TEST: Fischer In Ear Stick

A new star in the In Ear sky? With the Fischer Amps In Ear Stick, the company located in Osterburken in southern Germany launches a cable-based amplifier system, which comes up with unique dimensions and manufacturing in Germany.

The In Ear concept

Inear is on everyone's lips, or rather, on everyone's ears. Probably no other product has made it in the last decade from a monitor system used only by elite vocal superstars to a mass product with all quality and price gradations. The earphone system, which is usually used in conjunction with a radio link, has long since left the primary field of application of vocals and is used across the board by all types of instruments.

Depending on its field of application, a high-quality radio link, with all its advantages and disadvantages, plays a decisive role in signal transmission. Stage-filling presentations of an ambitious frontman/woman or show-talented string pluckers, i.e. all those who can carry their instrument with them and are not bound to stationary miking, would not be possible without complete freedom of movement by means of transmitter and receiver, although the legendary microphone cable acrobatics of a Roger Daltrey (The Who) unfortunately fall by the wayside.

But what if your personal instrument assigns you a fixed place in the room, e.g. as a drummer or keyboard player? In this case you have the possibility to get rid of the problems of the worldwide frequency jungle in terms of allowed frequencies, interferences and dropouts, respectively battery runtimes, by using a cable-supported system. If you are a drummer and only want to put a click on your earphones, or if you are a keyboard player and only want to control your instruments via a submixer, the one or other built-in headphone amplifier might still have enough power.

Normally, however, these built-in solutions are not sufficient, neither in terms of headroom nor sound, to create a real feeling of well-being. At the latest with the addition of additional instruments of the colleagues, the internal amplifier(s) start to clip and cause more damage tonally than they fulfill their function. We don't even want to talk about a stable kick transmission.


The construction of the Fischer Amps In Ear Stick

Aware of this, the German company Fischer Amps has paid particular attention to 3 points in its In Ear Stick model, as there are signal quality, dimensions and battery life. Let's start with the obvious point, the size of the Fischer Amps In Ear Stick.

When you take the Fischer Amps In Ear Stick out of its packaging, the first thing you notice is the low weight of only 120 grams, which the eye would estimate much higher given the massive appearance of the metal housing. The next thing that catches the eye are the dimensions of the housing, which are downright tiny for what's on offer: 140 mm x 30 mm x 35 mm, which is thus just about the size of 2 stacked 9V battery blocks.

On one outer side there is a 7 cm long, massive fastening clip of the "seventies bicycle clip" brand, with which the system can be attached to any stage trousers, no matter how unusual. Impression: the life expectancy of the clip is higher than that of the musician. A lockable (very important!) combo jack on the bottom accepts the signal, a 3.5mm stereo mini-jack outputs it. Next to it is a combined volume / on-off switch and a control LED for the operating status.

Battery runtime and change

Let's now move on to the battery runtime. The Fischer Amps In Ear Stick requires 2 included AAA batteries for operation, with which it should have an operating time of more than 10 hours according to the manufacturer. I was able to determine that the amplifier still showed no signs of fatigue after 15 hours, which suggests that at least about 7-8 regular shows of about 2 hours duration can be played with the Fischer Amps In Ear Stick. This is a real boon when you consider that the receiver of a regular radio link breaks down after 4 hours at the latest.

To insert the batteries into the housing of the Fischer Amps In Ear Stick, it first takes a little practice. In order not to weaken the massive construction of the housing by a cheap, hinged plastic compartment, the housing works like a kind of "metal condom", which is put over the circuitry innards along with the battery shaft. A metal pin, which is located centrally on the side of the case at a 90 degree angle to the mounting clip and can be pressed in from the outside, provides a stable locking mechanism.

Fischer Amps is now in the situation of having to use a construction that cannot come loose under any circumstances during operation, but also has to provide access to the battery without having to resort to external tools such as screwdrivers or similar. To solve this problem, the metal pin was made small, even tiny, and provided with a quite strong pressure point. Once engaged, nothing can be opened, no matter what kind of fidgeter or gross motorist is using the product.

Should you now find yourself in the fortunate or unfortunate position (depending on the type) of knowing a female keyboardist or drummer in your band, I recommend for reasons of band harmony from a certain fingernail length of the colleague to jump in to help with a battery change. The metal pin actually releases the case only when it is pushed all the way in its recess and the "pusher" has very short and very hard fingernails. A long fingernail simply bends away here and at the latest when the fingernail of the colleague tears, you have a lot of fun in the booth, respectively on stage.


The Fischer Amps In Ear Stick in practice

To be able to judge the sound of the Fischer Amps In Ear Stick, you first have to think about the wiring of the amp. The product can be wired either balanced in mono or unbalanced in stereo. Since in almost all backing track bands the drummer takes over the function of the technical manager of the playbacks, most of the drummers will manage the Fischer Amps In Ear Stick directly on the Macbook via the mini-jack and have their set fed via drum fills or similar. This can be done using an XLR / TRS adapter, but is a risky venture, since the Macbook audio output is anything but roadworthy due to its simple plastic orientation.

It is always better to route the audio signal of the Macbook via a proper interface and a corresponding splitter to the monitor man, respectively FOH and to get their signal back via the corresponding monitor path. For this constellation Fischer Amps also offers a corresponding 2x XLR female to 1x XLR male adapter cable, with which the Headphone Amp can show its full strength.

Sonically, the amp offers above all a very neutral, headroom-rich sound, which reveals almost uncolored its strengths in high, impulse-resistant volume. The amp simply does what it is supposed to do, it makes loud without having to accept any drawbacks. In addition, it should be mentioned that the Fischer Amps In Ear Stick does not produce any background noise even at high volumes. If it should noise in the headphones again, first ask the guitar colleague about his gain setting on the amp.

In a direct comparison with the competition, the amp scores with its tiny dimensions and extremely solid construction. Of course, the product is grateful when it is stored in foam and transported in the included cardboard box, but a somewhat less gentle transport method seems to do little harm to the Fischer Amps In Ear Stick. All external parts are very tough and even the volume control, which protrudes from the head, is firmly screwed to the metal plate and can only be broken off with brute force.


Conclusion

With the Fischer Amps In Ear Stick, the German manufacturer delivers a cable-supported headphone amplifier in a class of its own, which will find numerous friends, especially among drummers and keyboardists. The system is excellently processed, offers several interesting detail solutions and delivers a neutral, impulse-resistant sound, which can also deliver very high volumes at the earphone. In addition, the price / performance ratio for a system manufactured in Germany can be considered downright cheap.

Absolutely recommendable, should definitely be tested once.


Additional Informations:

- Fischer Amps is a German company that specializes in designing and manufacturing high-quality audio equipment. Founded in 1995 by Chris Fischer, the company has grown to become a leader in the industry, with a reputation for innovative products and exceptional customer service.

Design and Features

Fischer Amps offers a wide range of products, including headphone amplifiers, in-ear monitors, and wireless monitoring systems. One of the company's most popular products is the In-Ear Stick, a compact and portable headphone amplifier that provides high-quality audio for musicians and audio engineers on the go.

The In-Ear Stick features a sleek, lightweight design that is easy to carry in a pocket or bag. The device has a built-in rechargeable battery that provides up to 12 hours of continuous use, and it can be charged using a USB cable.

Another popular product from Fischer Amps is the Mini Bodypack, a wireless monitoring system that allows musicians to monitor their performance without being tethered to a stationary sound system. The Mini Bodypack is compatible with Fischer Amps' range of in-ear monitors, and it offers a range of up to 100 meters.

Tone and Performance

Fischer Amps' products are known for their high-quality sound and performance. The company's headphone amplifiers provide clear, detailed sound that is perfect for critical listening, while its in-ear monitors offer exceptional isolation and clarity, allowing musicians to hear their performance with precision and accuracy.

One of the key features of Fischer Amps' products is their versatility. The company's headphone amplifiers can be used with a wide range of headphones, and they offer a range of input and output options, including balanced and unbalanced connections. Similarly, the Mini Bodypack can be used with a variety of in-ear monitors, making it a flexible and adaptable solution for musicians and audio engineers.

Innovation and Impact

Fischer Amps is known for its innovative products and commitment to excellence. The company's products are designed and manufactured in Germany, using the highest quality components and materials.

One of the company's most notable innovations is its use of rechargeable batteries in its products. By eliminating the need for disposable batteries, Fischer Amps is helping to reduce waste and environmental impact, while also providing a convenient and cost-effective solution for musicians and audio professionals.

In addition to its innovative products, Fischer Amps is also known for its exceptional customer service. The company's knowledgeable and friendly staff are always available to answer questions and provide support, ensuring that customers receive the best possible experience when using Fischer Amps' products.

Conclusion

Fischer Amps is a company that is dedicated to providing high-quality audio equipment that is innovative, versatile, and reliable. Whether you're a musician, audio engineer, or just a music lover, Fischer Amps' products are sure to provide exceptional sound and performance, while also being convenient and easy to use. With a commitment to excellence and a passion for innovation, Fischer Amps is poised to continue making a significant impact in the audio industry for years to come.

- In-ear monitoring (IEM) is a technology that has revolutionized the way musicians and audio engineers approach live sound. With the ability to provide a more personalized and accurate listening experience, in-ear monitoring has become an essential tool for performers and sound professionals alike.

What is In-Ear Monitoring?

In-ear monitoring is a system that allows musicians and performers to monitor their own performance using a set of earphones or earbuds. Instead of relying on stage monitors or floor wedges, in-ear monitoring provides a more accurate and consistent sound, while also reducing the risk of hearing damage caused by prolonged exposure to high sound levels.

The system typically consists of a transmitter that sends audio signals to individual receivers worn by the performers. Each receiver is connected to a set of earphones or earbuds, allowing performers to hear their own performance, as well as any other audio signals being sent through the system.

Benefits of In-Ear Monitoring

There are several benefits to using in-ear monitoring, both for performers and audio engineers. Here are some of the key advantages:
Personalized Sound: In-ear monitoring allows performers to hear their own performance with greater clarity and detail, providing a more personalized and accurate listening experience. This can help improve their performance and enable them to make adjustments in real-time.
Reduced Risk of Hearing Damage: In-ear monitoring reduces the need for loud stage monitors or floor wedges, which can expose performers to high levels of sound that can damage their hearing over time.

Improved Stage Volume: By reducing the need for loud stage monitors, in-ear monitoring can help reduce overall stage volume, making it easier for performers to hear themselves and each other.
Greater Control: In-ear monitoring allows performers to control the volume and mix of their own sound, giving them greater control over their performance and reducing the need for audio engineers to constantly make adjustments.

Improved Communication: In-ear monitoring systems can include built-in communication features, allowing performers and audio engineers to communicate with each other during the performance.
Challenges of In-Ear Monitoring

While in-ear monitoring offers many benefits, there are also some challenges that must be addressed. Here are a few of the key challenges:

Cost: In-ear monitoring systems can be expensive, especially for larger bands or productions that require multiple systems.

Technical Complexity: In-ear monitoring systems require technical expertise to set up and operate, and they can be more complex than traditional stage monitors.

Comfort and Fit: In-ear monitors must fit securely and comfortably in the performer's ear, which can be a challenge for some individuals. Custom-molded earphones can help address this issue.

Dependence on Batteries: In-ear monitoring systems require batteries to power the earphones or earbuds, which must be monitored and replaced regularly to ensure reliable operation.

Conclusion

In-ear monitoring is a technology that has transformed the live sound industry, providing a more personalized and accurate listening experience for performers, while also reducing the risk of hearing damage. While there are some challenges to using in-ear monitoring, the benefits far outweigh the drawbacks, making it an essential tool for any musician or audio professional looking to take their performance to the next level. As technology continues to evolve, in-ear monitoring is poised to become even more sophisticated, offering new features and capabilities that will continue to revolutionize the way we approach live sound.

TEST: Fender Deluxe Tele Thinline CAR

 What has not already been written about this type of guitar. For some the most boring and ugly guitar shape ever, for others the epitome of the ultimate "Twäng", whereby the "scholars" argue to this day, how the same is to be defined at all. The fact is that the Fender Telecaster was born in 1952 and at the same time became the first mass-produced electric guitar. That this instrument, designed by a trained mechanical engineer for purely pragmatic and cost reasons, would become a collection of groundbreaking details, Leo Fender probably would not have thought in his wildest dreams. That he should succeed this clou 2 years later again by a multiple higher with the Stratocaster, probably even less.

In the meantime, countless versions of the "board" have experienced their moment of glory in the almost 64 years and some of them have already left the scene again. One of the variations of the classic solidbody version, however, remains bravely in the second row. We are talking about the Thinline version, which is available for testing as the Fender Deluxe Tele Thinline CAR. Enough of the history lesson, on to the test.

Construction

Telecaster! Well, that means in its classic interpretation a board with 2 single-coil pickups, plus a maple neck and the usual electric guitar stuff like tuners, etc., done! Was nice and cheap at the time and in conjunction with a twin reverb in a volume unbelievable at the time, even in the heaviest big band thunderstorm without any problems. But to leave it only with these rudimentary key data, would do the Fender Deluxe Tele Thinline CAR truly wrong, after all, almost every detail has been changed, improved or simply pimped in recent decades. But stop, there was something else, what is it about the designation Thinline?

Thinline?

With Thinline Fender describes the same Telecaster, which was more or less the answer to the ES series from Gibson. Construction and conception couldn't be more diametrical, but as soon as the customer sees an F-hole, he looks for something comparable. Above the string guide, the Telecaster is indeed hollowed out, resulting in an overall "hollower" and softer sound compared to Solidbody. It doesn't really make the instrument any louder acoustically, but it does take away some of the, depending on the finish, biting sharpness of a Tele. However, you don't have to worry about feedback like on Gibson's full resonance Thick Bertas, the sustain block in the middle of the instrument provides enough shielding in terms of bass feedback.

Hombre

As already mentioned, Fender has changed a few points on the Mexican-made guitar, which non-tele purists in particular liked to take as a point of criticism. Whether the entire production now takes place in Mexico, or whether, as in the past, all components were manufactured in the U.S. to be shipped across the border for wage reasons and then screwed together in Mexico, i.e. were actually U.S. instruments, who knows. Perhaps, due to the current political situation in the USA, a wall will soon stand in the way of economic cooperation.

Neck

In addition to the classic body shape, the neck is made of maple, and its glued-on fingerboard is also made of maple. Although you can now insert the trussrod from the top, they didn't abandon the "skunk" strip on the back of the neck, which was introduced in its time for the one-piece marple necks. Will probably have price reasons to not run another CNC pattern. The shaping may be considered moderate C, Fender-ersk, without alienating the average-user. The neck sits in a rounded version of the neck base, which improves playability in high registers. In terms of body wood, once again the universally usable alder is used, next to ash the most popular body wood at Fender.

Also, the six tuning machines laterally offset to reduce lateral string friction on the saddle may not be missing, but one has decided for a locking version, which provides more tuning stability and faster string changes due to the lower number of turns of the string. That the CAR in the type designation stands for the color Candy-Apple-Red and it is one of the most famous Fender creations, should probably be known to every Fender friend.

One has said goodbye to the three-rider-death-of-the-intonation-ashtray bridge, which was indeed classic, but among us also tonally real junk. Not a musician who didn't get the big howl as soon as he left the register and had to switch to higher fret regions. Six individual stainless steel tabs in Stratocaster flair, with the strings passing through the body, provide the Fender Deluxe Tele Thinline CAR with much improved octave purity.

Electrics

As a pickup 2 in-house windings with the designation "noiseless" are used, further information about resistance, etc. could unfortunately not be brought into experience. A volume control, a tone control, so far so good, but what is a 4-way switch doing on a Tele? Well, in addition to the typical 3-way whirring, a serial switching of the two single-coils was made possible on position 1, a kind of humbucker with huge spacing between the coils :-) Let's see if this additional circuit brings the Tele forward in its original habitat.

Practice

In principle, it explains itself, but for all hopeful young tappers who curiously eye the instrument described here, having not noticed it before. Tele = High Gain = NO! Tele = Heavy = NO! Of course, you can put mini-humbuckers in your Tele and elicit good rock leads from the instrument as a result, but it's the same as playing with an Explorer in a Dire Straits cover band. It all works, but doesn't really fit.

A discreet crunch may be granted to the country classic, even more, the Tele is a prime example of how a good classic rock rhythm guitar has to sound, but the great showcase is clearly in the clean area with the Tele. The pickups are quite convincing, because they do not bite as hard as some of their predecessors, but still have enough character to assert themselves in the best Tele manner in the band context.

If you now drive the amp discreetly into the saturation, the Fender Deluxe Tele Thinline CAR can play out its second strength. A touch of crunch, more compression than half-wave cut, lets the instrument come across very expressively. Here, the first switch position can also come up with a sensible humbucker-alike and provide a decent, "rocking" foundation. Here is plenty of room for other instruments and the singer is not constantly afraid to drown in the compression stroke of a "real" humbucker beyond 14 kOhm.

Yes, and there is the legendary Twäng, which pushes its characteristics forward especially through fingerpicking. Since every listener has his own idea of the ultimate Twäng, it is very difficult to make a definitive statement in this regard. In my opinion, the Fender Deluxe Tele Thinline CAR has enough Twäng to do honor to its family. Maybe a little less than a solidbody, but it flatters the ear a little more and is also much lighter than their sisters, especially in the eighties usually overweight.

Conclusion

As a Fender fan, you can't go wrong with the Fender Deluxe Tele Thinline CAR. The instrument has everything that made the Tele famous and says goodbye to the details for which it is notorious. In addition, the Thinline version lightens up a few grams in weight and takes some of the harshness out of the tone.

However, with a retail price just under 1,000 euros, it also meets plenty of competition, which, however, will probably have to fight for a lifetime against the strongest trademark in the world in the guitar sector. Here, everyone must decide for themselves where their priorities lie.


Additional Informations:

- Fender Guitars is one of the most iconic and revered guitar companies in the world. Founded in 1946 by Leo Fender, the company has been at the forefront of guitar innovation for over 75 years. Today, Fender continues to produce some of the world's most popular guitars, amplifiers, and accessories, and is a favorite of musicians in a wide range of genres.

History

Leo Fender was born in Anaheim, California in 1909. As a young man, he was interested in electronics and began repairing radios and other equipment. In the 1940s, he started building and selling amplifiers under the name "Fender Radio Service." These early amps were popular with local musicians and sparked Fender's interest in creating guitars.

In 1946, Fender released his first electric guitar, the Telecaster (originally called the "Broadcaster"). This revolutionary instrument featured a solid body, which provided greater sustain and reduced feedback compared to hollow-bodied guitars. It also had a bolt-on neck, which made it easier to repair and maintain. The Telecaster was an instant hit, and Fender quickly followed it up with the Stratocaster, which featured a sleeker body shape, three pickups, and a vibrato system.

Over the years, Fender continued to innovate and release new models, including the Jazzmaster, the Jaguar, and the Mustang. The company also became known for its high-quality amplifiers, including the iconic Fender Twin Reverb and Fender Bassman.

In the 1960s, Fender faced competition from other guitar companies, including Gibson and Rickenbacker. However, the company remained popular with musicians, particularly in the burgeoning rock and roll scene. In the 1980s, Fender was purchased by CBS, and quality control suffered as the company struggled to keep up with demand. However, in the 1990s, Fender was sold to a group of investors who were committed to restoring the company's reputation for quality.
Today, Fender remains one of the most popular and influential guitar companies in the world. The company produces a wide range of guitars, including the Telecaster, Stratocaster, Jazzmaster, Jaguar, and Mustang, as well as basses, amplifiers, and accessories.

Design and Features

Fender guitars are known for their distinctive designs and high-quality craftsmanship. Many of the company's guitars feature a bolt-on neck, which makes them easier to repair and maintain than guitars with glued-in necks. Fender guitars also typically feature single-coil pickups, which produce a bright, twangy tone that is particularly popular in country and rock music.

Fender's most famous guitar, the Stratocaster, features three single-coil pickups, a vibrato system, and a contoured body that allows for greater playing comfort. The Telecaster, Fender's first guitar, has a simpler design with two single-coil pickups and a bolt-on neck. The Jazzmaster and Jaguar are more complex designs with unique electronics and body shapes.

Fender also produces a wide range of bass guitars, including the Precision Bass and the Jazz Bass. These instruments have been popular with bass players since their introduction in the 1950s and have been used on countless recordings in a wide range of genres.

In addition to guitars and basses, Fender produces a range of amplifiers, including the popular Fender Twin Reverb and Fender Deluxe Reverb. These amps are known for their warm, clean tones and are favored by many guitarists for their versatility and reliability.

- The Fender Telecaster is one of the most iconic and influential electric guitars ever created. First introduced in 1950, the Telecaster (originally called the "Broadcaster") was the first solid-body electric guitar to be mass-produced, and its simple design and versatile tone have made it a favorite of musicians in a wide range of genres.

Design and Features

The Telecaster has a distinctive design that has remained largely unchanged since its introduction over 70 years ago. The guitar features a solid body made of ash or alder, with a bolt-on maple neck and a fingerboard made of either maple or rosewood.

The Telecaster typically has two single-coil pickups, although some models have been produced with humbucking pickups or a combination of single-coil and humbucking pickups. The pickups are controlled by a three-way switch, which allows the player to select either pickup individually or both pickups together. The guitar also has two control knobs, one for volume and one for tone.

One of the key features of the Telecaster is its simplicity. Unlike some other electric guitars, which have multiple switches and knobs to control the tone, the Telecaster has a straightforward design that allows the player to focus on the essentials: the pickups and the volume and tone controls.

Tone and Playability

The Telecaster's tone is bright and twangy, with a distinctive snap that is particularly well-suited to country and rock music. The guitar's single-coil pickups provide a clear, articulate sound that can cut through a mix, while the bridge pickup in particular is known for its twangy, percussive attack.
One of the advantages of the Telecaster's simple design is its ease of playability. The guitar's bolt-on neck allows for easy adjustments and repairs, while the flat fingerboard and medium jumbo frets make it easy to play fast and accurate lines.

Impact and Legacy

The Telecaster has had a profound impact on the history of popular music. The guitar was first popularized by country musicians in the 1950s, who appreciated its bright tone and ease of playability. However, the Telecaster's influence soon spread to other genres, including rock, blues, and jazz.

Some of the most iconic guitarists of all time have used the Telecaster, including Keith Richards of the Rolling Stones, Bruce Springsteen, and James Burton. The guitar has also been a favorite of alternative rock musicians, including Thurston Moore of Sonic Youth and Johnny Marr of the Smiths.

In addition to its influence on music, the Telecaster has also had a significant impact on guitar design. The guitar's simple, utilitarian design has influenced countless other instruments, and many other guitar companies have produced their own versions of the Telecaster over the years.

Conclusion

The Fender Telecaster is a true icon of the electric guitar world. Its simple design, versatile tone, and ease of playability have made it a favorite of musicians for over 70 years, and its influence can be heard in countless recordings across a wide range of genres. Whether you're a country picker, a rock and roller, or a jazz player, the Telecaster is a guitar that is sure to inspire and delight.

TEST: Eventide H8000

Sometimes they still exist, the moments in which a slight smile slides over the face of even the most veteran tester when he takes a look at a product. Be it the reputation that this product enjoys, be it the name that has been used in everyday studio life for decades, or be it the knowledge that he is holding one of the last great battleships of a long-gone era in his hands.

When you get an Outgear multi-effects processor, which is not made in China but in the USA, has a regular retail price of just under € 6,500, - his own and hears the name Eventide H 8000 FW, can imagine any sound engineer who has not spent the last 2 decades with commercial jingles and bedroom productions, what the clock has struck. Here is once again really clotted with everything that had to offer the golden age of high-end productions some time ago, enriched with various design features, which do not miss the current state of the art.


Construction

Visually, the Eventide H 8000 FW with 2 U and a weight of 5.5 kilograms comes across relatively unspectacular, only the opulent number of connections on the back of the product let us already foreshadow a global orientation for all production sections along with broadcast functions. Here everything is available, starting with four balanced combo jacks (jack / XLR) as input, four times XLR out, 2x AES/EBU digital, 2x SPDIF, word clock, ADAT, MIDI and as a concession to modernity, dual Firewire with otional daisy chain. The sample rates are correspondingly, i.e. the product delivers 96kHz, 88.2kHz, 48kHz, 44.1kHz at 24-bit. The device is designed for stereo operation as well as for 5.1 applications.

The H 8000 FW has 2 independent DSPs, which can be operated either separately or in parallel to ensure computationally intensive algorithms at high sample rates such as 96kHz, 88.2kHz. As effect sections, the product serves, besides various dynamic ranges, all common modulation effects and the standard room simulations, a sampler whose maximum storage duration is 174 seconds mono and can be treated hereafter with time compression. Not to forget, of course, the company's flagship, the latest version of the Ultra Harmonizer, which has been THE benchmark for pitch shifting for decades.

The H 8000 FW offers 20 MIDI Virtual Rack preset algorithms with up to 5 fully interconnected effects. Each preset provides ten different settings that can be programmed, saved and controlled in real time via MIDI. Up to 45 different parameters can be changed with a single MIDI controller command. The individual effect blocks are also available as separate presets. In total, the product comes with 1600 presets, which are of course all editable down to the last parameter, more is really not possible. A total of 8 H8000s can be remotely controlled via the Remote Control EVE/NET, and up to 6 external footswitches can also be configured via 2 jack outputs.


Practice

When you switch on the H 8000 FW, it first performs a comprehensive self-diagnosis, which can take up to a minute. You shouldn't get confused by the various relay switching noises that come from inside the device. After that, you can deal with the display, which is still too hard to read for me personally. I know about the problem of generating a perfectly readable display even in poor lighting conditions, here the 8000 does a good job, but it always feels to me as if someone had turned the clock back decades and one of the first AKAI samplers would be standing in front of me.

The search function also allows you to find the individual presets pretty quickly, though as I said, it's not mine in terms of interface. No one expects a Mac OS Finder here, but a little more could go with the times in my opinion. Well then, what do the inner values say?

There are products in a reviewer's life where you don't really know how to describe the protagonist without getting lost in the word choice of a teenager who has had his first experience with the opposite sex. The H 8000 FW is one of those devices. No matter which preset is called up, no matter which algorithm is brought to light, one is always inclined to crawl along the very edge of superlatives.

Many presets have that famous little difference that turns a good effect into an excellent effect. The rooms have an excellent depth of detail, the individual parameters are tastefully and efficiently designed, the pitch shifter algorithm is still the fastest available in the world and the sound of the device is one of the best outgear processors currently on the market.

The product is equipped with all synchronization options, is relatively easy to use despite its immense complexity, and should be difficult to beat in terms of sound when several components are daisy-chained accordingly. An absolute top product, which is worth every penny despite the high price! A product for audiophile gourmets who have not yet lost their love of detail in the swamp of the dying music industry.



Conclusion

How often have I felt sorry for my colleagues who never had the pleasure of working with tools that gave the profession of audio engineer, or master, the glamour that until recently generated a respectable basic respect among all those interested in and around the studio business. The time before the amateurish handling of plug-in presets on the home PC and the flood of third-rate "productions" degraded the laboriously learned craft to a laughing stock.

Anyone who has worked seriously with the Eventide H 8000 FW for only a short time will hardly dare to let his home computer generate more than just tracks, so pitiful will his hobby plug-ins most likely sound in direct comparison. Even the cream-de-la-creme high-performance workstations will have to dress more than warmly to be able to compete with the effect quality of the H 8000 FW.

Eventide shows with this product what is still possible in terms of quality, if you only want, can, and have the necessary budget. A device of the absolute top class, which not for nothing enjoys the extraordinary reputation of a top performer. If you get used to the display, you might only be able to wean yourself off this product with the threat of brute force. Let's hope that the delivered quality won't be ruined again in a lousy mix or even an overdone mastering.

As long as sonic dreck like the last Metallica disc "Death Magnetic" continues to sell millions of units, it's hard to convince an investor to invest almost 6,000 Euros in a high-performance processor so that the end product "sounds better“…..

Additional Informations:

- Eventide is a company that has been at the forefront of professional audio equipment design for over 50 years. Founded in 1971 by Richard Factor and Steve Katz, the company has been responsible for some of the most innovative and groundbreaking effects processors and recording tools in the industry.

Eventide's first product was the Instant Phaser, a phase-shifting effects unit that was soon followed by the Instant Flanger. These early products were extremely popular with musicians and recording engineers, and helped establish Eventide as a serious player in the industry.

Over the years, Eventide has continued to innovate and push the boundaries of what is possible with audio processing technology. In the 1980s, the company released the H3000 Ultra-Harmonizer, a multi-effects processor that quickly became a staple in studios around the world. The H3000 was capable of producing a wide range of effects, from simple delay and chorus to complex pitch shifting and harmonization.

In the years since the H3000, Eventide has continued to release groundbreaking products. The Eclipse, released in 2002, was a multi-effects processor designed specifically for live sound applications. The H8000FW, released in 2005, was a powerful effects processor with eight channels of processing and a massive library of presets.

More recently, Eventide has focused on creating software plugins that bring their legendary hardware effects to the world of digital audio workstations (DAWs). Their Anthology XI bundle includes emulations of some of their most iconic effects processors, including the H910, H3000, and Blackhole reverb.

One of Eventide's most recent products is the H9000, a massive multi-effects processor with 16 channels of processing and a vast array of effects algorithms. The H9000 is designed to be the centerpiece of a modern recording studio, with support for Ethernet, USB, and Thunderbolt connections.

In addition to their hardware and software products, Eventide is also known for their commitment to customer service and support. The company has a dedicated team of engineers and support staff who are available to help customers with any questions or issues they may have.

Overall, Eventide is a company that has consistently pushed the boundaries of what is possible with audio processing technology. Their products are used by musicians, producers, and engineers around the world, and their commitment to quality and innovation has helped establish them as one of the most respected names in the industry.


- The Harmonizer is a type of audio effects processor that has been a staple of recording studios since the 1970s. It was first introduced by Eventide in their H910 Harmonizer, and quickly became a popular tool for creating unique vocal and guitar effects.

The basic concept behind the Harmonizer is simple: it takes an audio signal and pitches it up or down by a set interval. The interval can be anything from a single semitone to an octave or more. This can be used to create harmonies, pitch-shifted vocals, or even to create new sounds entirely.

One of the unique features of the Harmonizer is its ability to create harmonies in real-time. This means that a vocalist can sing into a microphone and hear their voice pitch-shifted in real-time, creating a harmony with themselves. This was a revolutionary concept at the time, and opened up a whole new world of creative possibilities for musicians and producers.

The Harmonizer has been used on countless classic recordings over the years, from David Bowie's "Heroes" to Radiohead's "Paranoid Android." It has also been used extensively in film and television, where it is often used to create otherworldly sound effects.

In addition to creating harmonies, the Harmonizer can also be used to create pitch-shifted effects. For example, it can be used to create a "robotic" voice effect by pitching a vocal up or down by a large interval. This effect has been used on countless recordings, from Daft Punk's "One More Time" to Kanye West's „Stronger."

The Harmonizer has evolved over the years, with newer models offering more advanced features and greater control over the pitch-shifting process. For example, the Eventide H3000 Harmonizer, released in the 1980s, offered a wider range of pitch-shifting options and more precise control over the effect. The H8000FW, released in 2005, took things even further, with advanced features like surround sound processing and the ability to create custom effects algorithms.

Today, the Harmonizer remains a popular tool in recording studios around the world. While there are now many digital alternatives available, many producers and engineers still prefer the sound and character of the original Harmonizer units. Whether it's used to create harmonies, pitch-shifted effects, or otherworldly soundscapes, the Harmonizer is a tool that has had a profound impact on the world of music production.

- FireWire, also known as IEEE 1394, is a high-speed data transfer interface that was first introduced in the late 1990s. Developed by Apple and later adopted by other computer and electronics manufacturers, FireWire quickly became a popular way to connect devices such as external hard drives, video cameras, and audio interfaces to computers.

The key advantage of FireWire over other data transfer interfaces at the time, such as USB 1.0, was its high speed and reliability. FireWire was capable of transferring data at speeds of up to 400 Mbps, which was much faster than USB 1.0's maximum speed of 12 Mbps. This made FireWire an ideal choice for devices that required fast, reliable data transfer, such as video cameras and audio interfaces.

One of the areas where FireWire had a significant impact was in the world of music production. FireWire audio interfaces quickly became the standard for recording studios and home recording setups alike, due to their low latency and high reliability. FireWire was capable of handling multiple channels of audio at once, making it ideal for recording and mixing music.

Another area where FireWire was widely used was in video production. FireWire enabled video cameras to transfer digital video data to computers in real-time, without the need for expensive capture cards or other hardware. This made it possible for amateur and professional video producers alike to capture and edit digital video footage with ease.
Despite its many advantages, FireWire had some limitations that ultimately led to its decline in popularity. One of the biggest limitations was its lack of compatibility with newer computer systems. As computer manufacturers began to phase out FireWire ports in favor of newer interfaces such as USB 3.0 and Thunderbolt, it became increasingly difficult to find computers with FireWire ports.

Another limitation of FireWire was its relatively short cable length. FireWire cables were limited to a maximum length of 4.5 meters, which made it difficult to use FireWire devices in larger studios or in live sound setups.

Today, FireWire is largely considered to be a legacy interface. While there are still some devices on the market that use FireWire, most new computers and electronic devices have moved on to newer interfaces such as USB-C, Thunderbolt 3, and HDMI.

Despite its decline in popularity, FireWire remains an important part of the history of computing and music production. Its high speed and reliability made it a popular choice for recording studios and home recording setups, and its impact on the world of music production will continue to be felt for many years to come.

TEST: Eve audio SC204

 Let's not kid ourselves, we all like fat midfield monitors, which are often referred to as A-monitors and impress both customers and professionals with massive sound pressure and powerful bass without an additional subwoofer. Nowadays, however, real sales/profits are usually generated in completely different sectors, whose monitors are also supposed to generate a maximum of sound quality, but have to master a shortcoming that is sometimes diametrically opposed to their field of application. We are talking about the available space and the associated dimensions of the speakers. Aware of this, the Berlin-based manufacturer EVE audio, which has recently made quite an impression with its products, especially at the thick end of the scale (see EVE audio SC408 review - https://www.amazona.de/test-eve-audio-sc408-midfield-monitore/), also has that segment in mind and covers the other end of the scale in terms of dimensions with its EVE audio SC204.

The field of application of the EVE audio SC204

If you look at the dimensions of the EVE audio SC204, you'll wonder if it's not a PC speaker by mistake. A width of 145 mm and a height of 230 mm could also still apply to one or the other speaker constellation to the left and right of the personal laptop, only the depth of 195 mm or the optically very high-quality appearance lets you know very quickly that you're not dealing with a "Mediamarkt-Top-Deal-Plastic scrap" here.

In fact, the EVE audio SC204 is the smallest variant from the EVE audio portfolio, which is still listed under the term "studio monitor". The fields of application for monitors of this size are manifold. In post-production, video editing, podcasts, mobile recording, broadcast, 5:1 or 7:1 surround satellites or even as B-monitoring in larger studios, such tiny devices of this type have to hold their own and all have to endure the same question, as there would be "Does the box have any bass at all?".

Not even a complete sound layman would expect a massive bass foundation from a 4 inch speaker, the same is physically not feasible, but an even basic sound up to 100 Hz, if necessary inflated by a subwoofer, would make the sound engineer's heart beat faster with such dimensions. According to the manufacturer, the EVE audio SC204 delivers a frequency response of 64 Hz - 21 kHz, with the frequency diagram showing an almost linear line with a small lift at about 100 Hz and a small dip around the crossover frequency. Impressive! Besides, who needs the full pound below 60 Hz in video editing, for example? Therefore, let's detach our focus from the bass and take a look at the rest of the EVE audio SC204's features, which, let's be clear, still have some special features to offer.

The construction of the EVE audio SC204

The EVE audio SC204 is an active 2-way monitor with 50 watts of power each on the tweeter and the woofer, with the crossover frequency at 3 kHz and an internally installed limiter saves the system from collapse. Speaking of tweeters, one look above the woofer and the synonym for ribbon tweeters par excellence, the name ADAM, slides through the brain twists of the expert. Interestingly, the company Eve audio was founded by Roland Stenz, who used to be the managing director of Adam Audio.

The same tweeter, called AMT RS1, can be protected against accidental damage with a protective grille, here called a "grid", if necessary. The grid adheres magnetically to the tweeter surround, whereby the manual explicitly points out not to use the grid in the wrong grid. The system's sound pressure is a maximum of 96 dB SPL. Those who are frowning here should briefly consider how far away the speaker is placed from the ear in practice. In order to rudimentarily decouple the speaker from its placement surface, 4 stick-on rubber feet were included.

With a weight of just 3.8 kg, one is inclined to use the system for flown operation. Therefore, the EVE audio SC204 not only has a microphone stand thread on the bottom of the cabinet, but also 2 mounting points on the back of the cabinet. Any resonance frequencies, which can occur when the microphone is mounted on the back and placed close to the wall, can be corrected by means of a comprehensive frequency correction, as the practical test will show later on. Incidentally, there is nothing to criticize about the workmanship of the EVE audio SC204. The precisely fitting MDF panels and the neatly applied textured varnish fit seamlessly with the metal plates on the front and rear. Maximum quality!

The front panel of the EVE audio SC204

The lower area of the EVE audio SC204 front panel, which has also been optically set off in metallic silver, contains a latched multifunction push-pull button on the bottom right, which can be used to make several settings at once. On the one hand, it functions as a standby switch, which puts the system to sleep or wakes it up in cooperation with the power switch on the back. This is done visually very appealing with an LED wreath, which depending on the function right or left indicates the status of the system. Of course, it's just optics, but it already looks very classy.

By normal turning one regulates the volume of the box, whereby from -80 dB to -48 dB per 1 step a value of 2 dB, from -48 dB to -20 dB per 1 step a value of 1 dB and from -20 dB to 0 dB (maximum) a value per step of 0.5 dB. Each 4 steps let one LED jump further.
By simply pressing you reach the sound management, which is managed by a DSP. First you have the possibility to activate a shelving filter for the high frequency range, which works above 3 kHz with -5 dB to +3 dB. The same values are also available for a bass shelving filter, which takes care of frequencies below 300 Hz.

Furthermore, a desk filter can be activated when placing the EVE audio SC204 on the desk or the meter bridge, whereby this filter takes over a combined function. Below the 0 mark, it lowers the frequencies by 200 Hz with a bandpass filter, above the mark it also boosts the range by 80 Hz with a bandpass.

The rear panel of the EVE audio SC204

To be able to amplify consumer devices if necessary, the EVE audio SC204 has a corresponding RCA input in addition to the obligatory XLR connector. On the top of the box is also the bass reflex port of the system. Otherwise, it is on the back of the EVE audio SC204 very tidy, only 3 small DIP switches provide for curiosity. Their function is quickly explained and of simple effectiveness. They represent an electronic lock so that the settings once found cannot be accidentally adjusted by the studio trainee or other persons. One DIP works for the volume, one for the EQ settings, the third has no function in this series.

The EVE audio SC204 in practice

Switching on and booting the system is completely silent. What then comes out of the speakers in terms of signal quality, however, I would not have expected. Even with a neutral EQ setting, the EVE audio SC204 has a very "grown-up" sound with much more volume than the system size would suggest. The monitors sounded extremely homogeneous and balanced, as is otherwise only known from much larger models.

To all users who still have the sound of the first generations ringing in their ears when talking about the Air Motion Transformer, I can take away any worries. The tweeter does an excellent job in terms of coloration and transparency. Nothing reminds of the sharpness found in some Adam or Kopisten products of the earlier generations. On the contrary, the EVE audio SC204 has excellent stereo imaging and depth staging, especially considering the system's dimensions. Phantom center, impulse response, all very big cinema!

But now to the big bass question. Again, considering the dimensions, I have to give the system credit for an excellent soundstage. After spending some time with the shelving and desk top filter, I even managed to tickle a very balanced bass content out of the 4-incher. Even a full-blown audio production can be realized within moderate limits with these tiny units, a fact I would not have thought possible. For me, they are clearly the best monitors currently available in this class!

Only in the final volume of the EVE audio SC204 it is necessary to keep a certain discipline. If one exceeds a strong room volume and drives the system into the saturation, it acknowledges the handling an outcry equal with a harsh sound.

Conclusion

With the Eve audio SC204, the Berlin company has a quite outstanding product in the small monitor department at the start. Whether for post-production, video editing, podcasts, mobile recording, broadcasting, surround satellites or even as a B-monitoring system in larger studios, the system produces many times the volume that one would have expected from the tiny device at first glance.

Absolute purchase recommendation!


Additonal Informations:

- Eve Audio is a German-based manufacturer of professional studio monitors and subwoofers. The company was founded in 2011 by Roland Stenz, a former owner and designer at Adam Audio, and is known for its high-quality, precision-engineered products.

The company's product range includes a variety of nearfield, midfield, and main studio monitors, as well as subwoofers and accessories. All of Eve Audio's products are designed and manufactured in Germany, using high-quality materials and components.

One of the key features of Eve Audio's studio monitors is their use of Air Motion Transformer (AMT) tweeters. AMT technology was developed in the 1990s and is known for its accuracy and speed, making it an ideal choice for studio monitors. Eve Audio's AMT tweeters use a folded diaphragm design, which allows for a larger surface area and improved efficiency.

Another important feature of Eve Audio's studio monitors is their use of the company's proprietary DSP (digital signal processing) technology. The DSP is used to optimize the performance of the speakers, allowing for precise adjustments to be made to the frequency response, phase response, and time alignment of the speakers.

Eve Audio's studio monitors are also designed to be modular and expandable. The company offers a range of accessories, including subwoofers, desktop stands, and wall mounts, that can be used to customize and optimize the performance of the monitors for specific applications.
In addition to their technical features, Eve Audio's studio monitors are also known for their sleek and modern design. The company offers a variety of finishes, including matte black and white, as well as a range of wood veneer options.

Eve Audio has received numerous awards and accolades for their products, including a number of "Best of Show" awards at major audio industry trade shows. The company has also been praised for its customer service and support, with a team of dedicated engineers and technicians available to answer questions and provide assistance.

Overall, Eve Audio is a respected and innovative player in the professional audio industry, known for their precision-engineered studio monitors and subwoofers. With a commitment to quality, innovation, and customer service, Eve Audio is a brand that is sure to continue to make waves in the audio world for years to come.

- Studio monitors are specialized speakers designed for use in professional audio environments, such as recording studios, broadcast facilities, and post-production houses. Unlike consumer-grade speakers, which are designed to make music and other audio sound pleasing to the ear, studio monitors are engineered to provide a flat, neutral frequency response, allowing audio engineers and producers to accurately hear and evaluate the sound being produced.

The importance of accurate monitoring in a professional audio environment cannot be overstated. The sound of a recording can be significantly altered by the playback system used to monitor it, and any deficiencies or inaccuracies in the monitoring system can have a negative impact on the final product. Studio monitors are designed to minimize these issues by providing a clear, detailed representation of the audio being produced.

There are two main types of studio monitors: passive and active. Passive monitors require an external amplifier to power them, while active monitors have built-in amplifiers, making them more convenient and efficient for most applications. Active monitors also allow for greater control over the audio signal, as the amplifier can be optimized for the specific characteristics of the speaker.
One of the most important features of studio monitors is their frequency response. The frequency response of a speaker refers to the range of frequencies that it can reproduce, and the relative loudness of those frequencies. A flat frequency response, in which all frequencies are reproduced at the same volume, is desirable in a studio monitor, as it allows for accurate evaluation of the audio being produced.

Another important characteristic of studio monitors is their dispersion pattern. The dispersion pattern refers to how the speaker distributes sound across a listening area. A speaker with a narrow dispersion pattern will produce a focused "sweet spot" in front of the speaker, while a speaker with a wider dispersion pattern will distribute sound more evenly across the listening area.
Other factors that can affect the performance of studio monitors include the size and material of the speaker cone, the size and configuration of the speaker enclosure, and the quality of the internal components, such as the amplifier and crossover.

There are many manufacturers of studio monitors, ranging from well-known brands such as Yamaha, JBL, and Genelec to smaller, specialized companies such as Focal, ADAM Audio, and Neumann. Each manufacturer has its own unique design philosophy and approach to engineering studio monitors, and it is important to choose a monitor that fits your specific needs and preferences.

When selecting studio monitors, it is important to consider factors such as the size and acoustics of your studio, the type of music or audio you will be producing, and your budget. It is also recommended to audition multiple monitors before making a final decision, as the sound of a speaker can be subjective and dependent on the individual listener.

Overall, studio monitors are an essential tool for anyone working in professional audio production. By providing accurate and neutral sound reproduction, they allow engineers and producers to create high-quality recordings that sound great on any playback system. With a wide range of options available from various manufacturers, there is a studio monitor that is right for every application and budget.

TEST: EV EKX

 "What does Electrovoice actually do?" I recently had to listen to this sentence from a colleague who, like me, still remembers the times when there were three manufacturers of loudspeakers in Germany. JBL ("the one with the aluminum dome in the Twin Reverb"), Celestion ("the one with the midrange noise in the Marshall speakers") and Electrovoice ("the one with the softer sound, they also make bass speakers"). What a nice time it was when, equipped with a lot of half-knowledge, rough conclusions and a lot of prejudices, you could list all the manufacturers on one hand.

A look at their website shows that Electrovoice have long since expanded their catalog far beyond the mere manufacture of loudspeakers. In addition to their core business, a large part of their turnover now takes place in the sound reinforcement sector, with the EKX series in particular being a focus for the company. With a pair each of the EV EKX-12P satellites and the EV EKX-15SP subwoofers, I have a tuned system from Chinese production for testing, which is preparing to leave a scent mark in the highly competitive portable P.A. segment.


Construction

EV EKX-12P

Equipped with the standard two-way system in the form of a 1 inch titanium driver and a 12 inch mid/bass driver, the speaker has a frequency response of 60 Hz - 18 kHz at a maximum SPL of 132 dB, measured at 1 meter in pink noise. The crossover frequency is 1.7 kHz. The cabinet is made of 15 millimeters of laminated wood, which has been covered with a textured lacquer to increase its resistance to external influences. Unfortunately, only a single carrying handle is available. With a weight of 18.8 kilograms and the dimensions: 607 mm x 375 mm x 356 mm, the box is in the middle segment in terms of size.

Like most current sound reinforcement systems in this category, the EV EKX-12P is also designed as a multi-functional speaker, which is why, among other things, the cabinet was also designed asymmetrically. Due to the bevel of the rear edge of the housing, the box can also be used as a floor wedge, the coverage angle of 90 x 60 degrees does the rest to meet this purpose. For flown operation, a total of 8 flying points are available, 6 on the top of the housing and 2 on the bottom. An M20 screw flange is located on the bottom of the case.

In terms of connections, the EV EKX-12P has 2 independently volume-adjustable combo jacks on the rear, which can accept both XLR and TRS connectors. In addition, a stereo RCA input can be used to manage an external sound source such as an MP3 player, and the combo jack at Input 1 can also be used in parallel. An XLR output loops the incoming signal through unprocessed and allows the connection of further satellites or subwoofers.

In order to bring the power of 1500 watts always optimally to the man, the EV EKX-12P is controlled by a DSP. The processor allows you to quickly set a wide variety of practical presets, and to manage the protection circuits and sound control. The DSP is managed by a push knob on the back of the case, which also controls the master volume. Via a small LCD display you can also see the respective areas of the DSP.

In addition to a three-band tone control, it is especially the Mode and Location menus that allow you to quickly set up the system. For example, the Mode menu has the settings Music (sound reinforcement of normal music - default), Live (live sound), Speech (speech) and Club (electronic music). In addition, the Location Menu allows you to choose between Tripod (high stand operation), Monitor (floor wedge operation with bass reduction due to stage reflections), Wall (wall mounting, also bass reduction due to rear reflections) and Suspend (flying operation). In addition to the factory presets, you can also create and save up to 5 of your own presets.


EV EKX-15SP

Conceptually, the EV EKX-15SP follows the specifications of the EV EKX-12P. Equipped with a 15 inch speaker and visually matching the EV EKX-12P, the subwoofer has not for nothing its own menu item within the DSP controls to ensure optimal balance within the system. Here, too, the same console was chosen to manage the 1300 watts (frequency response 45 - 150 Hz, 133 SPL max.), only in the input section one has omitted the RCA input and the mixing function of the two channels. Otherwise, the EV EKX-15SP comes with 2 combo jacks (XLR / TRS) as input and 2 XLR as slave output.

According to its field of application, the DSP controls were adjusted, so in the mode area, as expected, the preset speech fell through the cracks. In the location area, on the other hand, the Cardioid Mode was added, which is very important in the woofer area. In stacking mode, the lowest woofer is rotated by 180 degrees for better acoustic illumination in the near-stage area.

In terms of handling, the EV EKX-15SP is comparatively moderate with dimensions of 455 mm x 530 mm x 551 mm. In addition, the weight of 26.2 kilograms can be lifted by a strong man alone. An M20 high stand flange ensures the connection to the satellites.


Practice

When you switch on the system, you are briefly reminded of the manufacturing facility. Not that it's really a problem, but the on/off switch has about as much play as the 3.50 Euro power strips from the electronics market. After that, however, it gets down to business quite pleasantly and, above all, quickly. The system is practically self-explanatory and should not present even inexperienced users with too many hurdles.

Let's start with the EV EKX-12P in stand-alone mode. The first impression is promising. The sound is direct, comparatively clear, but unpretentious. For the very fine resolution, the tweeter is missing in the 3-way range and that one should not expect any sub-bass from the system is in the nature of things. However, the almost 1.5 kilowatts do their job very well, especially in the midrange. Speech reproduction is good, hi-hat and cymbals come across very "edgey" and up to about 100 Hz, no further effort is needed to sufficiently cover a small dance floor.

If you want to go lower, you'll have to bring in the EV EKX-15SP, which blends into the soundstage with less fuss. Interestingly, the tuning of the woofer is designed differently than the basic design of the satellites. While the EV EKX-12P attracts attention with a consistently crisp, direct reproduction, the EV EKX-15SP sounds comparatively indirect, sometimes even slightly sloppy. This only changes when you activate the DSP crossover that is tuned to the two components.

The same controls the satellites hard in the bass range and leaves the low frequencies exclusively to the EV EKX-15SP. So far, so good, but the user is now faced with a task that should not be underestimated. After a few minutes of adjusting, the system really sounded very good, but you have to find the perfect volume balance between the two components. If you adjust them in a jerky manner, you can choose between a thin midrange or a muddy low end in no time.

In practice, this means either "good wanderer" during the sound check or a second person turns the volume controls on demand. A radio control could be a great remedy here. Use WLAN, Bluetooth if necessary, program the iPhone app and off you go.


Conclusion

The combination EV EKX-12P / EV EKX-15SP leaves a good impression. For less than 4,000 euros, you get about 5.5 kilowatts of sound, which should be enough for one or two small clubs. The system is quickly configured, offers practical presets and can be used in many areas of voice and music playback. Thanks to the clever DSP control, the system can also be used in different rooms and offers a large number of possible uses as hall sound reinforcement, sidefill or wedge operation.


Additional Informations:

- Electro-Voice is a renowned brand that produces professional audio equipment, including loudspeakers, amplifiers, microphones, and mixers. Founded in 1927 by Al Kahn and Lou Burroughs, the company has a rich history of innovation and technological advancement in the audio industry.

Over the years, Electro-Voice has established itself as a leading manufacturer of professional audio equipment, catering to a wide range of industries and applications, such as concerts, events, houses of worship, broadcasting, and sports stadiums. The company's products are known for their exceptional sound quality, durability, and reliability, making them a preferred choice among audio professionals worldwide.

One of Electro-Voice's most notable achievements was the development of the dynamic microphone, which revolutionized the industry in the 1930s. The dynamic microphone replaced the previous condenser microphone technology, which was costly and fragile. The dynamic microphone was more durable, affordable, and produced a warm, natural sound that was ideal for live performances and recordings. The technology became an industry standard and is still widely used today.

Another significant contribution to the audio industry by Electro-Voice was the introduction of the Variable-D technology in the 1960s. Variable-D is a patented technology that minimizes the proximity effect, which is a phenomenon where a microphone's bass response increases as it gets closer to the sound source. This technology allows for consistent sound quality and clarity, regardless of how close the microphone is to the performer.

In the 1970s, Electro-Voice developed the horn-loaded speaker system, which was a significant advancement in loudspeaker technology. The horn-loaded speaker system was more efficient, producing more sound output from the same amount of power as a traditional loudspeaker. The technology allowed for clearer, more precise sound reproduction and was used in many high-profile events, such as the 1984 Summer Olympics in Los Angeles.

Today, Electro-Voice continues to innovate and develop new technologies, such as the FIR-Drive technology, which is a proprietary digital signal processing (DSP) technology that improves sound quality and clarity. FIR-Drive technology allows for more precise tuning of loudspeakers, resulting in a more accurate sound reproduction.

Electro-Voice's product line includes a wide range of loudspeakers, from portable speakers for small events to large, complex systems for concerts and stadiums. The company's loudspeakers are designed to deliver exceptional sound quality and clarity, while also being durable and reliable in any environment.

Electro-Voice also offers a range of microphones, including wired and wireless microphones for various applications. The company's microphones are designed to capture sound with exceptional clarity and accuracy, while also being durable and reliable in any situation.

In addition to loudspeakers and microphones, Electro-Voice produces amplifiers, mixers, and other professional audio equipment. The company's amplifiers are designed to deliver clean, powerful sound, while its mixers allow for precise control over sound levels and effects.

Electro-Voice's commitment to quality and innovation has earned the company numerous awards and accolades over the years. The company has received several TEC Awards for its products, which are considered one of the highest honors in the audio industry. Electro-Voice has also been recognized for its commitment to sustainability, with its Green Initiative program, which aims to reduce the company's environmental impact.

Overall, Electro-Voice is a company that has made significant contributions to the audio industry over the years. Its commitment to innovation and quality has made it a preferred choice among audio professionals worldwide, and its products are used in some of the most high-profile events and venues around the world. As the company continues to develop new technologies and products, it will undoubtedly continue to be a leader in the audio industry for years to come.

- Dynamic speakers are a type of loudspeaker that uses a moving coil driver to produce sound. They are the most common type of speaker used in consumer and professional audio systems, and are known for their durability, reliability, and affordability.
The principle behind dynamic speakers is based on Faraday's law of electroma
gnetic induction. When an electrical current passes through a coil of wire, it creates a magnetic field. If the coil is placed in the presence of a permanent magnet, the magnetic field generated by the coil will interact with the magnetic field of the magnet, causing the coil to move back and forth.

The coil is attached to a diaphragm, which is a cone-shaped piece of material that vibrates as the coil moves. The diaphragm is responsible for producing sound waves, which are then amplified by the speaker cabinet and projected into the surrounding environment.
The size and shape of the diaphragm, as well as the materials used to construct it, can have a significant impact on the sound produced by the speaker. Larger diaphragms are capable of producing lower frequencies, while smaller diaphragms are better suited for higher frequencies. The materials used to construct the diaphragm can also affect the sound quality, with materials such as paper, plastic, and metal all having unique sonic characteristics.

One of the key advantages of dynamic speakers is their simplicity and reliability. They have fewer moving parts than other types of speakers, such as electrostatic or ribbon speakers, which makes them less prone to mechanical failure. Additionally, they are relatively inexpensive to produce, which makes them a popular choice for consumer audio systems.

Despite their widespread use, dynamic speakers do have some limitations. They are not as efficient as other types of speakers, such as horn-loaded or planar-magnetic speakers, which means they require more power to produce the same sound output. Additionally, they are not as accurate as some other types of speakers, particularly in the high-frequency range.

However, advances in technology have allowed manufacturers to improve the performance of dynamic speakers significantly. For example, many modern dynamic speakers use neodymium magnets, which are smaller and more powerful than traditional magnets, allowing for a more compact and efficient design. Additionally, the use of advanced materials and manufacturing techniques has allowed for the construction of diaphragms that are more rigid and lightweight, resulting in improved sound quality.
Overall, dynamic speakers remain a popular choice for audio systems due to their affordability, reliability, and versatility. While they may not offer the same level of accuracy or efficiency as some other types of speakers, they are a solid choice for most applications and can provide excellent sound quality when properly designed and implemented.

TEST: ESP E-II RZK-II Burnt

 Popularity is something fine in the instrument sector, especially when you play in one of the most successful bands in the world. Although the craftsmanship on the six strings at Rammstein is rather rudimentary sown and meanwhile most of the instruments at their live shows are flown in by backing tracks via MacBook and consorts, the stylistics of the still in the GDR founded band in the form of a fusion of metal and 2/4-heavy marching music turns out to be one of the great musical blueprints of our time. Countless copyists of the second and third craft league including the creation of a new music genre called "NDH" (Neue Deutsche Härte) pay tribute to the band's influence on the national and international scene. That each Rammstein musician gets his own signature products is self-explanatory, whereby guitarist Richard Kruspe can look back on several years of cooperation with the company ESP, whose offshoot ESP E-II RZK-II Burnt is here for us to test.

The look of the ESP E-II RZK-II Burnt

If in a test one usually turns first to the components woods and construction, then one must change the order somewhat with the ESP E-II RZK-II Burnt.  As colleague Stephan Güte noted in his 2013 review of the first Burnt variant (https://www.amazona.de/test-esp-rzk-i-richard-z-kruspe-burnt-e-gitarre/), any details of the instrument are overshadowed by the extraordinary visuals. The three-dimensional image of bloody scarred cuts is only surpassed by the burst burnt blisters that populate both the top and the sides of the instrument in handsome numbers.

To what extent someone likes this look or not, everyone must decide with himself, I could imagine, however, that Richard Kruspe came up with the idea for this finish on one of his earlier guitars, which came too close to a flamethrower during the image-fair Pyro-Kasperletheater of Rammstein and the blister finish not quite voluntarily of its own accord.

Detached from such assumptions, however, the elaborate 3-D visuals struggle with a massive haptic problem. Even as I open the included case, there are 2 small chipped layers of lacquer underneath the guitar. The explanation is quickly found. The martial looking finish is more sensitive than any mimosa. A small pressure on one of the burn bubbles and it bursts open, once briefly stuck with the plectrum on a bump and the clear lacquer comes off. To avoid such a thing, the instrument would have to be plastered with a millimeter-thick layer of clear lacquer, which was in any case to the detriment of the vibration behavior. Therefore, the nightmare of all buyers, scratches on the new guitar? So what? By the way, even completely removed layers of varnish would not change the general appearance of the instrument.

The woods of the ESP E-II RZK-II Burnt

The lynchpin of the wood construction is the continuous neck made of maple, which, let's say up front, gives the instrument incredible sustain despite the Floyd Rose vibrato system. The same was equipped with a stabilizing neck collar at the headstock transition and in return at the neck foot smoothly rounded. In order not to make the instrument look like a Steinberger for pedestrians, 2 alder body wings have been applied, while the fingerboard is made of rosewood and has 24 jumbo frets.

The glued-on top is also made of alder, an intensely grained maple top would truly have made little sense with this finish. The scale length of the guitar is 648 mm and although the overall appearance of the guitar is rather dainty, the weight of the instrument is just under 4.3 kilograms. In terms of shaping ESP is very restrained, only the generally popular "beer belly milling" is used.


The pickups / hardware of the ESP E-II RZK-II Burnt

To allow maximum transparency even at high high gain, the ESP E-II RZK-II Burnt was also equipped with EMG pickups, in this case the rather unusual combination of 2x EMG 81. For the battery change ESP has come up with a really outstanding solution. A turning device with 9V clip on the back of the guitar combines quick change, respectively voltage measurement of the battery with the highest contact security and avoids both long screws on the electrical cover or but also loose contacts and pole reversal with many folding mechanisms of other manufacturers. As long as the system is not protected by patents, some manufacturers should get familiar with this system immediately.

Although Richard Kruspe never uses it to my knowledge, the ESP E-II RZK-II Burnt has an under-milled Floyd Rose vibrato system, which is, however, somewhat limited in its action in the up-bends by the ESP Arming Adjuster (also known as the Black Box). According to the info, the system is only installed for "tonal" reasons, not to use it in its actual function, Well, that would be the first time that the still slightly sustain-reducing design is used to change the sound into an otherwise rather avoidable sound constellation. Be that as it may, perhaps ESP simply wants to reach more buyers by doing so. Once again, Gotoh tuners are used as tuners, and there is only a lone volume control on the top as a knob. A tone control? On Rammstein?

The ESP E-II RZK-II Burnt in practice

Despite the comparatively high weight, the ESP E-II RZK-II Burnt hangs well on the strap, i.e. no top-heaviness or unbalanced slobbering spoils the picture. Even played dry, the instrument has a very balanced, absolutely even sound. Completely in the tradition of the continuous neck, almost every note has the same in and out response. No dead notes, no over-presence, just an all-around homogeneous sound.

Yes, the guitar can also play clean, but let's be honest, "Le Freak" with Nile Rodgers groove in a dance band with this guitar? That would be worth a Youtube video. Whoever buys such an instrument wants only one thing. Slap power chords in drop-D tuning over the 3 bass strings and try on stage to get as close as possible to the shortened muting tail, which is cut hard in the studio thanks to digital editing, live, or let the guitars play directly off the backing tracks.

However, one would do this instrument an injustice insofar as one reduces the guitar only to simple power chord scrubbing. The high-quality and very healthy construction offers a successful powerstrat counterpoint on LP basis with immense low-mid boost. The playability also allows for classic shredding, combined with a sustain that makes the sustainer in the neck pickup slot obsolete.

Despite the extremely powerful sound, the instrument does not muddy in any setup, provided you know how to handle the tone control of your personal amplifier. The EMG pickups in particular represent a crucial point in the sound shaping. Although many different products are in the starting blocks and even seem to pee on the leg of the original in terms of "hot shit", no one has yet managed to achieve the unique balance of the EMG 81 in the high gain range.

In the end, however, the instrument will probably only end up in one of the now abundantly represented Rammstein tribute bands with the guitarist Stage left, for whom the acquisition of such an instrument is of course mandatory due to the optics to be imitated. Actually, it's a pity, because the instrument has so many more possibilities, especially since the workmanship, equipment and sound shaping are in the absolute Champions League. But we also know, eyes hear more and who runs up with such an instrument at the local cover band, scares mother and child and at the private Heavymucke can be heard during the whole rehearsal about the rolled "R" as a provocation.

But maybe there are still some collectors who like to hang optically extraordinary instruments in their showcases or on their walls to show them proudly to their friends. Considering the value of the instrument, that would really be a shame.

Conclusion

With the ESP E-II RZK-II Burnt, the Asian manufacturer has an excellent instrument in terms of sound and workmanship, which excellently covers all shades of rock, hard rock and heavy metal. However, to what extent the guitar manages to develop its own stage presence detached from the Rammstein tribute band pool remains to be seen.

Additional Informations:


- Rammstein is a German band that was formed in 1994 in Berlin. The band members include Till Lindemann (vocals), Richard Kruspe (guitar), Paul Landers (guitar), Oliver Riedel (bass), Christoph Schneider (drums), and Christian Lorenz (keyboard). The band's music is a fusion of metal, industrial, and electronic music, with lyrics primarily in German.

Rammstein has been known to be a controversial band due to their use of provocative and sometimes offensive lyrics, music videos, and stage shows. Despite this, the band has managed to gain a huge following over the years and has become one of the most successful German bands of all time.

Early Career

Rammstein's early career began in 1994 when the band members came together to record their first demo, which was sent out to various record labels. The demo caught the attention of a producer who then helped the band secure a recording contract with Motor Music Records.
In 1995, Rammstein released their debut album, "Herzeleid." The album was a commercial success in Germany and helped establish the band's unique sound and style. The band followed up with their second album, "Sehnsucht," in 1997, which propelled them to international success.

International Success

With the release of "Sehnsucht," Rammstein became a household name in Europe and gained a large following in North America. The album included some of the band's most popular songs, including "Engel," "Du Hast," and "Bück Dich." The success of the album was largely due to the band's unique sound and stage shows.

Rammstein's stage shows are known for their use of pyrotechnics, elaborate costumes, and provocative visuals. The band's use of fire on stage has led to some controversy, with some venues banning the band from performing due to safety concerns.

In 2001, Rammstein released their third album, "Mutter." The album was a commercial success and included the hit single, "Sonne." The band's music videos for the album, which included controversial themes such as incest and child abuse, further cemented their reputation as a provocative band.

Rammstein continued to release successful albums and tour extensively throughout the 2000s, including "Reise, Reise" in 2004 and "Liebe ist für alle da" in 2009.

Controversies

Rammstein has been the subject of several controversies throughout their career. The band's provocative lyrics and music videos have been criticized for being misogynistic, homophobic, and anti-Semitic. The band has also faced criticism for their use of Nazi imagery and their perceived glorification of fascism.

In response to the controversy, the band members have stated that they are not advocating for any particular political ideology and that their use of provocative imagery is intended to spark debate and challenge social norms.

In 2019, Rammstein released their seventh album, "Rammstein." The album included the controversial song "Deutschland," which sparked a debate about the band's use of Nazi imagery. The music video for the song depicted scenes from Germany's history, including the Holocaust, and included the band members dressed in concentration camp uniforms.
Despite the controversy, the album was a commercial success and topped the charts in several countries, including Germany, Austria, and Switzerland.

Legacy

Rammstein's legacy can be seen in their influence on the metal and industrial music genres, as well as their impact on popular culture. The band's unique sound and provocative stage shows have inspired a new generation of musicians and artists.

- Richard Kruspe is a German musician and songwriter best known as the lead guitarist of the band Rammstein. Kruspe was born on June 24, 1967, in Wittenberge, East Germany, and grew up in Schwerin. He started playing guitar at the age of 13 and was influenced by a variety of genres, including punk, rock, and metal.

Early Career

Kruspe began his music career in the late 1980s when he formed the band Orgasm Death Gimmick with Oliver "Ollie" Riedel, who would later join Rammstein as the bassist. The band's sound was influenced by industrial music and was characterized by heavy guitar riffs and experimental arrangements.

In 1994, Kruspe decided to leave Orgasm Death Gimmick and formed Rammstein with fellow musicians Till Lindemann, Paul Landers, Christian Lorenz, Oliver Riedel, and Christoph Schneider. The band's unique sound, which combined metal, industrial, and electronic music, helped establish them as one of the most innovative and influential bands of the 1990s.

Musical Innovations

Kruspe's guitar playing has been a central part of Rammstein's sound since the band's inception. His use of heavy riffs, unusual chord progressions, and creative sound effects has helped create the band's unique sound. Kruspe is also known for his use of unusual guitar tunings and playing techniques, which have helped create the band's distinctive soundscapes.

In addition to his guitar playing, Kruspe has also been involved in the production and songwriting of Rammstein's music. He has co-written many of the band's songs and has been instrumental in creating their unique sound. Kruspe has also produced several of Rammstein's albums, including "Sehnsucht" and „Mutter."

Solo Career

In addition to his work with Rammstein, Kruspe has also pursued a solo career. In 2007, he released his first solo album, "Emigrate," which featured guest appearances from members of Rammstein and other prominent musicians. The album was well-received by critics and showcased Kruspe's versatility as a songwriter and musician.

Kruspe has continued to release solo albums, including "Silent So Long" in 2014 and "A Million Degrees" in 2018. His solo work has been characterized by a more melodic and introspective sound than his work with Rammstein, but still showcases his talent as a guitarist and songwriter.

Legacy

Kruspe's contributions to music can be seen in his influence on the metal and industrial music genres, as well as his impact on popular culture. Rammstein's innovative sound and provocative stage shows have inspired a new generation of musicians and artists, and Kruspe's guitar playing has been a central part of that legacy.

TEST: ESI Maya 22 USB

 If any product segment has exploded in recent years, it is the field of small and micro interfaces. Due to the also explosively increased computing capacities of current notebooks, the purely stationary recording operation is by no means the rule in the budget studio sector anymore. Instead, today's sound engineers like to take a laptop with an interface and some cables under their arm to record the first demo steps on HD in the rehearsal room of the upcoming ambitious band.

Since, in addition to good technical values and compact dimensions, more and more visually attractive attributes are finding their way into the personal value mirror, today's manufacturers have to pay tribute to this if they don't want to get lost in the large range of competitors. Similar thoughts must have crossed the minds of ESI Audiotechnik GmbH, which has launched the ESI Maya 22 USB, an extremely compact stereo interface that visually resembles the market leader in recording notebooks from Cupertino. The number 22 in the product name already tells us the primary application of the product, which can be well described with 2 times input meets 2 times output.

Construction

From the basic values, the ESI Maya 22 USB is a USB 2.0 audio interface, which works on a sample rate of 96 kHz with a word width of 24 bit, whereby the sample rate can also be reduced to 48, respectively 44.1 kHz. Primarily aluminum was used for the casing of the innards, while smaller areas were covered with high-quality plastic. With a weight of only 250 grams and dimensions of 102 mm x 36 mm x 90 mm, the product seems virtually predestined for mobile use. The fact that the ESI Maya 22 USB receives its power via the USB socket also contributes to the transportability.

In general, the interface has no physical controls and is more of an AD/DA converter. For signal input, there are one L/R RCA, one XLR combo jack and one high-impedance Hi-Z jack as input, as well as a stereo headphone and L/R jack as monitor output.
jack as monitor output. In order to be able to use condenser microphones as well, a push switch is located next to the combo jack, which can be used to activate the commercially available 48V phantom power. A green LED provides information about the operating status. The high-impedance input and the combo jack can be used simultaneously if required.

In terms of delivery, the company ESI is spartan, only a USB cable and a simple manual is included with the product. The PC is the only area of application; iOS and the like unfortunately cannot satisfy the voltage requirements of the ESI Maya 22 USB.

As drivers, the standards in the form of ASIO 2.0, MME, WDM, DirectSound, DirectWIRE for PC and Core Audio for Mac OSX are used, whereby the Class Compilant driver is provided for Apple. It is still recommended to install the included software panel, since only this software allows access to internal settings like direct monitoring. Although the interface has only been visually reduced to the most necessary, the input selection is also determined here. If you choose the assignment microphone and Hi-Z, the microphone is only transmitted on the left channel, the high-impedance input only on the right channel.

Practice

With regard to the product's field of application, you should of course consider in advance which control options you need to demand from the interface for optimal use. If you frequently readjust the level, the software solution of the ESI Maya 22 USB is already a bit exhausting, but if you use the product with an analog mixer, you have an adjustment-proof interface that gets by with minimal dimensions.

What generally diminishes the very good overall impression a bit is the fact that the headphone output and the monitor outputs can only be adjusted together in their volume. It is questionable whether a small control could have been installed here, since the dependency of the two outputs in terms of volume can possibly lead to performance losses in practice.

In terms of sound, however, the ESI Maya 22 USB is quite respectable for the price, even though you should not expect absolute high-end quality from the built-in preamp. The line input leaves a consistently good impression, which processes all common signals flawlessly with a neutral basic sound. There are also no complaints in the microphone area, even though you have to make slight concessions in terms of resolution and coloration in direct comparison to the next higher price category.

However, it is also obvious that you won't make any recordings that will later be released on a professional record production with an interface in the street price range of less than 100 Euros. For the demo area or however in the speech use the ESI Maya 22 USB leaves however a really good impression.


Conclusion

With the ESI Maya 22 USB is an interface on the market, which shines with good values at a low price. The workmanship of the product is very good, the optics high-quality, the weight almost ridiculously low and the dimensions pleasantly small. Especially in mobile use, the product can fully play out its aforementioned strengths and will find its primary field of application in the demo or podcast area.

Those who can live with the slight limitations of the dependency in terms of output volumes should risk a look at the product, especially since the sonic aspect of the product deserves an in-depth study of the silver disc.


Additional Informations:

- ESI Audio is a Germany-based company that specializes in manufacturing high-quality audio products such as audio interfaces, MIDI controllers, studio monitors, and headphones. ESI Audio is known for its innovative and state-of-the-art products, which are designed to meet the needs of musicians, producers, and sound engineers.

History and Background

ESI Audio was established in 2003 by Claus Riethmüller, a musician and sound engineer, who was passionate about creating a company that would redefine the audio solutions market. Claus Riethmüller started the company with the goal of providing professional and affordable audio products for musicians, producers, and sound engineers.

Over the years, ESI Audio has grown to become one of the leading manufacturers of audio products in the world, with a reputation for producing high-quality and innovative products that are designed to meet the needs of both professionals and beginners in the audio industry.

Products

ESI Audio offers a wide range of products that are designed to meet the needs of musicians, producers, and sound engineers. Some of their most popular products include:

Audio Interfaces: ESI Audio produces a range of audio interfaces, including the U24 XL, the U22 XT, and the GIGAPort HD+. These audio interfaces are designed to provide high-quality audio recording and playback capabilities for musicians and producers.

MIDI Controllers: ESI Audio offers a range of MIDI controllers, including the M8U XL and the M4U XT. These MIDI controllers are designed to provide musicians and producers with intuitive control over their digital audio workstations (DAWs).

Studio Monitors: ESI Audio produces a range of studio monitors, including the nEar05 eXperience and the nEar08 eXperience. These studio monitors are designed to provide accurate and detailed audio playback, making them ideal for mixing and mastering.

Headphones: ESI Audio offers a range of headphones, including the uniK 05+ and the uniK 08+. These headphones are designed to provide high-quality audio playback, making them ideal for recording, mixing, and mastering.

All of ESI Audio's products are designed to provide high-quality audio performance, with a focus on affordability and ease-of-use. ESI Audio's products are used by musicians, producers, and sound engineers around the world, and are known for their reliability and durability.

Innovation

ESI Audio is known for its innovative approach to audio solutions. The company is constantly pushing the boundaries of what is possible in the audio industry, with a focus on developing new technologies that can improve the audio experience for musicians, producers, and sound engineers.

One example of ESI Audio's innovation is their use of Class-A preamps in their audio interfaces. Class-A preamps are known for providing high-quality audio performance, with a warm and natural sound that is ideal for recording vocals and acoustic instruments. ESI Audio's use of Class-A preamps in their audio interfaces has set a new standard for audio quality in the industry.
Another example of ESI Audio's innovation is their use of DSP (Digital Signal Processing) technology in their studio monitors. DSP technology allows ESI Audio's studio monitors to provide accurate and detailed audio playback, with a focus on eliminating any distortion or coloration in the sound. This makes ESI Audio's studio monitors ideal for mixing and mastering, as they provide a clear and accurate representation of the audio.

Community and Support

ESI Audio is committed to supporting its customers, with a focus on building a strong community of musicians, producers, and sound engineers. The company offers a range of resources and support, including:

Online Forums: ESI Audio's online forums provide a platform for musicians, producers, and sound engineers to connect with each other to share their experiences.


- Audio Interfaces: A Crucial Tool for Professional Audio Production

An audio interface is a device that connects a computer or other digital audio device to external audio equipment such as microphones, instruments, and speakers. It is a crucial tool for professional audio production, providing high-quality recording and playback capabilities for musicians, producers, and sound engineers.

In this article, we will discuss the different types of audio interfaces, their features and benefits, and some factors to consider when choosing an audio interface for your professional audio needs.

Types of Audio Interfaces

There are several types of audio interfaces available on the market, each with its own set of features and benefits. The most common types of audio interfaces include:

USB Audio Interfaces: USB audio interfaces are the most popular type of audio interface, and are typically used by musicians and producers who require a portable and easy-to-use solution. These interfaces typically connect to a computer via USB, and provide high-quality audio recording and playback capabilities.

Thunderbolt Audio Interfaces: Thunderbolt audio interfaces are designed for professional use, providing high-speed data transfer and low latency for recording and playback. These interfaces typically connect to a computer via Thunderbolt, and are ideal for high-end audio production.
PCIe Audio Interfaces: PCIe audio interfaces are designed for use in desktop computers, and provide high-speed data transfer and low latency for recording and playback. These interfaces typically connect to a computer via PCIe, and are ideal for professional audio production.

FireWire Audio Interfaces: FireWire audio interfaces are an older type of interface that provides high-speed data transfer and low latency for recording and playback. However, they are less common today due to the prevalence of USB and Thunderbolt interfaces.

Features and Benefits of Audio Interfaces

Audio interfaces offer several features and benefits that are crucial for professional audio production. Some of these include:

High-Quality Audio Recording and Playback: Audio interfaces provide high-quality recording and playback capabilities, with a focus on accuracy and detail. This is essential for producing professional-quality audio recordings.

Low Latency: Audio interfaces provide low latency, which is crucial for musicians and producers who require real-time monitoring and recording capabilities.

Versatility: Audio interfaces are versatile, and can be used with a wide range of external audio equipment such as microphones, instruments, and speakers.

Multiple Inputs and Outputs: Audio interfaces typically provide multiple inputs and outputs, which is essential for recording and mixing multiple audio sources.

Factors to Consider When Choosing an Audio Interface

When choosing an audio interface, there are several factors to consider, including:
Budget: Audio interfaces can range in price from a few hundred dollars to several thousand dollars. It is important to choose an interface that fits within your budget, while still providing the features and capabilities that you need.

Number of Inputs and Outputs: The number of inputs and outputs that you require will depend on your specific audio production needs. For example, if you are recording a band, you may need an interface with multiple inputs to accommodate all of the instruments.

Compatibility: It is important to choose an interface that is compatible with your computer and other digital audio equipment.

Sample Rate and Bit Depth: The sample rate and bit depth of an interface determine the quality of the audio recording and playback. It is important to choose an interface that provides high sample rates and bit depths for professional-quality audio production.

Conclusion
In conclusion, an audio interface is a crucial tool for professional audio production, providing high-quality recording and playback capabilities for musicians, producers, and sound engineers. There are several types of audio interfaces available on the market, each with its own set of features and benefits. When choosing an audio interface, it is important to consider your budget, the number of inputs and outputs that you require, compatibility, and sample rate and bit depth. With the right audio interface, you can take your audio production to the next level