Powerred loudspeakers have become the mainstay for many applications. Compact and easy to set up, they eliminated issues with amplifier racks, impedance matching and speaker cabling. Simply plug them in, provide audio signal and away you go. QSC, a recognized name in power amplification entered the powered speaker market with their K-Series, which soon became a popular choice of musicians, sound companies and AV rental houses. The compact K’s had 1,000-watt amplifiers, multiple inputs with mixing and basic DSP. Rear panel switches allowed the user to configure the speakers to their needs. So, if the K’s are good, what could be better? Enter the new QSC K.2 models.
Starting Out
I had the opportunity to put the new K.2’s through their paces at series of gigs ranging from simple vocal accompaniment to outdoor concerts and festival stages. I currently own several of the original K-series models, allowing me to do some basic side-by-side comparisons. So, when a large pallet of speakers arrived at my doorstep, I unpacked them and set them up in my shop to do some basic listening tests. I played several styles of prerecorded music through different combinations of subs and tops, trying out the built-in DSP presets to get a feel for how they sounded. By the way, kudos to QSC for heavy-duty packaging!
Like the original K’s, the K.2’s are clear, clean and loud. (Annoying the neighbors, of course.) QSC markets them as 2000-watt speakers. But they are using peak power designations as opposed to RMS values. In reality, QSC reconfigured the K.2 amplifier modules to supply more power to the woofers, without sacrificing level to the HF drivers. Based on published specs, they do have a bit more bottom end and slightly higher output than the original K’s. (But we all know, doubling the output power does not make it twice as loud!)
Looks Can Be Deceiving
Like the original K’s, the K.2’s are available in three sizes: K-8.2, K10.2 and K12.2. I also received a pair of KW181 subs, which QSC recommended instead of K-subs for use with the K12.2. From the front, the speakers look almost identical. I did notice the K.2’s now have foam material behind the steel front grille. I presume this keeps rain spray or other liquids from hitting the speakers, because we all have been caught in the rain.
K.2’s have hang points covered by plastic caps and integrated handles like the originals. The other big difference was the pole mount socket.
On the original K’s, you would rotate the mount to change from vertical to 7.5-degree downward tilt and lock the mount to the pole. The K.2s have dual pole mount with ribs inside the mount, which, to me, seems to fit better on a pole.
QSC also changed the cabinet shape on the K8.2, adding the angle tilt similar to its big brothers. Since I use K8’s as stage monitors for jazz and folk groups, this was a welcome change.
Moving around to the backside, the physical changes are far more obvious. First and foremost is the large heat sink, which takes up about half of the rear panel.
Unlike the original K’s, these now use convection cooling, making use of a low-noise, variable-speed fan. I used the K.2’s outside in the hot sun with no overheating issues or loud fan noise.
Below the heat sink is a “multi-function digital display” and menu buttons for setting up the built-in DSP, which replaces the original slide-switches. I like this a lot, as it minimizes unnecessary and accidental switch changes, especially the “Mic/Line” selector on input one. You also can save and recall up to five “User Preset” DSP configurations.
Because of the space needed for the heat sink, “multi-function digital display” and menu buttons, QSC shrank the gain control knobs, which made them a bit harder to see. They also eliminated the “Remote Gain” connector, which I never used. Each gain control has two nearby LEDs indicating input signal (green) and input type selected (yellow). I especially like the yellow warning LED for the mic/line setting on input #1!
QSC also added a third mixable input, replacing the stereo RCA jacks with a 1/8-inch TRS input having its own level control. For a singer songwriter, they now can mix a mic input, guitar (Hi-Z) input and backing tracks via the 1/8-inch TRS.
Each of the two main inputs has a Neutrik combo XLR and male XLR loop out. Additionally, a third male XLR is provided, labeled Mix Out (post gain), which can be used to send the mix to another speaker.
Menu-Driven DSP
The original K’s provided selector switches for setting the speakers DSP. I was never fond of the switches, as they could be accidentally changed. With the new K.2’s, all of the DSP is menu driven, controlled via the multi-function display.
Along with a default (basic voicing) setting, choices are available for “Live, Live-Bright, Dance, Hand Mic, Head Mic, Acoustic Guitar/Vox, Bass Guitar” and two types of “Stage Monitor.” The manual offers an explanation of each one. I experimented with the settings and, for most applications, I kept them set for default.
I selected the “Sub Menu” and found that three crossover point settings were offered (80, 100 and 125 Hz), for more flexibility when using external subs. Additionally, a four band EQ was available to custom tune the speaker if desired. All of these settings could be saved into one of five available user presets.
Finally like all of the QSC K-series, the K.2’s had a locking IEC power connector, rear-panel power switch and configurable front panel Blue LED. Each speaker came with an eight-foot-long power cord. Although the length is more than adequate, the cords are not very flexible.
I noticed that the K.2’s take several seconds to turn on compared to a traditional powered speaker. I’m guessing this is due to onboard DSP loading and system “self-checks.”
The Gigs
Putting them through their paces — or on to Gig-land…
It was gigs galore for the month of August, with a wide variety of musical styles and venue sizes allowing me to try out several different combinations of K.2s and subs.
The first gig was a Jimmy Buffett tribute band at a brand-new community amphitheater. I put K12.2’s over KW181 subs on adjustable poles. The rig easily covered the 500 seat “bowl” with intelligible vocals, clean steel drums and bass. Because the stage was small, I used the K8.2s for monitors with the Monitor-1 Preset. At first I was getting some low-end feedback in the monitors. Found out that the back wall stage “acoustic treatment” was actually stainless steel with holes drilled into it! Repositioned the K8.2s and selected “Monitor Preset-2,” and the problem went away.
Next up was my weekly big-band jazz gig, outdoors in my hometown. I used K10.2’s on poles over my K-Subs. I set the DSP preset for “Live” and selected the crossover point for “100 Hz K-KW-KLA.” Even with the entire band miked, the K10.2s/K-Subs easily covered the audience area with plenty of headroom out front, and the sound was clear and lifelike. The K8.2’s were used for monitors again. I used the “Monitor-1” DSP setting with good results, as the vocalist wanted more low-end in their monitors.
On occasion, I provide sound for a wedding band, which prefers another brand of P.A. I put K8.2s on poles over the KSubs and set the K8.2’s for “Live Bright.” The system covered the 200-person dancing crowd easily, and both vocalists said that it was the best they had ever heard themselves sound. The system even handled the DJ during the band breaks with ease. Even the band’s sound diva was impressed.
One of the most interesting gigs I did was a 17-piece big band playing on a tiny stage in a very small black-box theatre. For the vocalist, I used a single K8.2 set to “Live with No Sub,” then selected Mic-level for input one. I really liked the “Switch To Mic Are You Sure” message to confirm my choice, and used the built-in EQ to tailor the sound for the room. Gave the vocalist a mic with a switch and sat back to enjoy the show.
Finally I took the entire set of K.2’s out for a multi-stage food/music festival. I used K12.2’s over KW181 Subs for a stage, which featured a blues-rock band, folk group, jazz fusion band and two cover bands. Because I had elevated sound wings on the stage, I stacked the K12.2’s directly on the subs. I set everything for default on the DSP and the crossover point for “100 Hz K-KW-KLA.”
I personally felt that the K12.2’s coupled better this way than when using poles. This configuration also covered the audience area with ease, and the setup was loud enough to annoy the jugglers, superheros and clowns on the nearby children’s stage. I also combined my existing K8’s with the K8.2’s for monitors. When set to the default position, they all played well together.
At a Glance
And the Verdict Is…
I have been a happy QSC amplifier and K-series user for several years. All in all, QSC has hit a home run with the K.2’s, and they obviously listened to their user base on product suggestions. I really like the new menu-driven DSP and the elimination of the rear panel switches, especially the “Mic/Line” selector. The DSP presets are more intuitive, and for some applications I don’t even need a mixer! The new form-factor on the K8.2 is long desired. And, of course, you can’t beat the clear, clean QSC sound.
K.2 Series Speakers
PROS:
- Clean, clear punchy sound
- Easy to use DSP settings
- Tilt angle on K8.2
- Better pole mount (dual socket)
- Robust build quality
CONS:
- Power cords are somewhat stiff
- Small gain controls can be hard to see in low light
- Power-up time is longer, when compared to traditional (non DSP) powered speaker
- Loss of remote control and RCA input connector (not a biggie)
- Peak output power specs vs. familiar RMS specs
OPTIONS:
- QSC K8.2: A 2000W speaker with 8″ low-frequency driver and 1.4″ high-frequency driver. Street price: $649.99.
- K-10.2: A 2000W speaker with 10″ low-frequency driver and 1.4″ high-frequency driver. Street price: $699.99.
- K-12.2: A 2000W speaker with 12″ low-frequency driver and 1.4″ high-frequency driver. Street price: $799.99.
Manufacturer: QSC
More Info: www.qsc.com
Steve Savanyu is owner of Buford T. Hedgehog Productions in Macedonia, OH. Reach him at www.bufordthedgehog.com
