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Allen & Heath PA28 Mixer
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The Allen & Heath PA28 Mixer gives you all the tools you need to run a stereo PA system in a straightforward plug-and-play format. You'll quickly fee...Read More
The Allen & Heath PA28 Mixer gives you all the tools you need to run a stereo PA system in a straightforward plug-and-play format. You'll quickly feel at home with a number of innovative touches based on many years of real-world experience. High-quality construction features on the PA28 Mixer include the same individual vertical circuit boards, nutted pots, and solid copper bus connections as the acclaimed ML series consoles. Experience the full, open, natural sound quality that has made Allen & Heath a respected name around the world.
24 mono channels with mic (XLR) and line (TRS) inputs (line input overrides the XLR input), individual +48V phantom power switches, and new padless 2-stage preamp with smooth gain law provide pristine sound quality. Line input goes to second stage for better matching and performance. Switched 100Hz high-pass filter, insert point, 4-band EQ, 4 aux mixes, mute with LED, PFL button with LED (functions as peak indicator), plus 100mm fader on every channel.
Shelving LF (60Hz), and HF (12kHz) with fixed LM (250Hz), and swept HM (300Hz - 6kHz). The fixed 250Hz control on the Allen & Heath PA28 has been carefully selected to provide reduction of muddy sounds and enhance warmth.
4 stereo channels with 2 unbalanced stereo inputs on each--one RCA and one TRS jack. Independent gain controls provide source mixing in the channel strip. The top inputs (RCA) can be switched direct to L&R instead of the channel strip providing extra returns. Each stereo channel features 2-band shelving EQ, 4 aux mixes, stereo balance, mute with LED, PFL with LED, and 100mm fader as mono channels.
Auxiliary sends from all channels include 2 pre-fade for foldback mixes - these have 100mm fader masters, mute switch with LED, AFL with LED, and TRS outputs (which can be routed internally to output section). One post-fade aux mix for effects which feeds the internal effects and has a TRS jack output for external effects. One post-fade aux mix to a TRS jack output is provided for external effects or special feeds.
Main stereo mix output has 100mm fader control and mute with LED plus TRS jack outputs, mono sum output with level control and switch for subwoofer mode to TRS jack. Record output (RCA) analog and SPDIF switchable pre/post fader, plus twin 12-segment LED bar meters that show program (or PFL/AFL). Insert points on TRS jack for external processing as well as output EQ and routing to internal amplifiers/external systems are provided.
A 4-band semi-parametric EQ enhances the output section. This affects the TRS slave outputs and the internal constant power amplifiers, offering more control than graphic equalizers for precise management of speakers, especially foldback/monitors. Source selector allows output EQ section to be used on left/ right, L&R sum/foldback 1, or foldback1/foldback 2.
16-program digital effects processor provides reverbs, delays, chorus, and others, including combinations. This FX module takes its feed from the post-fade FX aux on the mono and stereo channels. The output of the FX module is controlled by a 100mm fader with mute and PFL and is routed to the stereo mix and FB1&2 with post fade level controls. 2 TRS inputs with level control provide a way of combining external effects with the internal unit. The internal effects can be switched off to use external effects only if preferred. A footswitch TRS jack is provided to mute the effects channel. Editing of effects can be done via MIDI using the software editor available free from the resource CD or the Allen & Heath website.
Background music (BGM) mode plays 2 track input into the main mix post fader, allowing the user to pull down the fader (while patching, taking a break, or during walk-in) and leave music playing through the amplifiers/speakers. 2 track input (RCA) with level control to L&R feeds the headphone monitor selector (checking recording) while twin, 3-color 12-segment LED meters display active monitor source. Large LED indicates PFL/AFL active signal overrides L&R/2TRK monitor source selection. Standby switch uses relays to disconnect the speakers. 2 track output (RCA) analog + S/PDIF allows direct-to-digital recording. Switchable pre/post master L&R fader. Mono sum out with level (TRS) mode switch to provide sub feed with 100Hz low pass filter. Phones out (TRS) with level.
High-end features and formidable flexibility.
- 24 mono channels with mic (XLR) and line (TRS) inputs
- Individual +48V phantom power switches
- Switched 100Hz high-pass filter
- Insert point
- 4-band EQ
- 4 aux mixes
- Peak indicator LED
- 60Hz low and 12kHz high shelving
- Swept high/middle
- 250Hz low/middle
- 4 stereo channels with 2 unbalanced stereo inputs on each
- 4 AUX sends from each channel with faders
- Multiple stereo and mono mix outs
- Output EQ
- Pro-level digital FX
- 4-pin XLR socket for lamp
37"W x 7"H x 21-1/5"D
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Reviewed by 1 customer
Displaying review 1
- 28 Inputs
- 4 Band Eq
- Easy Portability
- Sticker Price
- Breaks Easily
- Exhaust Fan
- Lack Of Outputs
- Limited Functions
- Manufacturing Quality
- Poorly Engineered
- Poor Quality Sound
Comments about Allen & Heath PA28 Mixer:
This board was purchased for use in a small house of worship format. I, being a sound engineer, decided that this was the best value for our budget, especially considering the brand being Allen & Heath. Although very happy with it at first, the 2 years lapsed since its purchase has demonstrated how poorly constructed this console is. Below I will list the issues over that time.
- Both stereo channels have died
- High self-noise on preamps and summing amps
- S/P DIF output unusable (distorted, weak)
- Cross talk across entire board when any Phantom toggle is engaged/disengaged (POP!)
-Exhaust fan stopped working properly. It's either loud as a model airplane or not on at all
And there are some serious design flaws, too. No subbing, and only four aux busses are a huge drawback. No ability to change on board FX parameters (though they do sound good). No switch for pre/post fader for aux sends. No master fader at all for two of the aux sends. Cold or loose solders on several channels.
Bottom line is this: A&H cut too many corners trying to work their way further into the low-end console market. I've worked with their intermediate equipment for years prior and have loved it, hence why I purchased this one. Unfortunately, poor craftsmanship and subpar design are below the grade of what Mackie or even Behringer will give you for the same price. I'll be switching to a used Yamaha GA-series soon, as it contains much more I/O as well as being noise/free.