TEST: Allan&Heath PA12

 What has always surprised me personally in the music industry is the fact that, despite what is now an incredibly large range of manufacturers and products, the same names are always mentioned as a reference for a product group.

Just as every outsider, for example in the guitar amplifier sector, has to believe that the entire world consists only of Marshall amplifiers, there are also a handful of names in the console sector that appear with great regularity. Is it because they were the first on the scene, because they have the greatest tradition, because the quality is above average or even because of their pretentious appearance? Who knows, maybe it's a mixture of everything.

One of these names is undoubtedly the company Allen & Heath. The British manufacturer looks back on a 30-year history and has developed and sold over 150 different consoles over the years. For testing, I have a product from the PA line, the PA12, a representative of the smaller live consoles, which are particularly characterized by their easy portability.


Construction:

The small mixer comes with a manageable weight of 12 kg and, with its dimensions of 525 mm wide x 145 mm high x 538 mm deep, does not pose any transport problems. However, as with any console, you should always include a case in the economical design, any broken ones Poties and bent faders are guaranteed to ruin your mood before the show.

The workmanship of the device is impeccable, no sharp edges, unclean burrs or poorly screwed sockets. The strong round handle on the base of the mixer proves to be very practical, so you can easily carry the console with one hand without damaging your back. Who doesn't remember the annoying "cramping around" of transporting a 16-channel or more alone when you don't have an official attack surface in the form of handles or recesses.

4 feet on the bottom of the housing and 4 more on the front ensure that the mixer can be easily placed both vertically and horizontally.

The PA12 is an 8-channel mixer plus two stereo channels. The inputs can be assigned either a microphone (XLR) or a line (TRS), with the line input overwriting the XLR input. If necessary, all microphone channels can be connected independently with 48V phantom power using a somewhat fiddly plastic switch.

As expected, below this input section is the insert for compressor operation or a similarly designed dynamic tool. The gain control has an extensive pickup gain range from -63dBu to +5dBu in the microphone and -25dBu to +10 dBu in the line range. The frequencies below 100 Hertz can be reduced using an impact sound filter.

The tone control in the mono channels is divided into two shelving filters (treble 12 kilohertz, bass 60 hertz), a low mid bandpass at 250 hertz and a semi-parametric mid control, which can be tuned from 350 hertz to 7 kilohertz.

The PA12 has a total of four auxiliary sends for monitoring or FX sends. Foldback1 and 2 are pre-fader, but post-EQ routed, AUX is connected after the fader. FX send sends the signal to the internally built-in multi-effects device. All 4 sends can be fed to external devices via corresponding out sockets.

The standard panorama control, a mute switch optically supported by a powerful red LED, a PFL switch and a peak LED round off the overall impression of the channel. The channel strip is completed by a very smooth-running 100 mm fader.

The stereo channels 9/10 and 11/12 can be fed via a total of 4 input pairs, with stereo input 1/3 being a cinch and stereo input 2/4 being a jack. If necessary, the RCA inputs can be fed directly to the stereo sum and thus offer additional returns.

The digital effects processor with 16 programs offers reverb, delay, chorus and other effects, also combined. This effects module feeds the mono & stereo channels via post-fade FX-Aux. The output of the FX module is controlled by a 100 mm fader with mute & PFL and routed to stereo mix and FB1&2 with post-fade level control. At this point, 2 TRS inputs with level control offer an opportunity to combine external FX with the internal unit. The internal FX unit can be switched off to use external effects only. The TRS footswitch jack mutes the FX channel. The effects are MIDI editable using the Allen & Heath software editor.

The output section offers semi-parametric 4-band EQ for the TRS slave outputs. The source selector for the output EQ section can be used for left/right, L&R sum/foldback1, or foldback1/foldback2. On the front of the housing there is the main outs, designed as XLR males along with a 12 volt XLR lamp connection.



Practice:

First of all, the mixer feels “good”. Even control paths, clean and practical alignment, only the faders have too little resistance for me personally. The different color coding of the potentiometer heads may bring tears to some designers' eyes, but it ensures quick and intuitive operation of the controls. After switching on the device, a bright blue (once again, no one uses red anymore ;-)) LED reports the operating status.

No matter how well thought-out the circuitry is on a mixer, ultimately it is the filters that decide whether you win or lose. Allen & Heath in particular, who are considered to be the co-founders of the “British sound” in the console sector, have a duty to prove whether they can also make a mark in the “small car class”.

After leveling the input signal, the treble shelving EQ can first prove itself. He does his job satisfactorily, if a little “stiff”. In direct comparison to a Mackie 12 kilohertz controller, which is much more “silky”, the PA12 comes up short. I personally find it a bit risky to set the bass control at 60 Hertz, as the frequency is very low and is already in the area where you have to fight against the frequency more than you can use it usefully. In my opinion, 70-80 Hertz would have been the better choice, but ultimately this remains a matter of taste. Nevertheless, the controller sounds balanced and is convincing.

I think setting a bandpass at 250 Hertz is very successful, as it allows you to penetrate relatively quickly into “damp areas” and purify them, especially in live operation. The controller does its job tastefully, if somewhat unspectacularly.

But now! If the reader has not yet found the “big bang” of this article, here it comes. The semi-parametric EQ turns out to be the absolute highlight of the channel! You might think it's a different assembly because the color of the filter stands out from the group of four. Here it is, the rough yet soft coloring of the British style, which never destroys the basic alignment or messes up the output signal with internal distortions, even with maximum cut or boost. A very successful approach!



Conclusion:

Committed to tradition. Even a company like Allen & Heath cannot rest on its laurels and must constantly assert itself in the increasingly competitive small mixer segment. With the PA12 they have undoubtedly succeeded.

The console has very extensive routing options and offers practical handling in all areas. In terms of sound, the PA12 manages to generate the traditional “British” sound to a large extent, without foregoing the helpful digital level in the signal routing and effects section. The filters sound good to excellent, the equipment is extensive, and the workmanship is clean.

All in all, a recommendable work tool with a high degree of independence in terms of sound and appearance. If it were still possible to produce this quality at this price outside of China, the impression would be perfect.


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Additional Informations:

Allan & Heath is a distinguished name in the world of professional audio equipment and live sound mixing consoles. Founded in 1969 by the eponymous company's founders, Bob Allan and Ivor Heath, this British-based manufacturer has consistently delivered innovative and high-quality audio solutions for the music and entertainment industries. This article explores the rich history, groundbreaking products, and enduring legacy of Allan & Heath.

**Historical Background:**
Allan & Heath started its journey in London, UK, during a period of significant technological advancements in audio equipment. In its early years, the company gained recognition for its custom mixing consoles, catering to the needs of a diverse clientele, including recording studios, radio stations, and live venues. This commitment to custom solutions laid the foundation for their later innovations in the audio industry.

**Innovative Products:**
Throughout its history, Allan & Heath has introduced numerous groundbreaking products that have revolutionized the world of professional audio. Some of the key innovations include:

1. **GL Series Mixers (1970s):** The GL series marked Allan & Heath's entry into live sound mixing consoles. These compact and versatile mixers became popular for their excellent sound quality and reliability.

2. **MixWizard Series (1990s):** The MixWizard series combined affordability with professional features, making it a favorite among small to mid-sized venues and mobile sound engineers.

3. **iLive Digital Mixing System (2005):** Allan & Heath made a significant leap in the digital age with the iLive series, offering modular digital mixing systems with impressive flexibility and audio quality.

4. **QU Series Mixers (2012):** The QU series brought digital mixing to a wider audience, offering intuitive touchscreen interfaces and exceptional sound quality in a compact form factor.

5. **dLive Mixing System (2016):** The dLive series represents the pinnacle of Allan & Heath's digital mixing technology, with advanced processing, extensive connectivity, and exceptional audio quality.

6. **Avantis Mixer (2019):** Avantis combines the power of dLive technology with a compact and more affordable design, catering to a broad range of users, from small venues to touring professionals.

7. **AHM-64 Matrix Processor:** This versatile matrix processor offers powerful audio routing, processing, and control capabilities, making it a key component in sophisticated audio systems.

**Impact on the Audio Industry:**
Allan & Heath's innovations have had a profound impact on the audio industry, particularly in the live sound and recording sectors. Their consoles and mixing systems are known for their reliability, sound quality, and user-friendly interfaces, making them a top choice for both seasoned professionals and emerging talents.

**Company Philosophy and Values:**
Allan & Heath has consistently upheld a commitment to excellence, innovation, and customer satisfaction. Their dedication to meeting the evolving needs of audio professionals and delivering high-quality products has solidified their reputation in the industry.

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Bob Allan was born on October 4, 1946, in London, United Kingdom. From a young age, he displayed a keen interest in electronics and sound engineering. His passion for music and technology drove him to pursue a career in audio engineering.

In 1969, alongside Ivor Heath, Bob co-founded Allan & Heath, a company that would later become a cornerstone of the professional audio industry. Bob's technical expertise and innovative spirit were instrumental in the company's early years. He played a crucial role in designing custom mixing consoles tailored to the unique needs of recording studios, radio stations, and live sound venues.

One of Bob's notable contributions was the development of the GL Series mixers in the 1970s. These compact yet powerful consoles offered exceptional sound quality and flexibility, setting a new standard in live sound mixing. Bob Allan's commitment to pushing the boundaries of audio technology led to a legacy of innovation that continues to influence the industry today.

Tragically, Bob Allan passed away on December 9, 1992, leaving behind a remarkable legacy of creativity and innovation in the world of pro audio.

**Ivor Heath: The Business Mind and Industry Pioneer:**
Ivor Heath, born on February 25, 1947, in London, UK, brought a unique blend of business acumen and technical expertise to Allan & Heath. His early career involved working with audio equipment manufacturers, giving him valuable insights into the industry's dynamics.

In 1969, Ivor teamed up with Bob Allan to co-found Allan & Heath. Ivor's role was pivotal in shaping the company's business strategies and growth. He recognized the potential for their custom mixing consoles to address the needs of various audio professionals, laying the foundation for the company's future success.

Under Ivor's leadership, Allan & Heath expanded its product range, venturing into digital mixing systems and international markets. His visionary approach led to the development of groundbreaking products like the iLive and dLive mixing systems, which gained global acclaim for their innovation and quality.

Ivor Heath's dedication to building Allan & Heath into a global brand resulted in the company's continued growth and success. His leadership and strategic vision ensured that Allan & Heath remained at the forefront of the pro audio industry.

**Legacy and Impact:**
The partnership of Bob Allan and Ivor Heath not only created a thriving company but also left an indelible mark on the professional audio industry. Their commitment to innovation, quality, and customer satisfaction has made Allan & Heath a trusted name in studios, live venues, and broadcasting facilities worldwide.

Today, Allan & Heath continues to innovate and produce cutting-edge audio solutions, carrying forward the vision of its founders. Bob Allan and Ivor Heath's legacy lives on in the products and technologies that bear their influence, as well as in the hearts of audio professionals who have benefitted from their pioneering spirit and dedication to excellence.