KT Platforms



Do you want to sound and feel like you have a huge amp stack behind you, but no one else needs to hear it? At Porter & Davies we are proud to introduce you to our family of KT Platforms, which use the transmission of sound by Kinetic Transfer (KT) to enable musicians to feel and hear their playing internally, instead of just relying on conventional audio methods.

The KT Platform will give you the stage shaking excitement that other monitors (in-ears, in particular) just can’t deliver. You can choose to monitor just your own instrument, or take a mix from the monitor board and lock into the groove in a way you’ve never felt before.

KT PlatformsThe KT Platform is perfect for bass players, DJs, guitarists, keyboard players and percussionists: It gives a full and faithful transfer of the sound and the weight of the sound through bone conduction. There is no time lag. It’s not just a low-end rumble: All notes are faithfully transmitted, including harmonics and all dynamics. It is highly portable and quick to set up and dial in.

You can find out more about the entire range of KT Platforms by clicking the ‘details’ section below.

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Please meet the KT Platform family:

  • KT Platform (available with any of our three engine styles)
  • KT Platform (TT6 equipped)
  • KT Concert Platform (TT6 equipped)

The standard KT Platform is a two unit system consisting of the KT Platform itself, and an ‘Engine’ which contains all of the electronics: – amp, preamp, inputs and outputs, protection circuitry, and volume and tone controls.

Porter & Davies EnginesThe Engines come in three styles: The BC2, rackmount BC2rm, and the Gigster.

The BC2, BC2rm and Gigster Engines have identical build quality, power and performance, just a few different features. The main differences are that the BC2 and BC2rm have a voltage switch for full international flexibility, whereas the Gigster has a set voltage and is much lighter and more portable. All three have the same controls, ie Input Gain, Master Volume, and Low Contour. The BC2 has an inbuilt flightcase so is best suited to touring and travel. As a musician you will not notice any difference in performance between the BC2, BC2rm and Gigster.

Compare the three engines with this handy comparison sheet.

The TT6 Equipped KT Platform is identical in external appearance to the regular KT Platform, but it is equipped with our very own TT6 1,000w super-transducer. The beauty with this is that you can drive it with pretty much any amp over 200w up to 1,000w at 4 Ohms. The TT6 KT Platform is not driven by P&D engines. It’s perfect for musicians who have a spare amp, or if there is an extra channel of a monitor stage amp available.

KT PlatformThe KT Concert Platform is the bigger brother of the TT6 Equipped KT Platform described above. It too is fitted with the TT6 1,000w super-transducer, but is exactly twice the size and is therefore ideal for those who like to move around on stage more.

This photo shows the relative size difference between the standard KT Platform and the double-sized KT Concert Platform.

Please note: The Bass guitar is not included!


KT Platform (standard)

80 x 61 x 8 cms deep (31.5″ x 24″ x 3″ deep)

Weight: 12 Kg

Connection: Speakon NL4


TT6 Equipped KT Platform (standard size)

80 x 61 x 8 cms deep (31.5″ x 24″ x 3″ deep)

Weight: 14.5 Kg

Connection: Speakon NL4


KT Concert Platform

120 x 80 x 8 cms deep (48″ x 31.5″ x 3″ deep)

Weight: 26 Kg

Connection: Speakon NL4


Engine Spec

For engine spec, please see relevant engine pages (The BC2, rackmount BC2rm, and the Gigster).


KT PlatformsHere are a few examples of how the KT Platform can be used:

Bass players:
Are you frustrated with how your instrument feels when you can only rely on in-ears? The KT Platform will give you an astounding feeling of power and sonic warmth – that only you get to feel and hear – and not just the low notes… you get the whole range of the instrument, including harmonics, and all the tone and sustain.

How about adding some bass drum and maybe snare in there too? Now you can really lock in to the groove (if your drummer has a P&D seat, send him/her your bass signal too).

Get some of yourselves in the KT Platform to add some serious weight to your sound, especially if you have to leave the amp stack at home due to a quiet stage… You can also add some bass guitar and bass drum in there for added sonic support and groove enhancement.

Stand-up percussionists:
No more swollen and sore hands because you have to over-hit your congas in order to hear yourself… Lock in with the band like never before.

KT PlatformSingers using in-ears:
Do you ever feel disconnected from the power of the band, but don’t want to drown your IEM vocal mix out or have an onstage sub blaring at you? The KT Platform will give you all the power and weight of the band, but will allow your vocals to breathe and not have to fight over everyone else in your mix at unhealthy volume.

Just imagine the power of a couple of 18” subs in your booth, but without the deafening volume…


Porter & Davies Throne Tops

Porter & Davies Throne Tops

Most of the sound we hear reaches our ears via airborne vibrations, like those produced by acoustic instruments and loudspeakers. However, there are four additional pathways through which we perceive acoustic energy, all of which fall into the category of tactile sound. These additional pathways include:

  • Deep tissue and muscle mass (“Kinesthetic”)
  • Skeletal joints (“Haptic”)
  • Skin sensation (sense of touch)
  • Bone conduction (skull to cochlea transmission)
Dil Davies London Drum Show

Co-inventor Dil Davies at the London Drum Show.

To capitalise on these additional means by which we perceive acoustic energy, Tactile Sound Transducers have been designed to send high-quality audio to the listener/player in the form of vibrations over a full range of tactile audio frequencies. When attached to a resonant surface (which is at the heart of our Patent Pending thrones), the transducer reacts with precision and directness to the signal it receives.


Place on a flat, secure surface. Carpet is fine.

Quick set-up

  • Plug in NL4 and connect to Engine
  • Always make sure the Master Volume is at zero when you turn the Engine on
  • Adjust input gain for green/yellow LED good, never red
  • Gently increase Master Volume. Tweak Low Contour to taste, if necessary. Start at 12 o’clock.


Line in from Monitor desk is the best option.

Alternatively: Line in from any ‘line’ or ‘DI’ output on the back of the bass or guitar amp.

Instrument direct to Engine and link out to amp is not recommended.

Engine Instructions

All three P&D Engines will drive the KT Platform. They all have the same build quality, power and performance, just some different features. Please see the website for full details.

The BC2 and BC2rm are equipped with a voltage selector switch which will allow the units to be used in countries with either 230 and 115 Volts (such as USA and Japan). Please select CORRECTLY! The Gigster however comes as either a 230 or 115 volt model.

To connect to all three Engine types

This is done via the ‘Line’ XLR input (or via 1/4 inch Jack for the Gigster).

The ‘Line’ input is very versatile. First of all, it will allow the connection of a regular amplifier (bass, guitar, etc) to the Engine. It will also take a feed from a monitor desk/board for those who prefer to route the signal(s) in this way.

The Line input will also allow other signals to be routed through the KT Platform (eg bass drum). For some suggestions, please see the website. The Line input also allows for extra EQ treatment from the monitor desk/board if required.

The Line sockets in all three Engine types accept both balanced and unbalanced inputs.

Tips & Suggestions

If you turn the KT up very high and play with sustained intensity and power, you will likely engage the Engine’s VMT (Vacuum Micro Tube) protection device. This is when the white bulbs unit under the grid lights up. This device protects the transducer inside the Platform by preventing excessive amounts of signal being sent to it. The more the protection device lights up, the more excess power is diverted away from the transducer and dumped to the bulbs.

Please be aware that when this happens, the KT Platform will feel weaker, and turning it up will only exacerbate the matter.

For optimum and consistent power we recommend setting the Engine to a level where the lights do not come on regularly. Even at this level you will probably feel a bit overpowered anyway.

The key is to go for a balanced musical level… This is when you will get the most out of the system. Also, the more you use it the more your brain will become attuned to it, and the volume will decrease.

We recommend also trying other sources as well as your own being fed into the KT. Please see Applications on the website for some ideas.

If you do consistently light up the VMT, try easing off a little Low Contour and compensating with the Master Volume. For further solutions, please see the ‘Output EQ’ section below.

Please note:
Be particularly aware of live mic placement; there can still be physical feedback between mic and platform. Separate as far as is practical.

Driving the BC2/Gigster from the monitor desk/board

  • Assign a separate output to send a mix to the engine, in the same way as you would for a wedge/monitor sub (this will be an XLR for the BC2)
  • Set the master output of this aux at 0dB (most masters are infinity to +6dB or more). This output needs to be nice and hot, because the BC2 Engine has its own volume control, unlike a wedge or sub power amp, which is always set at full volume
  • Mix in appropriate levels of drums, bass, keyboards, or whatever you want to monitor through the BC2 system.

Output EQ

  • Most monitor desk outputs have assignable EQs. You can enhance the effect of the BC2 signal with a little EQ
  • For the bass drum, we recommend setting the HP filter (or a tight shelving EQ) to around 40Hz (depending on personal preference), as you don’t get any focussed effect in the seat from frequencies below this, but they will draw a lot of power (which can set off the VMT)
  • For more thump, the area around 80Hz is very potent, and the frequencies up to around 160Hz are all felt physically
  • Set a very narrow band (High ‘Q’) 6db peask and sweep the frequency between 70-100Hz until you find your personal chest cavity resonance (the bass drum ‘hit’ sensation). You will now find you can reduce the master volume and retain the best effect from the unit
  • These settings also work wonders with any other signal fed into the BC2, ie toms, snare, bass guitar etc.

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In the first instance Porter & Davies must be made aware of any issues prior to goods being sent back for repair.

If a fault develops within the 24 month warranty period the goods will be collected by Porter & Davies at their expense where possible. If it is not possible for Porter & Davies to collect the faulty product, subject to the fault being covered by the warranty, Porter & Davies will reimburse the customer for the cost of sending the goods for inspection.

If it is found that the fault is covered by the limited warranty, Porter & Davies will repair the fault and send the goods back free of charge.

If it is found that the fault is not covered by warranty, for example, the unit has been damaged, dropped or abused in any way, a quote will be provided for the cost of repair as well as pick up postage cost and return postage cost. Upon receipt of funds, the unit will be repaired and returned.

If any attempt is made to try and rectify the problem without the authorization of Porter & Davies, the warranty will be invalid.

If a fault develops outside of the 24 month warranty period, upon informing Porter & Davies, the product must be returned by the customer at their cost.

Upon inspection, a quote will be provided for the cost of repair and return postage. Upon receipt of funds, the product will be repaired and retuned.

All repairs are covered by a 24 month limited warranty.

Contact. info@porteranddavies.co.uk

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