsoundtrackawards.com/wsa-talent/composition-contest.

The Pacific Northwest Film Scoring Program's 2026 Film Scoring Competition—the program’s first ever—is now open, offering aspiring composers a chance to win a professional recording with a 52-piece orchestra. The deadline is May 17 to submit music to accompany The Walk Home, a short drama from filmmaker Jeremy Osbern. All the details can be found at pnwfilmmusic.com/score-competition.

If you’re interested in speaking at the 2026 Game Music and Sound Design Conference, proposals for talks will be accepted until May 10. Topics can be anything directly related to game/interactive audio. The event will be October 20-21 in Burbank with an option to attend virtually. Learn how to submit your proposal at gamesoundcon.com/submissions.The post FILM - TV - THEATER - GAMES: PROPS AND OPPS FOR MAY '26 first appeared on Music Connection Magazine.

Crypto PAC backed by Anchorage and Chainlink announces endorsements for 2026 midtermsFederal Election Commission filings showed only $175,000 in contributions to the hybrid PAC, which could influence US voters through media buys before key elections in several states.

L-Acoustics announces Source Intelligence for vocal isolation in live environmentsL-Acoustics has announced Source Intelligence, which is designed to isolate vocals and minimise bleed during live performances. Using machine learning, sound sources such as instruments, crowd noise or feedback from monitors can be filtered out while maintaining the singer’s voice. The function removes up to 40 dB of extraneous signal, which in turn reduces the risk of feedback.
The machine learning algorithm accomplishes this by continuously identifying the voice as different sources of audio enter the vocal microphone, removing what is not consistent with the constant tone and range of the singer.
“For decades, engineers have been solving the PA bleed and feedback problem with compromises like notch filters that color the sound, expanders that can be unpredictable, or staging layouts that pull performers away from the audience,” explains Ryan John, Director of Product Management, Software at L-Acoustics. “Source Intelligence removes that trade-off entirely. The machine is continuously listening and continuously working, so the engineer can focus on the mix instead of fighting feedback, and the performer can own the whole stage.”
This isolation essentially allows for studio-level intricacy during performances. Functions such as EQ and reverb will not be interrupted by other instruments or noise sources, allowing the live engineer to dial in the vocal based on their unique delivery and the current environment. With vocals a key aspect of pretty much every type of live performance, engineers throughout the industry have already lauded Source Intelligence:
L-Acoustics Source Intelligence GUI. Image: L-Acoustics
“Source Intelligence gives me a vocal sound like no other. It’s basically studio-quality vocals now, which changes the game completely,” says Joey Diehl, FOH engineer for Benson Boone.
“I’m very impressed with how much headroom it gives me. I was able to get crisp, clean vocals in any scenario — including very loud stage environments and actors in front of the PA,” says Cody Spencer, Tony Award-winning sound designer who used it on the Broadway production Dog Day Afternoon.
Source Intelligence is currently only available within the L-Acoustics L-ISA Processor II. Once installed, it integrates seamlessly into the L-Acoustics workflow.
For more information, head to L-Acoustics.
The post L-Acoustics announces Source Intelligence for vocal isolation in live environments appeared first on MusicTech.

Sliding-Screen Cyberdeck Has Chunky, Rugged Design[Jankbu] needed a new computer, but had little interest in purchasing a modern laptop off the shelf. Instead, it was time to build a cyberdeck with a neat modular design to suit his exact needs.
The heart of the build is a Raspberry Pi 5, which provides a good amount of computing power for regular tasks. It’s wrapped up in a 3D-printed enclosure with rail mounts on the back, along with a NOS 450 TKL mechanical keyboard, offering full-travel keys in a compact layout. The 10.1″ IPS touchscreen display is mounted on sliding rails to cover the keyboard when it’s not needed. A smattering of buttons live around the screen, in a manner akin to so many industrial controllers. On either side, the deck has large grab handles, with one side featuring custom horizontal and vertical scroll controls, while the other rocks a trackball.  Power is via NP-F batteries, which are more commonly used to run Sony camcorders.
Unlike so many cyberdecks, [Jankbu] didn’t just build the device to look cool—it also serves a practical purpose. It’s great for running Freecad, and the rail mounts on the rear make it perfect for mounting around the workshop during a job as needed. Files are on Github for those eager to learn more.
What’s fun about this build is that it’s not just a show piece, it’s something that gets used every day. That’s a testament to [Jankbu’s] well-reasoned design, that considered what the device was for before it was put together. We’ve featured plenty of other fantastic cyberdecks in the past, too. Video after the break.

L-Acoustics’ new L1 and CS1 line array speakers are here: “A genuine turning point in the live music industry”L-Acoustics, the France-based loudspeaker manufacturer, has introduced a powerful new line-array with two components: the L1 and the CS1. The L1 is the primary loudspeaker, and the CS1 is the cardioid subwoofer. Together, L-Acoustics says, they have broken “every performance benchmark” for large-format line sources.
The L1 and C1 line array, which has already toured with Bruno Mars, Harry Styles and Joker Xue, and is now a permanent fixture at the Hollywood Bowl, is built on L-Acoustics’ Progressive Ultra-Dense Line Source (PULS) technology,
The L1 has a significant concentration of transducers in each unit. There are two 18-inch low-cardioid (LC) transducers. These are mounted on the sides to push front energy while minimising the sound leaking from the rear. There are also four front-facing 15-inch low-frequency drivers, eight 8-inch mid-frequency drivers, and six coaxial 4-inch and 2.5-inch HF compression drivers.
This combination allows for immense volume, with each one reaching a maximum SPL of 160dB from 35Hz up to 20kHz. The CS1 extends the range down to 25Hz and provides 150dB of SPL. These numbers put the L1 at the top of its class based on size, kilogram, and square meter.
L-Acoustics L1 and CS1 line array at the Hollywood Bowl. Image: Press
“L1 represents the highest expression of power, bandwidth, and pattern control ever achieved in line array technology,” said Germain Simon, Director of Product Management, Loudspeakers at L-Acoustics. “We have broken every performance benchmark we set for large-format line source. L1 is a genuine turning point for the industry.”
The L1 and CS1 were also designed to manage low-frequency spill, also commonly known as sound bleed, which can be a real buzzkill at festivals. The side-mounted transducers emit 18 dB of sound within the 20-250 Hz range and 26 dB of sound below 80 Hz directly backward, keeping the majority front-facing in the audience.
Furthermore, within L-Acoustics Soundvision software, engineers can model speaker configurations to guide the sound to the ideal dimensions of the venue. This includes low-frequency beams and horizontal directivity.
Lastly, L-Acoustics refined the logistics of the L1 and CS1 to make transport and setup much simpler. Far fewer L1 loudspeakers are needed to deliver the power of the previous K1 models, which makes for fewer rigs, lifts, cables, and space taken up in trucks moving equipment to and from events.
For more information, head to L-Acoustics.
The post L-Acoustics’ new L1 and CS1 line array speakers are here: “A genuine turning point in the live music industry” appeared first on MusicTech.

Larrabee Studios Creator Series returns Led by 18x GRAMMY-winning mixing engineer Manny Marroquin, this year’s programme will take place between 11–15 August 2026, and will be offered at no cost to 15 emerging music creators from across the United States — it’s completely free, with all travel, lodging and meal costs included. 

Warner Music COO, Armin Zerza: Music is under-monetized, under-digitized, and ripe for ‘years of productivity’Zerza appeared at the JPMorgan Global Technology, Media and Communications Conference on Wednesday (May 20)
Source

Google Flow Music announces its first dedicated mobile appGoogle has shared a series of updates for its AI-powered music studio, Google Flow Music. On top of new creative functions, Google Flow Music will receive its first dedicated mobile app. It’s currently available on iOS with Android coming soon, and will be restricted to users 18-and-up. Google Flow, the AI platform focused on visual content, is receiving its own app as well.
Google said of the apps: “While the web versions remain the go-to platforms for access to all capabilities and features, the mobile apps provide flexibility to create on the go.” It was not made clear which features will be available on mobile as compared to the desktop version.

READ MORE: Behringer leaks more than a dozen unreleased synths, drum machines and controllers on website

In terms of the other new features for desktop, Google Flow Music will now allow for greater editing options, covering songs, and making music videos. For editing, the program has the ability to edit individual sections without altering the rest of the song. Select certain lyrics or beats and use prompts to update them within the larger piece of work.
The cover song function is simple and not too far from Suno’s cover song function. Once a song has been made within Google Flow Music, the cover function can convert it into different styles while still maintaining core elements such as lyrics and melodies.
To make music videos for songs in Google Flow Music, users will communicate with the AI model Gemini Omni, which essentially acts as a creative agent. Feed the song into Gemini Omni with instructions for the desired type of video, and it will take your direction to create the final product.
“Millions of creatives across a wide range of disciplines have brought their ideas to life using Google Flow and Google Flow Music in the last year,” Google writes in the press release. “We can’t wait to see what gets created with these new capabilities in creatives’ hands.”
For more information, head to Google’s blog post.
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SoliderSound releases Go-Splitter, a FREE stem separation app for macOS and Windows
From developer SoliderSound comes Go-Splitter, a free stem separation app for macOS and Windows. We’ve had a few stem separation tools come along over the last handful of years, especially since terms like neural networks have become a regular feature of conversations about audio software. Since LALAL.AI in 2021, we’ve had more recent additions, like [...]
View post: SoliderSound releases Go-Splitter, a FREE stem separation app for macOS and Windows

SLM Audio releases Gleo, a FREE dystopian-themed virtual instrument
Developer SLM Audio has released Gleo, a free dystopian-themed virtual instrument for macOS and Windows. Some of you may remember a plugin called Gait Runner from earlier this year. It was something a little different because it came with a distinct backstory all the way from the planet Symphagos. I mention it here because SLM [...]
View post: SLM Audio releases Gleo, a FREE dystopian-themed virtual instrument

From studio to stage: KSHMR at University of Southern California
KSHMR shared insights from his journey as an artist with the next generation of producers at the University of Southern California (USC).

AIR Music Technology Tape Effects CollectionTHREE ESSENTIAL ANALOG-INSPIRED TAPE EFFECTS The Tape Effects Collection combines Tape Saturator, Tape Echo, and Tape Double Track in one unified bundle. From added color and harmonic content to spatial depth and time-based modulation, each effect focuses on a different element of classic analog tape recording. Together, these effects capture the subtle imperfections, organic movement, and charming unpredictability that made analog tape a cornerstone of studio production. With modern features and functionality for a digital workflow, these effects give you a complete toolkit for adding authentic tape techniques to your MPC standalone or computer-based productions. These effects recreate the idiosyncrasies, modulation, and tonal shaping of real tape machines and expand their creative capacity with controls that simply weren't possible in the original hardware. What this means for producers is a collection of sounds that are unmistakably vintage yet easy to integrate into modern DAW and MPC-based workflows. Key Features Authentic Tape Behavior Each effect faithfully recreates the sonic traits of analog tape, including subtle pitch instability, harmonic coloration, and dynamic response that bring movement to digital productions. Intentional Unpredictability & Imperfection From gentle wow and flutter to more expressive, evolving modulation, the Tape Effects Collection captures the organic unpredictability that makes tape effects feel alive and deliberate. Flexible Alone, Better Together Each effect in this collection is made to operate on its own inside your workflow, but together all three effects form a cohesive tape‑processing chain that's perfect for adding warmth, depth, and motion across individual tracks or full mixes. Dedicated Controls for Creative Shaping Go beyond hardware limitations with precise control over saturation, modulation, delay timing, feedback behavior, and tonal balance, allowing you to tailor each effect to your mix. Integration with DAW & MPC Workflows Whether you're producing in a desktop DAW or working standalone on MPC hardware, all three effects are optimized for intuitive, hands‑on operation with consistent performance and responsiveness. Read More

Heavyocity release Oblivion Drums Aptly named Oblivion Drums, Heavyocity's latest release focuses squarely on aggressive drum and percussion sounds, and combines a generous collection of unapologetically processed samples with three powerful instrument modes.