Usually when I do a Road Test, the manufacturer ships the gear to me, I read the manuals, play with it a bit and take it out on a gig. With the KS Audio gear, the review process took on a slightly different scenario. I first got a call from my friend and editor Bill Evans, but instead of waiting for the gear, I was invited to a record release party where the KS Audio CPA self-powered compact line array was being used. Henry Strange (system engineer for KS Audio) and his crew had set up the line array and subs. I showed up a couple of hours before the show to check it out.
The Gear
The CPA self-powered compact line array was designed with ease of setup and operation. The array boxes are loaded with 2 x 8" direct radiating carbon-fiber cone transducer and a 1" neodymium compression driver with a Mylar diaphragm. The driver is mounted on a wave guide (like a horn) that is similar to the one used in the KS Digital Line Master studio reference monitor. In real-world terms, the 8" speakers are built to be bulletproof and the compression driver is designed to be of studio quality.
The enclosures themselves are built out of 18-mm Birch plywood and coated in a black plastic polyurethane finish. They sport two amplifiers totaling 480 watts (400W + 80 Wrms) with an active 2-way crossover (1 kHz). Frequency response is 60-20,000 Hz at an SPL or 125 dB continuous. The boxes weigh in at only 51 lbs. including flyware. Along with the array cabinets there were four CPA SUB/2 self-powered subwoofers. These subs use 10 transducers with a long excursion and double magnets. KS claims these powered boxes will provide smooth low frequencies down to 35 Hz. The power amp boasts 800 watts rms/1,600 watts peak, claiming 128 dB continuous of audio and features a transformerless digital auto switching power supply. The box is constructed out of 18-mm Birch plywood coated in black polyurethane finish and weighs a mere 99 lbs. Of course, casters, handles and pole mounts are part of the package. The active onboard crossover is switchable between 70 Hz and 100 Hz, as well as +6 dB boost switch at 35 Hz for some extra low-end kick if desired.
Two more cool features are that the array-rigging frame mounts to the subs themselves and the boxes have integrated quick-lock flyware for easy adjustments. This makes for a neat and manageable package. When I say manageable, I mean that a two-man crew can put an array package together made up of four subs, 12 array boxes and cabling in less than two hours.
Henry did it that day for the very first time without any help or introduction from us. The real time to set this system up is less than an hour. Between my technician and myself. we stop-watched it at 38 minutes.
The array enclosures themselves are not only easy to set up, but very easy to adjust prior to a show. There are three knobs on the back of each powered compact array box. The first knob adjusts the volume, the second selects how many cabinets are being used and the third adjust "curving" in degrees, which has been selected by the user between the particular box and the one above. Preset program angle suggestions covering typical scenarios are provided with the system as a part of the manual.
With the selection knob of pieces in the array and curving preset EQ programs are being activated. Each adjustment of every knob influences the effect all of the other knobs have on the sound, resulting in a custom system program for each position of the knob to achieve the best possible results with the least possible work. Internal electronics protects the audio components from overload and dials in the systems time alignment.
Each box has built-in time alignment, limiter, crossover,filters and pre-set EQs built-in. With the subs and array boxes, we have a compact and potentially very potent three-way array system. So, let’s look at how it all sounds in a live setting.
The Gig
The show was an NBC record release party for the artist named Common at a warehouse in Los Angeles. This was a hip-hop gig with a DJ playing some tunes before the show. When I arrived the system was already assembled and a sound check was underway. I met Henry and he introduced me to the operational features of the subs and array boxes. It was nice to have somebody knowledgeable to walk me through all the aspects of the powered array system. It really is designed with simplicity and ease in mind. I listened carefully as the sound check progressed. The first thing that caught my attention was how clean, punchy and powerful the CPS/2 subs were. The KS 4-x-10 design really delivers the goods in terms of bass.
As I listened to the sound check, I was impressed with the quality and the clarity of the audio and also how much SPL this little system was delivering. The high mids and high frequencies were clean, potent and sparkling, but I was missing some of those warmer low mid-frequencies. Once the DJ was working, I could hear the frequencies I was missing from the sound check. My only choice was to blame the lack of frequencies on the guy behind the mixing console, not the KS equipment. The DJ’s music had a more rich and fuller sound than the live band. I know it's easier to play programmed music than mix live sound, but I was sent to the event to listen to the gear, not run it.
An important aspect of the KS powered line array sound system is what it costs. The reality of today's economy is you must balance quality and performance against your cash investment. And “riderability” is an issue if you are a rental house. While KS is well known in its native Germany, that is not the case in the U.S. With a list price of more than $100 K for a six-over-two per side system, you can buy a lot of speakers and amps that may not sound as good or rig as well, but have far greater name recognition. So, it depends on your situation. If you are not tied to the demands of touring riders then the KS sounds good and rigs so well that two guys can put up a system in less than an hour. (The optional fly-frame allows you to fly the array above the subs without the need for chain motors or rigging points.) But if the acts you are bidding on have a couple of preferred systems and you know your competition stocks those systems, you may need to think twice about name value.
Once Common started its set, the mixer really cranked up the KS system, and I was impressed with the potency and clarity of the low end. I think the mixer was also feeling the power of the subs because he was pushing the hell out of them. I was knocked out by the sound quality and power of the KS Audio array system, but the mixer was not doing the band justice. As I mentioned at the beginning of this review, I usually get the gear and take it out myself for review. I think I would still like to do that. The KS equipment is definitely of high-quality design and function.
KS Audio CPA Self-Powered Compact Line Array
Who It's For: Sound companies, touring bands, installations.
Pros: Powerful, clean audio, lightweight, easy set-up.
Cons: Cost versus visibility.
How Much: Tops: CPA Line $6,800.00; CPA Sub2 $7,800.00; FF Cline 2: $1,200.00; TX/CPA 11 Sub $7,900.00
Web site: www.ksaudio.com
