Road Tests

Sometimes a piece of gear comes along that looks kind of cool, but you look at the modest price and think “What’s the catch?” Most of the time there are several catches. Not this time…

Sometimes it is hard to figure out how to write about a company even when they make a really good product.

KSC Industries has been around for a long time, but chances are that while you have used their stuff, you have never heard of them. That’s because they are an OEM company. They make stuff that other companies put their names on and sell as their own. In fact, we are using stock photos here because I had to take care not to shoot someone else’s box while working with this new system. Again, OEM companies are very discrete about who their customers are or they don’t last long, and KSC has been around for 37 years.

On first impressions, the APB DynaSonics mixing console cosmetics appear 1960’s retro with the tan paint job. However, you have to be blind to not notice the colorful control surface features upon that tan surface. I was able to acquire the APB DynaSonics ProRack-House compact mixing console for this road test review. It boasts a remarkable density of features stuck in a 10-rack space form factor.

Aphex HeadPod, TC-Helicon VoiceTone Correct and Radial JDX

I have always thought of gear as falling into one of three basic classes. First is the big stuff that soundcos get judged on (i.e., stacks, racks and consoles). Next comes the less pricey, smaller stuff that goes a long way in defining a soundco’s “flavor.” This is stuff like processors, EQ, comps and mic selection. Finally, there are the small “secret weapons” that can sometimes save a gig and fit in your briefcase. Here are three such armaments.

When I first heard that QSC was going to offer a “low cost” audio power amplifier, my first instinct was how much lower from the RMX models could they go? Then they mentioned that they will adopt the new PLX2 cosmetics and limit the recommended load impedance to 4-ohms and up, and a “great idea” light bulb lit up in my head. And when QSC management said the amplifier would suit MI users and “oldsters” like me, I knew something good was afoot.

As the use of personal monitoring systems has become more common, we have watched the price of earpieces come down substantially. You can get universal-fit models that rival the sound quality of customs that once cost more than a grand and can even find some custom fits for about ¼ of what was once the “standard” cost. While that has been happening with the earpiece side, the wireless transmitter/receiver part of the equation has remained pretty resistant to price reductions. Yeah, there have been some downmarket models introduced, but even those are fairly pricey and the “rider-able” ones remain in the “more than a grand per” category.

Community Loudspeakers is an under-sung hero of the live sound world compared to other brands. Even though Community’s Bruce Howze and staff have lent many innovative features to install and portable speakers, too, many people forget about the advances they have brought us over the years. It’s nice to root for an industry “underdog” when they bring forth a new series of speakers.

The Gear

Built in Mount Juliet, Tenn., LiveWires personal monitors feature dual-balanced armatures (tweeter/woofer), a published frequency response range of 20 Hz to 18 kHz and a sensitivity of ~126 dB/mw at 1 kHz. Depending on the accuracy of the impressions, the isolation range is between 25 and 28 dB with distortion less than 0.3%. They also feature a gold-plated swivel connection on each ear bud and a 1/8th connector for the belt pack. This is all packaged into a sturdy carrying case with a cleaning tool included.

It is not often that Dynacord comes out with a new high-end audio power amplifier, but when it happens, it is usually a real technological marvel. The PowerH 2500 and 5000 power amplifiers are designed by the same German engineering team that produced the legendary L 2400 (P3000) concert sound amplifier.  For over 60 years, amplifiers from that location have proven to be the finest and most reliable components one could possibly find.

So, unless you have been living under a rock somewhere, you know about the Dolby Lake Processor — at least you know it exists. Quick review: The Dolby Lake grew out of a unit called the Lake Contour, also known in a modified form as the Clair I/O. It was the first speaker processor to offer the ability to run using a wireless tablet computer so you could make adjustments from anywhere in the room. It won a ton of awards and eve-rybody wanted one. Sidenote: The development was led by legendary audio designer Bruce Jackson — and Bruce does not make stuff that sucks.

As long as I have been in the sound biz, I have been looking for a better microphone. Not because I have been dissatisfied with the standard models most commonly used, but because I started my career in music as a singer. And, as a singer, I am acutely aware how a mic can color one’s voice. Well, if a microphone can make a voice sound different, then can’t it make an instrument sound different? Of course, the answer is yes and, there-fore, my never-ending quest to find a better (or at least different) microphone.

With the rapid move toward digital mixing in the live arena, it may seem to some that Allen & Heath is late to the party. But keep in mind that this company put out its first digital mixer almost a decade ago — a small-powered rig called the ICON — that is still being used for smaller applications today. The iLive is a huge jump forward and moves A&H firmly into the fray, giving them a fighting chance in the digital mixing market.