Review: QSC K10
Powered speakers from a dedicated amp manufacturer might seem like a bit of a stretch to some, but the results speak for themselves.
By Mark Woods
9 November 2009
Review: Xxxxx
Previously known in Australia as a dedicated amplifier manufacturer, QSC has hit the ground running with its first foray into the crowded portable powered speaker market. The new QSC K Series range already stands out from its competitors in three important areas: sound quality, cabinet design and price. There are three models in the range, each one utilising the same 1.75-inch HF driver, 500+500W Class D amplifier and extensive internal processing. The main difference between the models is the coverage angle rather than the sound. The K8 has an eight-inch driver and 105º coverage, the K10 has a 10-inch driver and 90º coverage, while the K12 has a 12-inch driver and 75º coverage. These can be teamed with the 1000W K-Sub dual 12-inch driver sub-speaker if required.
Out of the box I immediately liked the cabinet. The strong and rigid black ABS (plastic) from which the K10 is constructed feels solid as a rock, and far more substantial than the common grey/black polypropylene alternatives. It should also be more scratch resistant. The K10 design is non-symmetrical with all sorts of interesting angles working to combat cabinet resonances. The steel grille over the front is concave, there are deep scoops molded into the cabinet to provide handy access to the recessed caste aluminium handles and mouldings that protect the rear panel. The K10 can lie on its side for use as a floor monitor (a common practice these days) and there are clever slip-resistant feet to prevent the cabinet itself from touching the floor.
MOUNTING & CONNECTIVITY
M10 installation points and M5 yoke attachment points provide a range of mounting options. The pole-mounting hole has a Tilt-Direct function enabling the cabinet to be angled down by 7.5º. The idea is to keep the sound focused on the audience rather than the reflective surfaces around the room, although, ironically, the first time I used the speakers as an off-stage side-fill it was on a high stage where I would have preferred them to tilt up!
The rear panel offers several connection and control options. The sockets and controls have been laid out and labelled to make it as simple as possible to use. There are two combo XLR/jack inputs (with XLR links): one has a mic/line switch, and the other is connected alongside a pair of RCA sockets. The mic/line channel has its own level control, as does the line/RCA channel and these get mixed to a single XLR output for connecting another speaker. Sadly, for singers who use condenser mics there’s no phantom power on the mic input. Low frequency EQ switches between ‘Sub’ (for use with a separate sub-speaker), ‘Normal’ or ‘Deep’ – a process QSC claims boosts perceived bass levels by restricting bass peaks. High frequency EQ can be switched between ‘Flat’ and ‘Vocal Boost’. There are LED indicators for power, limit or standby mode and an in-built three-pin Euro connector enables remote control of gain and standby. To conserve power the K10 enters standby mode automatically after five minutes of no input signal. The cooling fan is also automatic. Another thoughtful feature is a switch that controls the LED on the front of the cabinet; which can be used to indicate power on, limiting or be switched off, if you’re one of those people who hate bright LEDs.
NEED TO KNOW
BIG & TRANSPARENT
I first tried the K10s outdoors with music and a microphone and immediately heard a big sound; full like a PA but transparent and detailed enough to draw you into the music. The HF driver sounds particularly good with its pleasantly subdued response in the middle of the horn and smooth, extended highs. Quoted response is –6dB at 18kHz. The LF driver punches well above its 10-inch weight with surprisingly strong deep notes. The quoted low frequency response is –6dB at 60Hz and extra sub-speakers would only be needed if the K10s were being used in a large system like a club installation or similar. The EQ works best set to ‘Flat’; the ‘Deep’ setting seemed somewhat syrupy but might be useful for dance music in a crowded room or as a loudness boost for background music. The HF vocal boost gives the tonal response a kick in the vocal presence region that would be useful for voice-only applications.
The next test was using a pair of K10s as part of the foldback system for Sarah Blasko’s rehearsal/performance at the Theatre Royal in Castlemaine. This theatre has proved a great place to test monitors. It’s easy and convenient to compare them to the theatre’s old-school but time-proven JBL wedges, and a reminder of just how convenient powered speakers are. There are racks of amps and outboard gear everywhere, but the K10s simply get put on the stage, powered, connected to a send on the foldback desk and that’s it, you’ve got sound. And in this case, very good sound. The voicing is somewhat scooped around 2 – 4kHz so normal vocal mics, often boosted in this frequency region, don’t sound harsh and don’t feed back. There’s a pleasing smoothness to the high frequencies and plenty of body in the low-mids. The dynamic and EQ processing is noticeable at times. If you give a big woof into the mic the limiting grabs the sound quickly and cleanly, and there’s a feeling that whether you speak softly or loudly into the mic the voice always seems to be right at the front of the speaker. Sound quality is maintained at high levels with the processor helping keep everything tidy and distortion free.
If you keep raising the level the low-mids get loose before the horn, which is a good thing, but they’re reluctant to feed back and there’s plenty of level for normal use well before they become unstable. Compared to the aforementioned time-proven JBLs, the K10s weren’t ultimately as loud but they were definitely a lot more coherent and controlled. Certainly for anything other than balls-out rock they’re a far better monitor. During the show they were used as floor monitors for the two-piece string section – after which the performers seemed particularly impressed with the K10s’ clear and accurate sound. They’re the right size too; I often complain about wedges blocking singer’s ankles but the K10s are sleek and unobtrusive on stage.
I also used the K10s in place of my usual side-fill speakers for a couple of outdoor shows with great results. A single K10 easily fills one side of a small- to medium-sized stage with high quality sound and even coverage. Acoustic instruments were particularly detailed and the vocals could be turned up as much as anyone wanted without any hint of feedback. External EQ was not required; some low cut on the vocals was enough to tame the proximity boost. The FOH benefited as well, a lot of sound from monitors gets back into the mics and the whole sound seemed cleaner than usual, even when the stage sound was loud. And, again, nothing but good reports from the performers.
The K10s also work well as FOH speakers for small shows; I used them for a duo in a small room and was impressed with the easy level, appealing tone and even coverage. The only small problem is they seduce you into thinking you’re hearing a larger system so it’s almost surprising when they reach their limit, but they don’t freak out when they do, and there’s already more level and quality than you’d expect from a 10-inch speaker and horn in a small box so it’s unfair to complain.
The QSC K10s provide pleasurable and controlled sound at medium to high volumes and would be suitable for any foldback/sidefill application, club installation or FOH for small venues. They’re a convenient size for acts or solo performers who carry their own PA and because of the several input options many wouldn’t need a mixer. At 14.5kg with well-designed handles they’re easy to transport and use. The other good news is the price. At around half the price of some of its more vaunted competition and much better sounding than the cheapies, I predict the K10s will become very popular.
