Crate PSM12P Powered Speakers
By Bill Evans
I know they are widely derided by many pros as "speakers on a stick," but I sometimes do the kind of gigs where I use plastic molded and powered enclosures–and unless you are doing exclusively big tours, you probably have as well. I have seen them used everywhere from corporates to small outdoor gigs. A couple years ago, I was at the Playboy Mansion for a press conference about the Playboy Jazz Festival, and the band was being run through a Mackie mixer and a couple of Mackie powered enclosures. I also see a ton of them used as stage monitors. But as we all know, not all powered boxes are cut from the same cloth, so to speak, and sound quality and features can vary radically. We got a pair of the Crate Audio PSM12Ps for review a few months ago. Since that time, they have seen duty as FOH cabs for a couple small gigs and plenty of use as stage wedges. You may think of Crate as being a mid-line guitar amp maker, but their parent company, St. Louis Music, had a pro audio line called Audio Centron for years.
In the past couple years, the company rebranded that line as Crate Audio. Let's take a look at those PSM12Ps before we start talking about the gigs.
Gear
The specs are better than a lot of similar units out there. You get a 12-inch with a 2.5-inch edge-wound ribbon voice coil and a 1.5-inch titanium compression driver for the horn where many units in this category give you a 1-inch driver for the horn. Like most others, the 12P is bi-amped, but Crate did not skimp on the power, and its 300 watts to the 12 and 100 watts to the horn gave us all the power we needed.
Crate claims 120 to 126 dB SPL for the PSM line (which also includes models with 10-inch and 15-inch drivers) and frequency response from 45 Hz to 20 kHz. We found them plenty loud, but we are guessing that the 45 Hz spec is more aimed at the model with the 15-inch driver. While they had more low end than some other cabs of this type we have tried, if you are using them for house sound doing full-range music–canned or live–you will need a sub.
Where some folks try to include a mini-mixer on these boxes, Crate has given plenty of control and options without trying to make a speaker into something else. You get one input–a Neutrik combo jack–and a mic/line switch, separate gain and level controls and a three-band EQ. The cabinets themselves are injection molded and sport both M10 fly-points and an 18-gauge steel grille. The only bitch we have about the cabs themselves is the fact that there is only one handle, which makes them something of a challenge when you have to put them on a stand by yourself. The angled design makes these a no-brainer for use as monitors, which is where they really shone on the gigs.
The Gigs
On the first gig where we used the PSM12Ps, they were on monitor duty. It was a multi-act festival with very little set-up time between acts. Whenever I do a gig like this, I use a good feedback reducer (in this case a dbx 1224) on the monitor mixes and try to keep it down to two mixes if I am doing FOH and monitors from the same console (which is typical). We set up the Crates on one mix and another set of similar, popular cabinets (which we have all used at one point or another) on the other. I brought up the system gain for a quick, time-saving ring-out via the 1224. The other cabs we used started to ring right away; the 1224 caught 12 frequencies in fixed mode, and they were still ringing. I activated the 12 "on the fly" filters and they grabbed four or five more frequencies before the cabinets stopped ringing.
After that experience, I brought the Crates up very slowly. No ringing. I brought them up more. Still nothing. Are these things on? Finally, as I reached maximum system gain and with the cabs themselves pretty much cranked, I got the 1224 to grab four fixed frequencies. Because the 1224 has such tight bands, it didn't overly affect the sound of either set of cabs, but the fact that the PSM12Ps almost refused to feedback made me want to use them all the time.
On other nights, the 12Ps had no problem keeping up with an 18-inch Mackie powered sub providing canned music for a private event or even a small acoustic trio. They sound better than you might expect if you did not know anything about Crate, and we threw them around and tried to break them, to no avail. Best we could do was dent the grille, which we were able to pull back out with a wire coat hanger bent into a hook. If you need some powered cabs for small gigs or as powered wedges, the PSM12Ps are worth checking out.
What it is: Powered two-way molded speaker cabinet
Who it's for: Local soundcos, bands and indie sound guys in need of small powered speakers or stage wedges
Pros: Flat response, plenty of power, built to take some abuse
Cons: Only one handle. Separate gain and volume controls make it feel more like a guitar amp
How Much: MSRP $549.99
Audio-Technica Pro Series Mics
By Bill Evans
Audio-Technica's Pro Series has been around for a while, but at the Summer NAMM show, they introduced an updated version of the series with more format options and improved performance. And the price is still very reasonable. We opted to take several mics out for a spin including the PRO 35ax clip-on condenser, the PRO 25ax dynamic and the PRO 8HEx headworn. I used all of these on a couple of typical small sound gigs and with my own band extensively over a period of several months. I liked at least one of them enough to be considering buying it rather than returning it at the end of the review period.
The Gear
Let's start with the simplest: the PRO 25ax. This is a hypercardioid dynamic made with high SPL in mind, built into an isolation clamp. It saw most of its usage as a kick, snare and general percussion mic, although it was also used on a trombone for a while. The isolation clamp does wonders for eliminating mechanical noise, and the hypercardioid pattern let us crank it up without
worrying too much about feedback from off-axis sources. The response seems tailored for low-frequency-heavy sources (30 Hz-12 kHz).
The PRO 35ax is a clip-on condenser that was used exclusively on a horn section. It is small and easy to attach and remove from an instrument (a big plus when you have just one for a sax player who switches back and forth between tenor and alto all night long). This is my favorite of the ones we checked out. The extended frequency range (15 Hz to 15 kHz) made it work for trumpet, trombone and several flavors of sax, and the ability to take a whopping 145 dB of SPL made it work even for a trumpet player whose volume often gets out of hand. It is available in two flavors–one with a 7-foot lightweight cable permanently attached and terminated with a male XLR and another with a shorter cable that terminates in a 4-pin connector made for A-T's wireless units.
The PRO 8HEx is a headworn dynamic. Its headband is unobtrusive enough to all but disappear on stage, and the keyboard player who used it will be loath to give
it up. While not as low-profile as some others in this class, it performed well, especially considering the price. It is quite definitely designed with the voice in mind, going down to 50 Hz but starting to really roll off at about 650 and with "presence" bumps around the 3.5 and 15 kHz areas. The hypercardioid pattern made it less prone to feedback than some other inexpensive headworns I have used.
The Gigs
First time out with the 25ax we used it on kick. The isolation clamp didn't play into the performance this time, as we did a quick and dirty "stick it on the pillow inside of the kick" setup. Even so, it required very little in the way of EQ even without getting prissy about placement. Nice.
On the next set, we switched it out and used it on snare, and here the clamp helped a lot. This drummer was one of those guys you just want to choke who feels
the need to reposition every mic in his line of sight between every song. The isolation clamp helped cut down on the noise that caused. Plus, even given its tight pattern, the 25ax sounded pretty good no matter where he moved it. I would have liked a bit more presence in the high end, but we got what we needed by dialing in a little more overhead.
We had less success on a conga set, but we were trying to mic both drums with one mic and the 25ax's pattern is just a bit too tight for that. Finally, we used it on a trombone in a rehearsal situation and it was very nice–the voicing brought out the warmth of the horn and it had no problem handling the SPL, even when he really started to blow on a solo.
The 8HEx was used on a male vocalist who plays keys and has been bitching about not having a headworn ever since I have known him. He has a whiskey-baritone voice and is prone to the "blues shout" thing, which has been known to overload lesser mics. We actually showed up at a gig, took it out of the box and had him use it without ever trying it before, and it came through fine. It lacks some of the "air" I have gotten used to since I switched over to using mostly condensers for vocals, but the sound was reminiscent of a typical "classic" dynamic vocal mic. Put up against a condenser headworn, the 8HEx had nowhere near the output or the clarity in the upper end. But that condenser mic cost more than six times the 8HEx's list price, and probably eight times the street price. At this price point, it is a great deal.
The 35ax is easily my fave of the mics we tried. I had three sent out for use with a horn section. Getting rid of all of those mic stands made the stage look a lot better, plus I didn't have to worry about whether or not the musicians were actually playing into the mic. The trumpet player at that time was paranoid about the weight of a mic cable at the end of his horn and how it would affect his playing. He did not even want to try the 35ax until I showed him how light the cable was and that the XLR connector would rest on the ground and not add any undue weight.
Sound-wise, the 35ax was everything I want in a horn mic–clear with plenty of dynamic range and no coloration of the sound. I would love to check out the wireless version, but am afraid I would like it too much. As is, I will likely buy these instead of returning them.
The Pro Series is way deeper than this, with everything from handheld vocal mics to a stereo condenser available. Audio-Technica has done an excellent job of re-engineering a classic mic line and putting out some serious bang in the performance/cost area.
What it is: Various vocal and instrument mics
it's for: Bands and soundcos who need really good mics at a reasonable price
Pros: Price/performance, excellent condenser sound and ease of use for the kick mic
Cons: Headworn lacks detail in the high end
Much: PRO 25ax $199, 8HEx $105, 35ax $239
Furman Series II PL PLUS and Q-2312 Equalizer
By Jamie Rio
Okay, there is a real tendency on our part (by "our" I mean pro audio media types) to look only at the big, cool stuff when it comes to reviews. But let us all remember that it is often the little stuff that makes or breaks a gig. With that in mind, we asked one of our regular reviewers to check out a couple of new items from Furman. Power conditioners and EQ. Nothing fancy, but pretty crucial to any good gig. Here is his report… -Ed.
Furman has certainly packed a lot of features and technology into their new PL Plus Series II power conditioner. SMP+ (Series Mode Protection Plus) is probably the most noteworthy. Furman tells us that SMP+ will suck up transient voltage spikes and high voltage connections without blowing any internal parts (or external, for that matter). Having been exposed to a whole lot of bad AC in my years as a sound man, I was anxious to try to fry this unit. LiFT (Linear Filtering Technology) is another innovation. This technology makes the Series II quieter and cleaner than ever before. A couple of other features I really like are the LED working lights (you know they will last forever), the 12-volt gooseneck lamp connector in back and the plug on the front panel. The unit worked well in a couple of live situations. Basically, it didn't add any noise to my system (that's a big plus). And I was very impressed that I couldn't blow it up. I plugged it into the 240-volt dryer plug out in my garage and no smoke, or crackling noises. MSRP $229
The Q-2312 is a dual 31-band equalizer, sporting 20mm sliders and taking up two spaces in your rack. Furman is not making any outrageous claims with this equalizer. You know, like it's the greatest thing since sliced bread or it will make you feel better than that thousand-dollar call girl you can't afford. Furman has simply stamped their name on a handsome piece of gear with good specs and features. The front panel has a level knob, high cut and low cut knobs, bypass button, range button (+/-6dB and +/-12dB) and load indicator LEDs for each channel. I tried both ranges but prefer 12dB of boost or cut. (My editor and I talked about this and with short-throw sliders, he likes 6dB of boost or cut, while I go with 12. Basically, I'm from the school of "more is
better" and he is from the school or "less is more.") At any rate, it's nice to have the flexibility to go both ways. The unit worked quite well in a live setting. It's clean and the frequencies are accurate. A hundred is 100, 1K is 1K, etc. I very much liked the fact that the back panel had 1/4-inch, balanced and RCA ins and outs. The RCAs are handy for a DJ rig. I also like the deep blue paint job on the chassis. It's cool. MSRP $249
Allen & Heath Mix Wizard3 Mini-Mixer
By Mark Amundson
This Mix Wizard3 Mini-Mixer is the third generation Mix Wiz from Allen & Heath, with even more professional features. One of the saddest things I have ever had to do was return a demo Allen & Heath ML3000; but with the Mix Wizard3, all that magic returned (except the VCAs). The major reason for this is the new design mic preamps and four-band EQ sections for each channel. But all your previous Mix Wizard2 console features did not go away. I received the MW3 16:2 version, and got the usual 100mm faders, six auxes, signal present/clip LEDs and a quality internal digital effects processor. Besides the better mic pre's and EQs, each channel received individual phantom power switches and more circuit board flexibility in terms of customizable jumper points for the aux send and direct out signal paths.
The MW3 16:2 is a great value for its price with 16 professional input channels for both XLR and TRS inputs, plus insert and direct out phone jacks. In listening checks with CD tracks, the clarity of all the circuitry from the pre's to the headphone drive was good enough that I kind of got distracted enjoying the music and forgot about my purpose in listening. The four-band channel EQ sections are fantastic with Q=1.8 mid sweep sections and shelving at 80Hz and 12kHz. One niggle for me, but more of a personal thing, was the low-mid control change in scaling from 300Hz to 180Hz at the mid-travel points. I really did not need the sweep to dive down to 35Hz, and since I use an Allen & Heath GL2200 much of the time, there was some confusion factor.
Running through the effects presets, the hall and plate patches were standouts for usability, even though they would not pass my test if I were buying the effects stand-alone in a rack unit. My feeling is that the effects are better than what I would call first-generation DSP effects found in many box mixers, and long ways better than the spring reverb units I started with. My decision for internal or external effects depends on how important the gig is, and what premium gear portability is. Of course, you can tweak the effects presets with a PC-based patch editor and a MIDI-In jack for the purpose. Either way, the Mix Wizard3 provides Aux 5 and Aux 6 patching to work with internal or external effects by having two stereo line inputs (ST1 and ST2)
for effects returns or other stereo line inputs on TS jacks.
When I ran a couple of gigs with the Allen & Heath Mix Wizard3, I got all the essential console features without feeling I was lacking anything. For music groups that have a middle-of-the-road demand on mixer capabilities, the 16 channels of mic/line inputs and four pre-fader auxes for monitors pretty much is the sweet spot for the MW3. When monitoring, I got all the channel PFLs, the aux masters, Left-Right mains as the default, Mono, and the stereo effects selectable to my headphones or to the A-B out jacks.
When tallying everything up, the MW3 16:2 console is great mini-mixer for corporate work, smaller band work, or an outboard mixer for specialty groups like keyboards or percussion. If it means anything to you, I am paying off the invoice on this Mix Wizard, and the old mini-mixer went to liquidation.
What it is: Compact mixing console
Who it's for: Users with portability and a need for high quality sound reproduction at 16 channels
Pros: Astounding clarity at the channels, good built-in effects, just enough professional features
Cons: Low-mid sweep was unconventional
How much: 16:2 $1,199 MSRP
Yorkville M1610 Powered Mixer
By Tony Mah and Phil Mulholland
Phil and I love the beautiful ocean resort town of Tofino, B.C. I went there for the first time last fall and had a seafood lunch for $10, and thought it was a great deal. Later on, I had a fantastic seafood dinner at
a beachfront restaurant for $100. While at dramatically different price points, both meals were great values, as both restaurants exceeded my expectations. Sometimes you get what you pay for, but sometimes, you get more.
Enter the Yorkville M1610 10-channel powered mixer–a humble piece of gear that will never make it on any rider or gear lust list, but has everything a small gig mixer would require. Its ingenious design and feature set truly represents Yorkville's philosophy of building products for aspiring musicians. Built on a robust monitor-shaped wedge, the M1610 is equally at home on the stage floor as it is on a tabletop. Its unique wedge shape with wooden routed handles, which deeply recess the knobs, makes purchasing a gig bag to protect it optional. Its stereo 600 watts per channel into eight ohms, 800 watts per channel into four ohm and 600 watts per channel into two ohms makes this 29-pound H-class powered mixer the best power/weight in its class. The first six channels have mic/line input, soft knee limiter, three-band fixed EQ, FX and monitor sends, and pan control. Channels five and six add a buffered high-impedance active DI stage for a line input. This is perfect for musicians who don't want to purchase, rent or carry loose DIs. Channels seven/eight and nine/10 have mono mic/stereo line inputs, three-band EQ, FX and monitor sends, and pan. The first eight channels can be globally muted, leaving channel nine/10 and the RCA inputs live for background music. All other inputs/outputs including master inserts are balanced. There are two master nine-band EQs, and the second EQ can be assigned to the monitors. In the spirit of getting musicians more for less, the two nine-band master EQs cover the middle bands of a 15-band EQ. High and low shelf knobs cover the missing frequencies. This allows more control of the feedback frequencies. Finally, a 256-preset reverb/ delay that is footpedal controllable is included. Bench testing revealed that the low and mid channel strip EQs are centered at 40Hz and 700Hz and 12Khz, and not 80Hz and 2.5kHz and 12Khz, as described in the manual.
Having taken the M1610 on a few gigs, most of the features performed as expected and I was able to get a mix I was happy with. The trickiest part was getting used to not having faders and having only eight channels, as I haven't used a small powered mixer in years. The highlight was how well the EQ section worked with the Countryman cardioid headset. The low EQ centered at 40Hz and the mid EQ centered at 700hz are suitable only for cutting. Those who do corporate gigs know that 700hz is a major feedback center for lavaliere mics. It turned out that cutting most of the bass and a little 700hz removed the proximity effect from the headset, giving me the sound I was looking for.
Phil is the P.A. rental manager of a local music store, and I felt that it was important to get his perspective on the M1610. He tells me that the M1610 has been the hottest rental item among aspiring musicians since they started carrying the product. If you have walk-in clients wanting a small powered mixer, the M1610 is an exceptional return on investment.
What it is: Powered mixer
Who it's for: Musicians, walk-in rentals
Pros: Low cost, rugged, lightweight, idiot-resistant, made in Canada
Cons: None
How much: MSRP $1,049
