Allen & Heath PA202-CP Powermixer

PA20-CP is a sturdy ‘walk up and go’ powered mixer, guaranteed to deliver loads of weighty power from its Constant Power amplifier. This well thought out 20 input (16 mono, 2 dual stereo) mixer offers operational flexibility for any live sound situation and engineers of any experience.

Die wichtigsten Features im Überblick:  

• 16 Monoeingänge mit XLR und Klinkenbuchsen.
• 48 V Phantompower für jeden Kanal einzeln schaltbar
• 100 Hz Hochpassfilter
• 4-Band EQ mit param. Mitten
• Muteschalter mit thomann LED
• PFL Taste mit Peak Indikator LED
• 2 Stereo Eingänge mit Klinken und Cinch-Buchsen
• 2-Band EQ für Stereokanäle
• 100 mm Fader
• 2 Subgruppen
• Pre Effektschleife extern und Intern sowie Post-Effektschleife
• Digitale Effektsektion mit 16 Programmen über den internen Effektweg routbar auf Master bzw. die Subgruppen
• FX kann via MIDI über Allen&Heath Software Editor editiert werden
• 4-pin XLR thomann Lampenanschluss
• dreifarbiges Stereo 12 Segment LED Levelmeter
• 4 Band Semiparametrischer EQ in der Mastersektion
• SPDIF-Ausgang für Digitalrecording
• geregelter Kopfhörerausgang
• Frequenzgang: 20 Hz bis 30 kHz +/- 0,5 dB
• Interne Endstufe mit Standby Funktion
• Protections mit LED-Anzeigen
• 2 x 500 W RMS bei 4 bzw. 8 Ohm

Easy-to-Mix Controls

The control surface is laid out in an uncomplicated format and the operator can easily see all connections for patching. Pre-fade sends (FB) and post-fade sends (FX) are clearly labelled and colour coded, and there are generous 100mm fader masters with a LED mute button, identical to the channel controls. There is a selection of 16 editable digital FX to complete the professional design.

Stereos

2 dual stereo channels with RCA and TRS connectors and independent gain controls are included for FX returns and stereo sources, such as CD players and backing tracks. The RCA inputs can feed straight to LR, so providing extra returns. The stereo channels are furnished with 2 band EQ, and can be routed to all 4 auxiliary sends.

Built-in Amplifier

The PA12-CP contains a built-in amplifier, delivering an impressive 1 kiloWatt, able to run a regular stereo PA system with very little external equipment. Our objective was to produce a powerful, great sounding amplifier in a compact package for the high-end audio market. The result is not only a well voiced amp with loads of weighty power but also clear, transparent audio quality. Our unique ‘Constant Power’ system ensures that all available power is converted into useable speaker power so we can guarantee the full 500W RMS per side into 4 ohms OR 8 ohms.

A+B Output Channels

The main amplifier outputs derive their source from a selectable combination of LR (stereo), L+R (mono), FB1 and FB2, and provide master level trim, meters, slave outputs, patch point for external processors, and the very precise 4 band semi-parametric equalisers. This is extremely flexible and means that the PA can be operated in many different ways. For example, the user may want to run a stereo house system with separate left and right speakers and no monitors, or a mono system with a foldback monitor. Alternatively, you may patch into a bigger house system and use the built-in amplifier to provide a pair of equalised stage monitors. The PA12-CP takes the concept of a ‘PA in a box’ a versatile step further.

High Performance Preamp

The mic preamp is probably the most important stage in the console’s signal path and its performance is often the measure of the quality of the console. The PA Series uses a high grade dualstage design, developed from our acclaimed ML and GL consoles. This ensures optimum matching and very low noise when connecting mic or line sources.

Parametric Output EQ

A 4 band equaliser with swept frequency on each band provides more precise optimisation of the speaker system and control of feedback than the typical fixed frequency graphic type EQ found on similar consoles.

Filter

Each mono input channel is equipped with a 100Hz high-pass filter, an invaluable tool for cleaning up the mix. The majority of live sound sources have very little content below 100Hz, and modern microphones have wide frequency response and can pick up bleed from nearby low frequency sources such as bass and kick drums. The filter can be used: on vocal channels to reduce mic handling noise and close proximity ‘popping’; on drum overhead mics to reduce kick and bass pick up; on higher frequency instruments such as flute and acoustic guitar; and on stage mics to reduce foot noise.

Recording Outputs

There is a digital SPDIF 2-track output available from a RCA phono socket for recording direct to digital media, such as PC soundcards, DAT and digital audio processors. The recording send can be switched pre-fade if desired. An analogue recording output is also available.

4 Band Channel EQ

The 4 band input EQ is every bit a pro tool. The low [60Hz] and high [12kHz] bands have shelving response, while the high-midrange band is sweepable from 350Hz to 6 kHz. Low-midrange EQ has a bell response at 250Hz - a frequency chosen to provide reduction of ‘muddy’ sounds and enhance ‘warmth’.

Lamp socket

A 4 pin lamp connector is provided on the rear of the control surface.

Allen & Heath*

Die Firma wurde im Jahr 1969 gegründet. Nach einigen verlustreichen Jahren verbesserte sich die Situation nach den Einstiegen von Andy Bereza und in kurzer Folge darauf Ivor Taylor und Andrew Stirling.
In den frühen 70er Jahren entwickelten Allen & Heath ein spezielles quadrophonisches Mischpult für die Band Pink Floyd, das MOD1, das von Alan Parsons zum Abmischen ihrer Live-Auftritte genutzt wurde. Das MOD1 ist im Film Live at Pompeii zu sehen.
Eine Reihe heute selbstverständlicher Innovationen geht auf das Konto von Allen & Heath, so zum Beispiel die Praxis, Potentiometer und Schalter direkt auf den Platinen einzulöten, anstelle sie mit Kabeln zu verbinden. Dies erlaubte einen modularen Aufbau der Geräte und den einfachen Austausch von einzelnen Baugruppen. Die Firma gehörte ebenfalls zu den ersten am Markt, die Operationsverstärker in ihren Produkten einsetzten. Die CMC-Konsole schließlich verband das erste Mal über eine MIDI-Schnittstelle das Mischpult mit einem Steuercomputer.

Hinweise/Disclaimer

Änderungen der technischen Daten ohne vorherige Ankündigung vorbehalten.
Für Druckfehler keine Haftung.
*Quelle Wikipedia