Powersoft’s DigiMod3004PFC4 + DSP4 provides all the ammo for PK Sound’s Trinity loudspeaker system.
In terms of amplification, Hughes and co. are adamant that there is “no room for compromise, period”. PK prides itself on working with the best components and the best possible methods, Hughes insists, which is why they partnered with Powersoft when creating their flagship product, Trinity. “It was a very easy choice for us, as Powersoft make very high end products. Before we used them, we were using another brand in the US, and it was fine, but wasn’t near the quality of Powersoft in acoustic integrity or efficiency, so it was an easy switch,” Hughes explains. “What’s also great for us is we have pushed them to give us more of their R&D products which have not been commercially released, so we can also test them - and they’ll tell you we can pretty much put anything through its places! Powersoft was also one of the first companies to receive Enforce as a technology, and I think we’ve built one of the biggest, baddest boxes with that technology; and now we’re in the process of building the commercial version of a single enclosure.”
According to PK’s CEO, Jeremy Bridge, it’s the whole Powersoft package that really sets the tone: high power and efficiency; lightweight; the ability to provide considerably increased power to one channel; DSP processing; and reliability. Is that all..? “[smiles] Well, the whole Powersoft partnership is really great, to be honest; we love working with the gents in Italy, as they are always very helpful and positive to work with, and I think the relationship really started to grow after we went out there and spent a week at their offices,” Bridge explains. “We got to know everyone there, and we presented the Trinity 33 HEADLINER
“THESE ARE THE KIDS OF THE IPHONE ERA; YOU CAN’T IMPRESS THEM WITH A MEDIOCRE SOUND SYSTEM AND CRAPPY LED WALL.”
project to management, who seemed really interested in it. Since then, we have worked on a number of really exciting projects with them, and we are very happy to have them as a partner. I strongly believe in the philosophy to focus on what you do best and then create strong partners with other industry professionals that are the leaders in their respective fields, and that’s exactly what we’re doing.”
The EDM scene is a big scene for PK Sound. I ask the guys to break down how and why, exactly. “Well, in the mid ‘90s, the UK and Europe were already exploding with electronic music, but North America was just blossoming. The EDM fanbase really is looking for a more immersive visceral experience as it’s not just audio, it’s video, lighting, better productions; these are the kids of the iPhone era, and you can’t impress them with a mediocre sound system and crappy LED wall,” Hughes insists. “They just expect quality, and EDM got the worse of it, as a lot of these artists are forced to perform on a laptop because they don’t have the resources to orchestrate a full live band, so they needed the support of large production as they wanted the same passion and experience
but with a lot of new kit. We knew our products could handle more punishment at higher SPLs, and we built it to cater for this kind of genre - especially bass-heavy music - so it was an easy fit, and it’s led us to a lot of other markets. Culturally, we understand our market very well; we know what they’re looking for, and we’re good friends with a lot of the EDM guys.” Conversation turns to this issue’s Headliner cover star, Hardwell, the world’s number one DJ. Hughes is well aware of his work, and brings up a very interesting point: “Sometimes the disconnect is so grand,” he reflects. How so? “Well, as a manufacturer, we’ll help with some tours, but we litmus test our products, and it’s scary with an EDM production, especially if it’s Hardwell or Tiësto or Kaskade or Skrillex; we do these guys all the time as they trust us, but the front of house tech does not know the genre, let alone the artist, or even the PA system; and if that’s the case, there is no way the tech will get it sounding how it’s supposed to. And if they’re involved in selecting the PA? Well, you’ve already lost. It’s like sending a rock guy to do a hip hop show, or vice versa; I’d like to think they could all do all the shows, but it’s just not true.” I ask Hughes what the answer is. He ponders for all of a millisecond, and concludes: “It’s 2016! We should have high-end, hi-tech systems everywhere, as technology drops out of your pockets on the street. That’s the way forward.” A fair point, well argued! Thanks for an intriguing insight, guys. www.powersoft-audio.com