Yamaha EMX512SC Powered Mixer Review

Greetings!

I mostly use powered speakers for gigs, as I my QSC K10s and K12s are loud and bulletproof, but for smaller gigs (i.e. karaoke parties) sometimes it is easier to not have to run extension cords to the speakers, so there is still a place in my world for an powered mixer with passive loudspeakers. This is why I am hanging on to my Yamaha EMX512SC mixer. You have certainly seen this same mixer being used by bar bands all over the world.

The EMX512SC is a 12-channel mixer, even though it only has 8 faders. In Yamaha math they count inputs with stereo channels twice, but either way, that is enough for whatever I am going to do with this thing. This mixer has dual 500 watt amps (max at 4 ohms), so it is plenty loud for most small to medium sized shows. It is a nice looking piece with a nubbly plastic case with built in handles, and it measures 18x12x11 inches, and weighs in at under 20 pounds. It is kind of a big box with a beveled edge on the back so it can be tilted up, or there are a couple of included plugs that keep it from tilting back if that is what you prefer. Those plugs always get lost.

The back of the mixer has an IEC power cable socket and a pair of output jacks, which include both ¼-inch and Speakon jacks.

The front side of the EMX512SC is a lot more complicated, but that is because it is chock full of features. The input channels each have a 3-band EQ, and there are 4 for monaural microphone (with phantom power and one-knob compression) or line input, and 4 pairs that can function either as monaural microphone inputs or stereo line inputs (2 with ¼-inch jacks and 2 with RCA jacks). There are also separate 7-band graphic EQs for both the main and monitor power channels.

Another neat feature is the power mode switch which allows the two amps to function in stereo, or as separate mono channels for mains and monitor. And one of my favorite features is the surprisingly useful knob that controls 16 SPX digital effects including reverb, echo, chorus, flanger, and phaser. The effects knob has its own level control and ON/OFF switch.

I run the EMX512SC with my low-tech Yamaha A12 loudspeakers, and this combo is definitely up to the task. This set-up has a warm sound that I never have found with the QSCs, and there are surprisingly good bass and mids for 12-inch speakers. This whole thing gets plenty loud without distorting - I consider Yamaha to be a solid brand, and these speakers meet my expectations every time. BTW, all I use are Yamaha mixers, and they have never let me down.

I believe this model has been discontinued, but if you vcan find one the Yamaha EMX512SC powered mixer sells for around $599 new each from most online sellers, and around $400 used. It sounds good, has good power output and features, and is plenty durable. What more could you ask for?

Mahalo!

Review: Yamaha A12 2-Way Passive Loudspeakers

Howdy!

I mostly use powered speakers for gigs, as I really love my QSC K10s and K12s, but for smaller gigs sometimes it is easier to not have to run extension cords to the speakers, so there is still a place in my world for passive loudspeakers. This is where the Yamaha A12 PA speakers come into my story.

The Yamaha A12s are 2-way passive speakers with a 12-inch woofer and a 1-inch diaphragm titanium high-frequency horn. I have no idea what the cabinets are made of as they are covered with fuzzy black carpet, but at this price point I suspect they are made of MDF. They are relatively light at 35 pounds each, and thy measure 16 x 23 x 13 inches. There is only one handle on these, a recessed unit on the top, so they are not entirely easy to wrestle onto speaker stands.

Spec-wise, they are 8 ohm speakers that are rated at 300W continuous / 500W peak, with a frequency range of 65Hz-20kHz, and a maximum of 125dB. Around back you will find ¼-ich and Speakon jacks, and not much of anything else.

I run the A12s with my old-school 500-watt Yamaha EMX512SC mixer, and they are certainly up to the task. They have a warm sound that I cannot really get with the QSCs, and they provide surprisingly good bass and mids for 12-inch speakers. And, of course they get plenty loud without distorting - I consider Yamaha to be a solid brand, and these speakers meet my expectations every time.

The Yamaha A12 loudspeakers sell for around $230 each from most online sellers, and they are a great deal. They sound good, have good power output, are durable, and will get the job done. Why kick a winner?

Mahalo!

Ultimate Support TS-100B PA Speaker Stand Review

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A lot of products sound too good to be true, and when I first heard about the Ultimate Support TS-100B speaker stands that is exactly what I thought. These stands are hyped that they will actually lift your PA speakers up to magical heights with little to no effort. After trying them out, I can say that these things actually work!

I have used and owned Ultimate Support stands before and they have always worked well for me, so I should not be surprised. On first glance, these are fairly typical tripod speaker stands, with 1.5-inch aluminum tubing and a durable black anodized finish. This model adjusts from 40-inches to 79-inches, and the base ends up being about 4 feet across, with a load handling rating of 150 pounds.

If you look a little bit closer, you will find that the clamps are unusual as they are not the usual crummy plastic that most stands use. These are made of metal, which is really handy as these are the parts I have broken most on my speaker stands.

But the real magic is the “Air-powered” unit inside which actually lifts the speaker up for you. It is really quite simple: set the stand up as you normally would at its lowest setting, horse your speaker onto the stand, and turn the release knob (also metal, by the way). If your speaker is under 50 pounds, it will rise all the way up to 6 feet 7 inches all by itself. If your speaker weighs more you will have to give it a little help, but it will be nothing like the good old days when it was your muscles doing all the work. Then crank down the knob and you are good to go. Take down is exactly the opposite: just turn the knob and the speaker will come back down, though if it is under 50 pounds you might have to pull a little bit – again, no big deal, and much safer.

These things are awesome, and I am never buying a cheap speaker stand again!

The Ultimate Support TS-100B is sold in a 2-pack from discerning online suppliers for $150, and this includes the Ultimate Support Limited Lifetime Warranty. Should you need to go higher, there is also the TS-110B (which goes up to a bit over 9 feet), and there is also the TS-110BL with the super innovative leveling leg – I will be writing more about that one later. Check these things out if you get the chance!

Mahalo!

Pyle-Pro PPHP103MU Powered PA Speaker Review

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I have plenty of big and powerful PA equipment, but it is expensive and is not exactly the kind of stuff I want to be loaning out or letting out of my sight. Recently I got a few Pyle-Pro PPHP103MU powered PA speakers, and for the money they seem to be pretty capable and easy to use.

You may remember Pyle as the company that made those mediocre yet big, thumpy, and cheap car speakers back in the 1980s. Well, it turns out that nowadays they crank out mediocre yet amazingly low priced pro audio equipment that is generally good enough to get the job done.

The Pyle speakers we are looking at today are reasonably-sized and easy enough to tote around. They have blow-molded ABS plastic cabinets that measure around 12 x 22 x 15 inches, and they only weigh about 22 pounds each. There are also handles molded into the sides and top that make it a little easier to hoist them onto speaker stands, and there is a 35mm socket in the bottom of the cabinet. Also, they are shaped so that the speakers can be laid on their side to use as floor monitors.

These are powered speakers, so there is no external amplification needed, but how much power they actually put out is kind of a mystery. Pyle rates them at 800 watts peak / 400 watts RMS, and Amazon rates them at 600 watts peak / 300 watts RMS. I am more inclined to believe the lower numbers, as these things are not deafeningly loud. This power is routed through a 10-inch woofer and a 1-inch titanium driver tweeter. Depending where you look, the frequency spec number are almost as murky, with lows down to either 40 or 45 Hz and highs up to 20kHz, with a crossover at 2.0 kHz.

There is plenty of stuff going on around the back side of these speakers, and a casual user could easily get away without having to use a separate mixing board. There is a channel with an XLR input and a ¼-inch jack, and another with an XLR and RCA inputs. Both of these have their own level controls, but no dedicated EQ or gain knobs. Master controls are treble and bass cut knobs, and a master volume knob. There is also a ¼-inch line out for your other speaker, a power switch, the 110V/220V selector switch, and an IEC power cable socket.

Then there is a completely separate third channel for all kinds of electrical junk. There is a 1/8-inch input jack, an SD card slot and a USB port with an LCD display and controls so that MP3 files can be played back. This channel has its own level control, too. The USB port acts as a charger port, and it is possible to use this unit to record your performance directly onto a flash drive or SD card as a .wav file. I have not tried that feature, so I do not know how well that actually works.

But the rest of the features on the Pyle PPHP103MU speakers work fine. They are light and easy to set-up, and I was able to (over the phone) walk a friend through getting everything plugged in and it worked fine when she was done. They have reasonable power output, and a pair of these would do fine for karaoke or a small house party. Anything more than that (big room or loud band), and the these cabs would have to strain to keep up. The XLR inputs do not seem to have phantom power, so condenser mics will be a no-go here.

They seem to have about the same build quality as all of the other plastic entry-level speakers on the market, so they should be durable enough for casual use, but you would not want to take them on tour. I have loaned them out a few times and they came back no worse for wear, so that is a good sign.

The best thing about the Pyle-Pro PPHP103MU powered PA speakers is that they are dirt cheap. They have a list price of $420.99, and nobody on the internet is charging more than $150 each for them. At that price, if you get a dozen gigs or parties out of them you have gotten more than your money’s worth.

Mahalo!

Alesis TransActive Wireless Portable Powered Bluetooth Speaker Review

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Sometimes you do not need a full-blown PA system when doing a small gig, such as in a coffee shop, classroom, or a small party. Unfortunately, a lot of the all-in-one speaker options end up being little more than a toy that are suitable for little mote than something for kids to mess around with for their karaoke. The Alesis TransActive Wireless speaker is a pretty good options that falls somewhere in between these two extremes.

You probably remember Alesis as the company that brought us the Qudraverb and other cool live sound electronics back in the 1980s. They have expanded their live considerably to include all kinds of products, including powered speakers. The TransActive Wireless is one of these, and it has just about everything under the kitchen sink crammed into it.

For starters, it is very portable, as it is a little smaller than a carry-on suitcase (15” x 11” x 17”), and it only weighs around 28 pounds. The similarities do not end there, as there are recessed wheels and a telescoping handle so it is really easy to drag to gigs. The cabinet seems fairly sturdy, so it will probably hold up well over time. There is a 35mm socket in the bottom of the cabinet in case you want to put it on a standard speaker stand.

Inside, there is an 8-inch driver with a 1-inch tweeter, and the amplifier is rated at 25 watts continuous/50 watts peak. Also, there is a built-in rechargeable battery, which Alesis says is good for up to 50 hours of performance time. I have never run it that long, but it is definitely good for a 3 or 4-hour gig or party. Of course it will run forever if you leave it plugged in with the included detachable IEC 110 volts cable. By the way, it takes about 6 hours to charge the battery.

The control panel is located on top of the cabinet which is fine if you have it sitting on the ground, and not so great if you have it stuck on a speaker stand. The inputs and controls are simple yet versatile, with a master volume and two channels: one with an XLR input and one with a ¼-inch input. They each have their own level controls. Also, there is a third input/level control for a 1/8-inch jack or Bluetooth. You heard that right – there is built-in Bluetooth so you can sing along to music from your phone, tablet, or laptop. Pairing it is super easy, as it is always looking for a device to connect to.

Also on top of the unit is a dock that you can set your device into and a USB charger (5 watts/2.1 amps), which is really handy. On the side of the TransActive is the power switch, an IEC power cable socket, and an LED battery indicator.

What does it not have? There are no EQ controls or vocal effects included, and there is no aux out so you will not be able to connect it to another speaker.

So, this Alesis unit has almost everything on it, and it works surprisingly well. It puts out decent volume, and if you want to do some vocals along with tracks, or maybe with a guitar or keyboard you will be in good shape for small gigs or practice out in the garage. It would be perfect for a large conference room or a small meeting room so a presenter can be heard well. It would not be appropriate for use with a band or in a room that sucks up a lot of sound. 25 watts is not that much, you know.

The big question remains unanswered, and that is, “How well will this hold up over the long run?” This is not a very expensive speaker and it has a ton of features, so chances are they did not use high-quality components for any of it. You can replace a blown speaker easily enough, but if you have an amplifier goes out, the rechargeable battery go bad, or the Bluetooth electronics crap out,this thing might end up in the trash. If you add up parts and labor, you are going to go over the purchase price of this speaker very quickly. I think these come with a one-year warranty, but I cannot find anything in writing, so buyer beware.

And the purchase price is the most alluring thing about the Alesis TransActive Wireless. This unit has a list price of $299 and a street price of $199, which is dirt cheap. I think it is worth taking a chance on if you really need all of its features. But keep in mind there are a lot of powered speakers out there in this price range. They might not have Bluetooth, wheels, or a rechargeable battery, but they do have multiple inputs and gobs more power – 400 watts is the norm. So, figure out exactly what you need before you buy!

Mahalo!

On Stage Desk DS7200B Microphone Stand Review

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I have written about some pretty dull stuff on Rex and the Bass, and this post might be right up there with the worst of them, but I thought I had should say a few words about the On Stage desk microphone stand. Boring as it may be, if you are doing any PA announcing or are running a meeting where you need a desktop microphone, this thing is indispensible.

This stand is available in black or chrome, and is adjustable from 8 ½ to 13-inches tall. It is sturdy with a solid metal 6-inch diameter base so it has plenty of ground-hugging (table-hugging?) weight. The stand unscrews from the base, so it can be knocked down a little smaller for transport, but I usually leave mine assembled.

I have used this one with my Shure Beta SH55 and SM 58 microphones, but usually use it for my iPad holder that I use for DJ gigs. It does not get off balance, and the screw grip for adjusting the height stay rock solid once it is tightened down.

I have also used it for mic-ing speaker cabinets and it is nice that it has a smaller footprint than full-sized boom stands, so it is less likely to get knocked over on crowded stages. One thing for sure is that it provides a professional appearance and makes most any set-up look tidier.

If you do any live sound work, I recommend that you have one or two of these on hand. Most online sellers seem to carry the On Stage DS7200B desk microphone stands at most online everywhere, and the list price is $22.99 with a street price of around $12.95. You really can’t beat this value!

Mahalo!

Yamaha MG06X Mixing Console Review

Howdy!

I have tried out more than enough mixing boards over the years, and eventually settled into the Yamaha MG series of boards as they are reliable, easy to use, and relatively cheap. So I was understandably excited when Yamaha introduced new MG models with upmarket modern features. Today we are going to look at an all-new model, the analog MG06X. It is a nice piece of gear!

I have a few different mixing boards, depending on what job I am doing, and the MG06X is the smallest of the bunch. How small is it? It measures 6 x 8 x 2 1/2 inches, and it weighs only 2 pounds. It feels solid though, thanks to its metal chassis (the old series was plastic), and it seems like it will hold up well in the long run. One godsend is that they got rid of the terrible dedicated power cable with the huge transformer (that weighed as much as a mixer) and went to an onboard power supply. The new-style power cord has a small wall wart and can be replaced at an electronics store if you get in a jam.

This board is useful in situations where I need just a few microphones and/or want to run an iPad or CD player through my powered speakers. In my world it ends up being used for awards shows, picnics, school dances and karaoke parties -- it even makes for a nice headphone practice amp for my guitars and keyboards.

Most of the basics are there, such as EQ functions, a headphone out, switchable phantom power for two of the inputs (channel 1 and two are combination XLR/TRS), and balanced XLR and 1/4-inch stereo outs. Unfortunately a few things disappeared from the previous entry-level MG-series mixers, including the effects loop, compression, the monitor outs, and the mids for the EQ.

Like all Yamaha mixers, they play a little trickery with their specs. They call this a 6-channel unit, but is you look at it 4 of the channels are the 2 stereo inputs that are only controlled in pairs. Sounds like 4 channels to me, but since I have owned other Yamaha mixers, I knew this before I bought it. Also, these extra inputs are all unbalanced ¼-inch and there are no RCA jacks, but there are plenty of adapters out there (or it is time to buy new cables). Some dealers are advertising USB connectivity, but there is none. Always check with the manufacturer…

What sets the MG06X apart from the competition is its nice array of SPX effects. There are a total of six reverb and delay effects, and they all work pretty well. These are just the ticket for churching up coffee house or karaoke gigs. It almost makes it seem like untalented people can sing!

I have used it for a few parties and small gigs and have been happy with the sound. The two microphone channels have D-PRE class A microphone preamps, and they also have pad switches in case you need them. The op-amp has a very clear tone and does not color the sound at all. Also, if you do not go overboard with the effects they can be a nice supplement to your mix.

Extra bonus features for channels 1 and 2 include high pass filters to help tame muddiness from unwanted low frequencies, and pad switches to tone down loud inputs. This is handy for the drunk people that shriek into the microphones at karaoke parties.

It is a bummer to not have any options for monitor output, no compression, and no mid EQ controls, but if you need that much flexibility you are probably going to buy a bigger mixer anyway. Sliding faders and mutes switches also would have been nice, but at this price point I am happy enough with the knobs that they provided.

By the way, this mixers can be mounted to a microphone stand if you purchase the optional BMS-10A adapter kit. With its metal chassis you might be able to bang this around, and if you do not need a powered mixer, monitors, computer connectivity or a bazillion input channels, this would be a great mixer for the money.

The Yamaha MG06X has a list price of $159 and a street price of $119. This is a bit more than the slightly larger old-style MG102C that I still have, but having the effects and a sturdier chassis make it worth the price differential, especially for karaoke. If you are doing small shows, it is definitely the pick of the litter.

Mahalo!

BBE 282iX Sonic Maximizer Review

Aloha!

There have been lots of bad things that have been said about BBE Sonic Maximizers, and I do not disagree with much of what is said, but that does not keep me from using them on a regular basis. Guess what? Lots of other people do too! So, today we are taking a look at my BBE 282iX Sonic Maximizer. Please remember that I am a musician and a sound guy, not a scientist, so cut me some slack…

These things are hyped and marketed as a magic tool that will make anything sound better: live music, pre-recorded music, individual instruments, recording and mixing. BBE can deliver on many of these promises, at least to some degree.

But what is a sonic maximizer? It is not an aural exciter because it is not synthesizing new sounds, rather it is changing the phase of the input signals and then limiting them. Effectively this makes the bass boomier and the treble more sizzly. Or something like that. It is like having a distortion box and a compressor pedal all in one unit with almost no controls.

From my research, this appears to be a relatively simple analog process that can dynamically boost the treble based on how much midrange energy is in the input signal. The signal chain includes an input buffer that is routed to a level detector, as well as to the low, mid and high bands. The user can regulate the phase controlled treble frequencies with "Process" knob and the phase controlled bass frequencies with the "Lo Contour" knob. Then all three of these signals are mixed in a summing amplifier and routed to the output. For the 282iX, the maximum boost adjustment will be +12dBu at 5kHz for the Process knob, and +12dBu at 50Hz for the Lo Contour knob, with a total maximum output of +20dBu. The total frequency response is 5Hz to 30kHz.

This is a desktop model, so it is perfect for those who do not haul around a rack, such as DJs. It only weighs a couple of pounds and it measures about 10.5 by 8.5 by 2.5 inches. It has a nice looking black chassis and beefy silver knobs. Sort of an Oakland Raiders theme, I guess.

The 282iX has simple inputs/outputs and controls. On the back there are balanced XLR ports for the inputs and outputs for both channels, as well as the power switch and the socket for the 12V power supply (included). On the front there is a bypass switch and the Lo Contour and Process knobs. There is only one set of knobs that is used by both channels, unlike some other BBE products. That is it. If you cannot figure out how to hook this thing up and use it, you have chosen the wrong hobby or business.

BBE Sonic Maximizers are almost universally reviled on guitar forums. Guitarists complain that they are tone sucks and a waste of money. I am not going to argue with them, and would not put one of these in my guitar signal chain because it would alter my tone. A decent equalizer will provide many of the same benefits without changing the tone.

These units can help in the studio to somewhat make up for poor microphone placement and production. They can make bad recordings sound surprisingly good, and can really perk up the drum tracks. But they can make the instruments sound unnatural. I would only use one in the studio as a last resort.

The Sonic Maximizer really comes into its own for live performances. It can make the bass guitar and vocals (especially female vocals) cut through the mix better. Sounds that are dulled by playing outdoors or in bad rooms can really be perked up. But again, be careful how much you dial this thing up because it can get out of hand pretty quickly.

But in my opinion, the best use of the Sonic Maximizer is when playing pre-recorded music through a PA system. This is especially true when you are doing DJ work and somebody hands you an iPod or a CD that they ripped and it just sounds terrible. There is a lot of magic in adding in a little delay and compression, and it will make these recordings sound the best they can. And DJs, if you do not believe me, read this next sentence:

THERE IS A GOOD REASON WHY EVERY GENTLEMEN’S CLUB IN THE U.S. HAS A BBE SONIC MAXIMIZER IN THEIR SOUND SYSTEM. Everybody and their brother wants their DJ system to sound like the PA at a strip club.

But I must warn you, if you overdo it, it will kill your tone and headroom. Keep comparing the tone with the bypass ON and OFF to make sure you are not getting too far off into the woods. It is entirely possible to make your mix sound way worse with this thing.

When I use mine it comes after the mixer and is the last step before the signal goes into my powered QSC K-series or Yamaha DSR speakers. Set-up does not get much easier than this. I have had great luck with the Sonic Maximizer, and I will not go to a gig without it.

The282iX I got is nicely made, and the knobs have a nice feel to them.. I have not had any troubles it and do not anticipate any difficulties, but if I do BBE backs it up with a 5-year warranty. That provides a little peace of mind.

The BBE 282iX Sonic Maximizer has a list price of $299, and a street price of $199. I checked Musician’s Friend and they have them on sale for $79.99 right now which is a smoking deal, and brings them into the realm of affordability for most of us. Check one out if you get a chance, but make sure you understand what you are getting, and don’t overdo it.

Mahalo!

Yamaha DSR112 Powered Speaker Review

Howdy!

When it comes to PA systems, Yamaha has always been a strong contender. They have found their niche in the middle of the road, selling quality products at reasonable prices, and bridging the gap between high-dollar equipment and low-rent crap that is more of a hassle than it is worth. I am a fan, owing a half dozen Yamaha mixing boards, as well as the fine DSR112 powered speakers that we are looking at today.

The Yamaha DSR112 speakers are a miracle of modern engineering and technology, combining the speaker and amplifier into a tidy and affordable package. These are the smallest cabinets in the DSR line-up, measuring 26” by 15” by 15” and weighing a stout 47 pounds each, and they have a neat triangular shape to the rear so they work well for floor monitors. They are made of solid wood (no plastic) and are coated with black Line-X that appears to be indestructible. The speaker grills are made of black powdercoated 16 gauge steel. There is a standard 35mm pole socket on the bottom as well as three M10 threaded mounts in case you want to hang them from a truss or ceiling.

Each loudspeaker includes two integrated power amps (850 watts for the woofer and 450 watts for the tweeter). The amplifiers are class D (efficient, cheap and small), and run cool enough that no fan is needed. The DSR112 is loaded up with a 12-inch neodymium magnet speaker with a 3-inch voice coil, and 2-inch titanium diaphragm tweeter (also with a neo magnet). This results in a frequency response of 55Hz to 20kHz. When cranked up they are capable of punching an astonishing SPL of 134dB. Ouch! By the way, the crossover is fixed at 1.7kHz.

As far as hooking these cabinets, it is pretty simple with XLR and ¼-inch inputs and an XLR out. Other things to be found on the back panel are a level control knob, a line/mic switch, plus HPF and D-CONTOUR switches (more on this below). There are no RCA jacks, which is something that QSC managed to include on their K and KW series speakers. An IEC-spec power cable socket specced for this speaker, which appears to be the standard for all of the powered speakers I see on the market.

Yamaha integrated some user-friendly basic digital processing controls into their DSR-series speakers, including HPF and D-CONTOUR. HPF is a high-pass filter cuts frequencies below 120Hz, so you would only use this if a subwoofer was hooked up or if a microphone was directly plugged into the speaker. D-CONTOUR boosts high and low frequencies based on volume with the purpose to make for a more listenable experience. Both of these features have ON/OFF switches, and I rarely use the HPF, but do find that the D-CONTOUR give a neat disco/club effect.

These specs and features are all first rate, and they all come together in the real world as a package that really works. The Yamaha DSR112 speakers have a huge sound, and blow away my K12s, both with volume and tone (which is more natural and meaty). Despite their huge volume capabilities they are still clear and punchy, and can be louder than any guitarist I have found. They are very even across the frequency range, and I have not found any hot spots. This is a winning combination!

I have very little to complain about with the DSR speakers. I wish that there were RCA jack inputs so I could hook an iPod directly up to the speakers for casual use, and a ¼-inch out would be a handy feature too. Other than that I am happy with these just the way they came from the factory.

Yamaha does sell a matching subwoofer, the DSR 118W, but I have not had a chance to try one yet. Stay tuned…

The Yamaha DSR112 active loudspeakers are great performers and are priced competitively with similar products from JBL and QCS. They have a list price of $1499 each, which translates to a street price of $999, which includes a 5-year warranty. Also, there are some of these on clearance right now, so you might be able to knock a few hundred bucks more off. Check them out if you get the chance!

Mahalo!

QSC K12 Powered Speaker Review

Howdy!

When I go to clubs and shows I still see oodles of JBL speakers, but the past few years I have started to see a lot more of the QSC K series loudspeakers. I am a fan of these self-powered units, and currently am using two Ksubs, 4 K8s and 2 K12s. We are going to look at my K12 speakers today.

The QSC K12 speakers are one of the miracles of modern engineering and technology, combining the speaker and amplifier into a tidy and lightweight package. The come in at a surprising 41 pounds each, including an integrated 1000-watt (2000 watt peak) power amp and an on-board variable-speed cooling fan keeps the temperatures under control.

The amplifier is a class D (efficient, cheap and small) assembly, with 500 watts going to the 12-inch driver, and 500 watts to the 1 ¾-inchhigh frequency driver. It has a variable power supply from 100 to 240 volts, and both US and Euro spec connectors are included.

Though this is the biggest of the K-series, the enclosure is still relatively small: 24-inches tall by 14-inches wide by 14-inches deep. It is made of ABS plastic, and there is a heavy-duty steel speaker grill. Recessed aluminum handles are built into the top and the side, and the cabinet is shaped so it can be put on its side to be used as a stage monitor. QSC also provide threaded sockets all over these speakers so they can be used in permanent installations with truss clamps or cables. O, for portable use there is a standard-size speaker stand socket in the bottom that tilts up to 7.5-degrees so you can adjust the speaker angle

There are plenty of input options, including combination XLR / 1/4” sockets, as well as RCA jack in case you would like to hook up an iPod or CD player without using a mixing board. There are also line and mix level XLR outputs if you wish to hook up more speakers or a subwoofer. There is a great subwoofer option, the Ksub, which I have written about before.

There are also quite a few controls on the back of these speakers. You get two gain controls, as well as two digital signal processing options for low frequency (Ext Sub/Norm/DEEP) and high frequency (Flat and Vocal Boost).

These specs and features are all first rate, and they have a frequency range of 48 Hz to 20 kHz, and a deafening peak output of 131 dB. This all comes together in the real world as a package that really works. The bigger drivers fill in gaps that my K8s cannot, and they are still clear and punchy, and can be louder than any guitarist I have found. They are very even across the frequency range, and I have not found any hot spots.

These are quality-made speakers, and QSC stand behind the K Series with a 6-year transferrable warranty, which is the best I have seen on any power speakers. Just make sure that you register them with QSC, or you are S.O.L. I never register any products, but I make an exception with QSC because their warranty is that good.

The list price for the QSC K12 powered loudspeakers is $999 each, with a street price of $849. On occasion they go on sale, or B-stock units become available, which gets the price about 100 bucks cheaper, so that is the time to buy. But, even at their normal price, with their sound, size, weight, power capability and warranty, they are worth every penny.

Mahalo!

Yamaha MG 102C Mixer

Greetings!

A while back I was looking for a new mixing board to use with my QSC powered PA speakers. I needed something that I would use mostly for DJ situations, and maybe a little band use. The decision to get the Yamaha MG 102C was easy.

My requirements are not exactly over-the-top. I need at least 4 microphone/XLR channels (with switchable phantom power), as well as RCA inputs, speaker out, recording out, and a headphone jack. That is about it, really. No fancy effects or flashing lights.

Well, the MG 102 C has all of that stuff. Some bonuses are a usable compression feature (on two channels), an effects loop, and separate monitor and stereo outputs.

Looking at the specs on this mixer, I have one little gripe. Yamaha calls this a 10-channel mixer, which is technically true, but take a closer look at those inputs and controls. They are counting the 4 stereo inputs as 8 channels, but they are only controlled in pairs. Sounds like six channels to me. It is a cheesy way to market it, but I knew that when I bought it.

So far I have used it for 2 DJ gigs and for the band at my house party. The sound output is clear without added hum or noise. I have not had any problems with it yet, or found that it will not do anything that I ask of it. Sliding faders would have been nice but at this price point, I am happy enough with the knobs.

Oh, and the price point is the best feature, which I have saved for last. The Yamaha MG 102C is incredibly cheap with a list price is $129.99, and a street price of $99.99. Wow!

It also comes with a 1 year limited warranty, and Yamaha customer service is great. If you do not need a powered mixer with a metric ton of channels or effects, this board is a great buy.

Mahalo!

QSC KSub Powered Subwoofer

You probably figured from my last review that I am pretty happy with the performance of QSC’s K8 loudspeakers. With their small size, it is not surprising that they are a little light on bass performance, which is where the QSC Ksub subwoofer unit comes into the game.

The Ksub is also a powered speaker assembly, using a built-in 1000-watt (2x500 watt) power amp. This class D amplifier powers two 12-inch drivers. The amplifier is cooled by an on-board variable-speed fan. The speaker uses a variable power supply (100 to 240 volts), and US and Euro spec connectors are both included.

Of course, the Ksub is the biggest and heaviest part of the PA system. The enclosure is 26-inches tall by 114-inches wide by 28-inches deep. It is made of birch plywood with a textured black finish. To ease transport, it has non-removable casters and nice recessed aluminum handles. This is important, as it weighs in at 74 pounds, or 33.6 kilograms (but the metric system will never catch on).

The Ksub has a 2 combination XLR/1/4” socket inputs. Also, there are a few controls, including a gain potentiometer, and a digital signal processing option switch for normal or deep modes. There is a polarity switch, in case you run into some noisy voltage. And lastly, there is a connector where you can attach a remote gain control. I could see cases where this would come in pretty handy, particularly when trying to get the speakers to blend in with each other.

The QSC folks came up with a nifty threaded socket on top of the enclosure where a speaker pole (included) can be attached. This makes for a tidy PA package, and eliminates the need for carrying around more bulky speaker stands.

As with the other QSC K-Series loudspeakers, the warranty for the Ksub is 6 years, which provides plenty of peace of mind.

The Ksub completes the package when coupled with the K8 speakers, and really kicks this mother out. It has a frequency range of 44 Hz to 148 Hz, and a peak output of 130 dB. With the separate gain contol, you can blend it well with the output of the main speakers.

The list price for the Ksub is $1199, with a street price of $1049. This is not much of a discount, and seems a little like price-fixing to me. Regardless, these are a great addition to the K8 (or K10 or K12) speakers, and it is worth your time to check one out.

QSC K8 Powered Loudspeakers

Remember the good old days, when you wanted the largest speakers you could find, because bigger was better? QSC’s K8 loudspeakers prove that this theory is as dead as Chief Gates.

The QSC K8 speakers are a miracle of modern engineering and technology. The come in at a mere 27 pounds each, including an integrated 1000-watt (2000 watt peak) power amp. An on-board variable-speed cooling fan is included as well.

The amplifier is a class D (lightweight!) unit, with 500 watts going to the 8-inch driver, and 500 watts to the 1 ¾-inch driver. It has a variable power supply from 100 to 240 volts, and US and Euro spec connectors are both included.

The enclosure is small: only 17-inches tall by 11-inches wide by 10-inches deep. It is made of ABS plastic, and there is a heavy-duty steel speaker grill. A recessed aluminum handle is built into the top.

There are plenty of input options, including combination XLR/1/4” sockets, as well as RCA jacks, in case you would like to hook up an iPod or CD player without using a mixing board. There are also line and mix level XL outputs if you wish to hook up more speakers or a subwoofer. There is a great subwoofer option, the Ksub, which I will be writing about in my next blog post.

There are also quite a few controls on the back of these speakers. You get two gain controls, as well as two digital signal processing options for low frequency (Ext Sub/Norm/DEEP) and high frequency (Flat and Vocal Boost).

For mounting the speakers, there are a couple of cool options. The standard-size speaker stand socket in the bottom actually tilts up to 7.5-degrees so you can adjust the speaker angle. Also, there are threaded sockets on the top and sides of the speakers so they are easier to mount with cables, should you decide to hand them from the ceiling (or a truss, or a tree...).

QSC stand behind their products with a 6-year warranty, which is the best I have seen on any power speakers. Just make sure that you register them with QSC, or you are S.O.L.

So, on paper these speakers look like the best thing since canned beer. They have a frequency range of 61 Hz to 20 kHz, and a peak output of 127 dB. And the real world it all comes together and these things actually work. They have small drivers, so they are little light on bass performance, but they are clear and punchy, and can be as loud as a steel foundry that is stamping out the gates of Hell. They are very even across the frequency range, and I have not found any hot spots. They are the real deal.

The list price for the QSC K8 is $759 each, with a street price of $649. But, with their sound, size, weight, power capability and warranty, they are worth every penny.