Professional Sound - June 2017 - Page 22

PRODUCT TESTS QSC K.2 Series Powered Loudspeakers By Trevor DeSouza I ’ve used QSC powered speakers and amplifiers almost daily for the past 10 years. The HPR, K, and KW series have been consistent workhorses in my rental inventory and I’ve toured across the country with them in almost every imaginable configuration and venue type. QSC has been a great brand to standardize on, and I have a fairly easy job fulfilling tech- nical riders and performer expectations with them in virtually every application. When the opportunity came up to review the brand’s evolution of the K Series, the K.2s, I was eager to take them for a spin. First Impressions The series includes the K12.2, K10.2, and K8.2 models with 12-in, 10-in., and 8-in. cone transducers, respectively. For starters, they look great. In the cor- porate market, you’ll never hear complaints about ugly speakers obstructing the audi- ence’s lines of sight. They’re fairly compact and push a good amount of air for their weight. The obvious upgrades to this line would be the new 2000 W amp module, which of- fers twice the power of the K Series and more headroom, and additional third channel of “mixing” onboard. The internal processing can be useful as well. I can’t personally see myself programming and saving EQ settings into my monitors every night as I typically opt for a digital console, but that will be an attractive feature to many users. The ability to delay this speaker remotely has proven to be quite handy, especially in time-aligning balcony or room fills at the source. The front styling has been tweaked a little as well with addition of an internal cloth lining within the grille. In Use As a floor monitor or part of a main PA system, the new K.2 series does the job very effec- tively. Another notable addition to this line would be the ability to use the K8.2 series in a monitor configuration. This was a very useful feature reserved for the K10 and K12 models in the original K Series. Placing this speaker in front of a black drape line, it almost disap- pears – especially with the ability to turn off the front blue LED via a switch on the back. The new K8.2 also boasts an impressive bass response despite its small size, making it a great portable instrument amp. 22 PROFESSIONAL SOUND The K.2 models have done away with the old RCA inputs and instead opted for a 3.5 mm (1/8-in.) connection on a third input channel. The first channel accepts mic/line levels with combination XLR F or TRS F connectors. The second channel now boasts the ability to accept Hi-Z or line level inputs, giving you the ability to present a solo performer, with vocal and D.I., as well as background tunes between sets for when you run out of mixers on conference events or small performances. The output section gives you the ability to daisy chain easily with the XLR F connections as well as a post-mix-output if [H]H[ܙB[ۙH[]YY[H\YXZ\H[ۘ[][[\H[YBYXHو\\H[H\\\۸&][Z\\][\\Y] HL[]HY ZY[[]X] Hˋ^x&]HYZYˈHH][\L]]Y[[˜[H\؝\ Z[HYH[و\BXY\܈XZ[^\[H\\\Y]\H[Y^H[Y܂[P[\KH\YH\H\]Y\H[Y܈\HX^H[]X]\[[\\Y\\Y\[[H[H[]HY[X\Y\ۈ[\X˂ۈ]KHۛH]Y\[ۈH[]H]\H][\[[\[HZ\X[]HZHHX][[ܜ[] H]HY^HL[[[و\K] HX]\[^x&]HY[œY [وH[YK\HXZ\\B[ܝY[\XK][]قHYˈ^HH\]]HY][ۈقH\^KH][&]XܚYXY\X[ B]H܈^X[]K][YH[[ \x&\X[HۛHۙH[Hx&[H[Hۋ][\܈[\XZ\[\ܙX] [H]]]8&\XHš]HH۝\[HY][Y\]Y\X[HXZ\[HܛۙKY[[\][ۚ[ۈ[[]\HYH[YH\[H\][ˈH\”\Y\[[YH]XH\܈Y\ B[H[HHY\[[\]H[H[ܙHXX[ \]H\›Z[܈[۝[Y[KH\ٙ\[[\ݙY[Hوܘ]]H܈H[[[˂\܈HXX[[وH H\™][X[X\[\[[[]H]X]\H\X][ۈHYY ^BZHH[XYHܙX]\ܛX[HوH”\Y\[[[Z[ۈ] ٙ\[\B][ܙH\]H[[\˂[[[X\B\HXZ\\HܙX] ^HYZ˜[ٙ\[ۘ[ ^x&\HY[^B۸&][ZHHX\ \X [\X[[[[܈Z[\X][ۜHLLXYY[]H[Hݙ\Y [x&\H[[[\XY[œ^و\H[H]\HY ^HX\X][YH[[H[X\[H\\\HX[[ۚ]܈Yˈ[\\و[܈HXT\[^\˜Y[^HXK[^H\Z[H][&]]\ۈ]H[]ˌ\Y\˂]܈T^BYY[[Y\ۙ\8$ܛ[S[˂˙ܛ[[ JB[[Y\8$H[Y[X]X^\\[HX\[