TEST: Horch MP NVR

Every sound engineer knows the problem: what you mess up at the beginning of the signal chain cannot be salvaged in the mixdown, even with the most sophisticated technology. This is especially true for the sound quality of the preamp in combination with the right microphone, which is especially noticeable in mobile recording or home recording. Probably everyone once in his early days just took any console / preamp, which was just available to pack his ideas on HD, only to be surprised later that it lacks depth, volume and headroom and even the best vocal / voice performance of the quality of an iPhone recording just turned out to be superior. Aware of this, the Horch company, which has already made a name for itself with its high-quality microphones, has consistently committed itself to mobile recording at the highest level at an affordable price with the Horch MP NVR Mic Preamp, which is what the following test is intended to verify.

The concept of the Horch MP NVR Mic Preamp

No, even though the older generations may associate it, the Horch company, founded in 1997, has nothing to do with its automotive counterpart, which later evolved into the AUDI company (lat. "horch"). Rather, the German company from Schorndorf, led by developer Helmut "Jack" Breyer, has managed to rescue the classic tube technology of the 50s and 60s into the modern era and also make the technically archaic, but sonically high-quality yield accessible to the new generation in recording and producing. However, the best microphone is of no use at all if the subsequent transformer and the final conversion do not pass the signal recorded by the microphone through to the DAW at the same level.

Since many producers, especially from the rap and hip-hop area, now only work in the box and appreciate a flexible, high-quality microphone recording option, an easy-to-transport and yet high-quality sounding preamp is ideal, which combines the most important preamp functions in a small space and still does not lack in sound quality. That's why Horch decided on a kind of "brick" layout with the Horch MP NVR Mic Preamp, which is not unlike a brick in that it is easy to transport and has sufficient stability. According to Jack Breyer, the stand-alone solution was deliberately chosen for cost reasons, which is good for the end customer in terms of price. The external, included 24V / 200 mA power supply was also outsourced for cost reasons, but Horch is already working on a very interesting USB-C solution to be able to supply the preamp with voltage via the corresponding ports of the computers, which would make the use of the usually unloved "board bugs" obsolete.

In terms of construction, the Horch MP NVR Mic Preamp with its dimensions of (W x H x D) 10.7 cm x 6.2 cm x 18.4 cm and a weight of about 600 grams consists of a cuboid-shaped housing made of plastic, which finds its conclusion with two screwed metal plates on the front and back. There is no 19 inch frame for the desktop unit, so if you want to screw the Horch MP NVR Mic Preamp into a rack, you'll have to get a corresponding 2 U panel and drill holes in it accordingly. However, Horch is already working on a 500 solution, which will solve the rack application accordingly. The preamp is supplied with a high-quality XLR - TRS adapter cable, whereby in a simple instruction leaflet it is pointed out to connect the preamp exclusively to the line input of the interface. If the interface used does not offer a line input in XLR format, the same cable is to be used for the TRS input. In principle, this is a self-evident action, but many beginners or career changers are guaranteed to make the typical wiring mistakes in terms of signal flow and wonder about the high-gain distortion on the monitors or headphones.

As usual with Horch, the preamp has been designed with only the most important functions in favor of sound quality, as there is the amplification itself, a switchable 48V phantom power for condenser microphones, a phase rotary switch, a PAD switch, a mute button and a level meter. The level meter functions via a three-color LED with green (signal present), yellow (optimum level), and red (overload) indicators. The level meter of the Horch MP NVR Mic Preamp works similar to a VU meter, as the continuous color change is very similar to the movement of a needle. The gain is controlled by a very smooth and pleasantly sluggish gain control. On the rear there is an XLR input and output plus the power supply connection. The preamp stands on four soft rubber feet, which provide good slip resistance even on a very slippery surface.

As the name of the Horch MP NVR Mic Preamp suggests, the legendary Neve VR console was the inspiration for the product's development. The legendary preamps of the console, which were known for their outstanding transparency, were to be the starting point of the Horch preamp. On the output side, the Horch MP NVR Mic Preamp was designed without a transformer for coloring reasons, quoting Jack Breyer "2x coloring is not good".

The Horch MP NVR Mic Preamp in practice

Where exactly is the optimal application range of the Horch MP NVR Mic Preamp? Actually a strange seeming question, because the preamp can be used of course in each area, where it concerns to supply the output weak microphone signal to a level, with which one can process the further signal flow accordingly. If you are in the lucky position to be able to run an old Neve or SSL console economically due to the crazy electricity costs in Germany, you will not really need a preamp in the style of the Horch MP NVR because of the high number of high-quality channels. But what if you really only want to drive high-quality mono microphone recordings, preferably vocals and this as stationary independent as possible?

This is where the concept of the Horch MP NVR Mic Preamp comes into play, which in its basic conception has ultimately designed the preamp of a Neve channel strip to go. Open the backpack, put in the MacBook, put in the interface, put in the necessary cables, put in 2 headphones, put in the preamp, put in the microphone, put in the pop shield, close the backpack and pack the microphone stand, done. If you can find a good sounding room and a professional singer, you can create high-quality basic recordings. Even Brian Adams and other successful artists have used this method to create parts of their recordings in hotel rooms or similar spaces.

But what is needed in any case is an A/B comparison to a simple "loudspeaker", the function of which is sometimes even taken over by some interfaces. This is where it becomes clear why the majority of engineers go into raptures at the name Neve and why users are tempted to pay €888, which, by the way, is a real "bargain" for what's on offer.

In fact, the Horch input transformer Custom made by Haufe is the central component as far as the sound of the Horch MP NVR Mic Preamp is concerned. Once again, we have to resort to a discreetly flowery description of the sound, but the words "transparency" and "size" probably describe the sound of the preamp best. Combined with excellent headroom, the product offers the legendary "British warmth" without the "over-coloring" that cheap 1073 clones tend to spread.

The sound is finely resolved without harsh frequencies in any form. Also, the character of the respective microphone is optimally captured and transmitted, fine differences do not fall victim to the equalizer principle, but are optimally processed and passed on. The balanced and open sound can simply be described as outstanding, especially in relation to the three-digit price. To what extent the desktop principle of the Horch MP NVR Mic Preamp fits into the own workflow, each user must find out for himself, but the target group of the product will definitely be able to do something with the practical design.

Conclusion

With the Horch MP NVR Mic Preamp, the company from Schorndorf has an outstanding sounding preamp in its portfolio. With a very good price / performance ratio, the product convinces in all sonic aspects and offers the legendary sound of the preamps of a Neve VR console in a single application.

If you need a very good sounding preamp for mobile use and want to offer optimal amplification for your microphone in all situations, you should definitely take a listen to the Horch MP NVR Mic Preamp.

Additional informations:

- Horch Audio is a German company that specializes in designing and manufacturing high-end audio equipment. The company was founded in 2015 by a group of audio engineers and enthusiasts who were passionate about creating audio equipment that delivers superior sound quality and a seamless user experience. Horch Audio has quickly gained a reputation for its innovative designs and exceptional attention to detail, and the company has become a favorite among audiophiles and music professionals alike.

One of the key factors that sets Horch Audio apart from other audio equipment manufacturers is the company's commitment to using only the highest quality materials and components. All Horch Audio products are crafted using top-of-the-line materials, including precision-machined aluminum, aerospace-grade titanium, and premium quality circuit boards. Additionally, Horch Audio uses only the finest electronic components, such as hand-selected vacuum tubes and custom-designed transformers, to ensure that every product delivers the best possible sound quality.

Another important aspect of Horch Audio's design philosophy is the company's focus on usability and user experience. All Horch Audio products are designed with the user in mind, and the company places a high emphasis on creating products that are intuitive and easy to use. This attention to detail extends to the company's customer service as well, with Horch Audio offering exceptional support to its customers to ensure that they are completely satisfied with their purchase.

Horch Audio's product line includes a wide range of high-end audio equipment, including amplifiers, preamplifiers, DACs, and headphones. One of the company's flagship products is the Horch Audio M4 tube amplifier, which features a beautifully designed chassis made from aircraft-grade aluminum and an innovative circuit design that delivers exceptionally warm and natural sound. Another popular product is the Horch Audio DAC8, a high-end digital-to-analog converter that delivers stunningly clear and detailed sound quality.

In addition to its exceptional product lineup, Horch Audio is also known for its commitment to innovation and research. The company invests heavily in research and development, and is constantly exploring new technologies and design techniques to push the boundaries of what is possible in the world of audio equipment. This commitment to innovation is reflected in the company's products, which feature cutting-edge technologies and unique design elements that set them apart from the competition.

Overall, Horch Audio is a company that is truly dedicated to delivering exceptional audio equipment to its customers. With its focus on quality, usability, and innovation, Horch Audio has quickly become one of the most respected names in the world of high-end audio equipment, and the company's products are sure to impress even the most discerning audiophile. Whether you are a music professional or simply a music enthusiast, Horch Audio has something to offer that is sure to elevate your listening experience to new heights.

- Microphone preamplifiers, commonly referred to as "mic preamps," are a type of electronic device used to amplify the signal from a microphone before it is fed into a recording or sound reinforcement system. Mic preamps are essential for capturing high-quality audio recordings, as they provide the necessary gain to bring the microphone's low-level signal up to a level that can be properly processed and recorded.

One of the key features of mic preamps is their ability to provide clean, transparent amplification of the microphone signal. This is important because any distortion or noise introduced at this stage of the signal chain will be amplified and will degrade the overall quality of the recording. High-quality mic preamps are designed to provide minimal noise and distortion, allowing the microphone signal to be amplified without introducing any unwanted artifacts.

Another important feature of mic preamps is their ability to provide variable gain. Different microphones have different sensitivity levels, and the amount of gain required to bring the microphone signal up to an appropriate level will vary depending on the specific microphone being used and the intended use of the recording. Mic preamps typically provide a variable gain control, allowing the user to adjust the level of amplification to match the needs of the specific recording situation.

Mic preamps can be built into a variety of different devices, including mixing consoles, audio interfaces, and standalone units. Standalone mic preamps are popular among recording professionals because they provide the ability to select and use a specific mic preamp for each recording channel, allowing for maximum flexibility and control. Some high-end mic preamps also include additional features, such as switchable input impedance or selectable high-pass filters, which can be used to further tailor the sound of the microphone signal.

In addition to their use in recording studios, mic preamps are also used in live sound reinforcement applications. In live sound, mic preamps are typically built into mixing consoles and provide the necessary gain and processing to amplify the signals from the various microphones used on stage. Live sound mic preamps are designed to provide robust and reliable performance in a live environment, where reliability and ease of use are essential.

In conclusion, microphone preamplifiers are a critical component of any audio recording or sound reinforcement system. They provide the necessary gain to amplify the low-level signal from a microphone, while minimizing noise and distortion. Whether used in a recording studio or live sound environment, high-quality mic preamps are essential for capturing clean, clear, and accurate audio recordings.

TEST: HK Audio Polar 10

One could get the impression that the Columns P.A. has completely outstripped any other forms of sound reinforcement. There is not a single established manufacturer that has not expanded its portfolio with one or more components of this system class in recent years. HK Audio is one of the last to follow suit with the HK Audio Polar 10 and provides a lot of purchase arguments for the ambitious customer with interesting key data at a moderate price at first glance. Let's see how the second look turns out.

The construction of the HK Audio Polar 10

For just under 700 euros, you get with the HK Audio Polar 10 about 2000 watts of peak power, which are generated from a 10-inch subwoofer, 6 pieces of 3-inch midrange speakers and a 1-inch tweeter. According to the manufacturer, a frequency spectrum of 38 Hz to 20 kHz is covered with a dispersion angle of 120 degrees.

The complete system consists of a total of 3 elements, whereby one of the two column elements is a pure empty housing (company name "Spacer") and serves only as a spacer rod with passage of the signal to the midrange, respectively tweeter(s) (company name "Top"). In other words, to bring the system at ground level at ear level of the listener, one uses the spacer, if the system is already exposed on an elevated stage, one connects the top of the columns by plug system directly to the woofer. With the dimensions Top / Spacer (W x H x D): 10.8 cm x 82.5 cm x 9.8 cm and a weight of 3.9 kg (Top) and 2 kg (Spacer), the two column elements are easy to transport. Visually, both elements have an identical appearance anyway.

In the woofer housing, which comes with the dimensions 366 mm x 625 mm x 541 mm (W x H x D) and a weight of 21 kg already very strong in a black birch plywood finish, is as usual also the entire DSP department, along with mixer and power amplifier. If you put all the elements together, the system has a height of 2.13 meters and a weight of almost 27 kg, without spacers, the system has a height of about 135 cm.

As already mentioned, the entire electronics are located in the lower part of the HK Audio Polar 10. On the back is the cold device plug together with heat sink and all connections of the system. The crossover frequency between bass and midrange is 180 Hz, which demands a lot from the comparatively small midrange drivers in the direction of low midrange, the eternal Achilles heel of column systems. I'm already very curious about the practical part, especially since HK Audio explicitly points out the solution to this problem.

The mixer section of the system turns out to be comparatively simple. Channel 1 and 2 is supplied via a combo jack (XLR / TRS) and can be pre-adjusted with a slider in the input sensitivity. A small volume control decides the final volume. Channel 3 is designed for high impedance instruments and also has a volume control. Channel 4 is designed as a stereo channel and controls the volume for the Bluetooth receiver or the RCA input. The Bluetooth version is 5.0 and should have a range of up to 50 meters.

Via an XLR output, the incoming signals can be looped through to other amplifier systems in daisy chain mode. Finally, there is a separate volume control for the subwoofer on the mixer panel, which, in addition to a standard 0 dB control, also allows a boost of up to 10 dB. Finally, we have a master volume control for the entire system.

A small but easy to read display informs about the most important system points, such as limiter use in case of overload and Bluetooth use. In addition, the system has a three-band EQ on board (bass 70 Hz +/- 12 dB, treble 12 kHz +/- 12 dB, midrange semi-parametric from 70 Hz - 12 kHz +/- 12 dB) and three modes in the dispersion range labeled Music, Voice and DJ. In addition, the system can be operated as a delay tower with a distance of up to 100 meters. All settings can be saved to up to 5 presets.

The HK Audio Polar 10 in practice

One expects a lot from a column P.A., which is less of an issue with other systems. In particular, the combination of easy transportability, unobtrusive appearance and superior radiation behavior has made the principle in recent times a box office hit of the first category. In the case of the HK Audio Polar 10, the above points are undoubtedly fulfilled at first impression. The disassembly of the system takes seconds and the transport of the individual units is also problem-free, provided you have the strength to move the woofer with its 21 kg, but this is no problem due to the practical recessed grips.

In terms of optics, the Saarlanders succeed in creating a truly discreet appearance, which doesn't scare away guests even in a private garden party environment, but is rather perceived as a modern art element. Many sound experts like to forget that especially with discreet background sound, the appearance at private events is sometimes more important than the sound. The concept is appealing, the workmanship is very good, and the amount of cable to be used is minimal due to the internal connection rails.

In general, especially the plug-in rails leave a very good impression. The connections are torsion-resistant, solidly designed and can be securely plugged together even in the semi-darkness of a sparsely lit stage. Who doesn't know the club version, where the stage can't be properly lit around bursting, because all the spotlights are plastered with some pointless color filter, the walls were painted black so that you don't see the siff so and you have simply forgotten to install sufficient white light for assembly and disassembly.

Although a corresponding audio stream can be put on the system via Bluetooth, there is no app with which you can remotely control the system. If you leave the mixer at home, you unfortunately can't avoid the "set-before-run-listen-back-repeat" fuss.

Although HK Audio claims to have put a special focus on the construction-related center hole, you can't outsmart physics in this case either. 3 inch speakers are simply not capable of generating corresponding low mids to generate a completely balanced sound image, even more so when only 6 are available. One can help out a bit with an appropriate external EQ, but the typical slightly brittle sound of a typical column P.A. can also be heard with the HK Audio Polar 10, as with all other suppliers.

In return, however, the system scores with a very powerful bass, which provides a solid basis for up to about 150 people to be sounded, especially in the DJ preset. The headroom of the woofer is outstanding, especially since 1000 watts RMS and 2000 watts peak can generate a lot of pressure when needed. Depending on the preset, the sound spectrum ranges from scoop to moderate, although the high frequency range can also become "biting" at times, as is typical for columns.

The feedback strength of the system depends, as always, on the location of the performer. Of course, it is advisable to act at maximum at the same height as the speakers, or even better behind them, but even with a slightly forward setup, feedback attacks can be kept under control comparatively well. Of course, it is important to consider whether the spacer is in operation or not. Without a spacer on a stage in front of the speakers turns out to be a bad idea, as expected.

The Bluetooth feed turns out well, the 50 meters under Bluetooth 5 are met and even with lower versions 25 to 30 meters should not be a problem even with smaller obstacles. For an external mixer operation, somewhat higher quality connections like TRS or XLR would be desirable, but in the consumer area, the RCA connections simply do their job.

Conclusion

With the HK Audio Polar 10, the Saarland-based company has a high-quality column P.A. with a very good price / performance ratio in the program. With a very good mechanical workmanship and easy handling, smaller events up to a maximum of 200 people can be acoustically properly illuminated even in acoustically unfavorable conditions. Especially in the bass range, the system can show its full strength and provides a very good basis for various requirements with moderate dimensions and comparatively handy feel.

Additional informations:

- HK Audio is a German company that designs and manufactures high-quality audio equipment for professional and commercial use. The company was founded in 1992 by Hans Stamer and Lothar Stamer, and it is based in St. Wendel, Germany.

Products:
HK Audio offers a wide range of audio products, including loudspeakers, subwoofers, amplifiers, and digital signal processors. Their products are designed to meet the needs of a wide range of customers, including musicians, DJs, event planners, and sound engineers. HK Audio products are known for their high-quality sound, durability, and reliability.

One of the company's most popular products is the Linear 5 Series, which includes loudspeakers and subwoofers designed for use in live music performances and events. The Linear 5 Series features high-performance drivers, advanced electronics, and a lightweight design, making it easy to transport and set up.

In addition to the Linear 5 Series, HK Audio offers several other product lines, including the Elements Series, which is designed for use in fixed installations, and the Premium Pro Series, which is designed for use in large-scale events and concerts.

Technology:
HK Audio uses advanced technology to design and manufacture its products. The company's products are designed using computer-aided design (CAD) software, and they are tested using state-of-the-art equipment to ensure they meet the company's high standards for sound quality and performance.

One of the company's most innovative technologies is the MultiGrip carrying handle system, which is featured on many of its products. The MultiGrip system allows users to carry and transport speakers and subwoofers with ease, and it also provides a secure grip for easy handling.

Sustainability:
HK Audio is committed to sustainability and environmental responsibility. The company has implemented several initiatives to reduce its carbon footprint and promote sustainable manufacturing practices. For example, the company uses recyclable materials in its products and packaging, and it has implemented energy-saving measures in its manufacturing facilities.

Conclusion:
In summary, HK Audio is a German company that designs and manufactures high-quality audio equipment for professional and commercial use. The company's products are known for their high-quality sound, durability, and reliability, and they are used by musicians, DJs, event planners, and sound engineers around the world. HK Audio uses advanced technology to design and manufacture its products, and it is committed to sustainability and environmental responsibility.

- Column PA systems, also known as line array speakers or vertical array speakers, are a type of loudspeaker system that is designed to provide consistent and even sound coverage across a wide area. These systems are popular in a variety of settings, including concerts, festivals, conferences, and worship services.

Design:
Column PA systems consist of multiple smaller speakers arranged in a vertical column. The speakers are typically arranged in a line or curve, and they are designed to work together to produce a consistent and even sound. Each speaker in the column is angled and aimed in a specific direction to provide optimal coverage.

The design of a column PA system allows it to provide more even coverage than traditional speaker systems, which often have hot spots and dead zones. Column systems also have the advantage of being able to deliver sound over longer distances without losing clarity or volume.

Uses:
Column PA systems are often used in large venues, such as arenas, stadiums, and outdoor concert spaces, where consistent and even sound coverage is essential. They are also popular in houses of worship, where they can deliver high-quality sound throughout the sanctuary.
Column systems are also used in smaller settings, such as conferences and corporate events, where they can provide clear sound reinforcement for speeches and presentations. They are also popular in bars and restaurants, where they can provide high-quality background music without taking up valuable space.

Advantages:
One of the main advantages of column PA systems is their ability to provide consistent and even sound coverage over a wide area. This is achieved through the use of multiple speakers that work together to produce a uniform sound.

Column systems are also known for their high-quality sound. The smaller speakers used in these systems are often designed to produce a more natural and accurate sound than larger speakers.
Another advantage of column systems is their compact size. Because they are designed to be arranged vertically, they take up less floor space than traditional speaker systems.

Disadvantages:
One potential disadvantage of column PA systems is their cost. These systems can be more expensive than traditional speaker systems, due to the complex design and the use of multiple speakers.

Column systems can also be more difficult to set up and configure than traditional speaker systems. The precise positioning of each speaker is critical to achieving optimal sound quality, and this can be time-consuming and challenging.

Conclusion:
In summary, column PA systems are a popular choice for venues and events that require consistent and even sound coverage over a wide area. These systems use multiple smaller speakers arranged in a vertical column to produce high-quality sound that is natural and accurate. While they can be more expensive and difficult to set up than traditional speaker systems, their advantages make them a popular choice for a wide range of applications.

TEST: Heritage Audio HA-81A

Whether Rupert Neve in his heyday ever thought that his products would one day become the most copied audio building blocks of all time? Without a doubt, the now 94-year-old electrical engineer is one of THE big names, perhaps even the biggest name in all of music electronics, whose classics have been heard for decades on just about every production that has made a lasting impression musically and commercially. The Heritage Audio HA-81A Elite Channelstrip, available for review from Spanish manufacturer Heritage Audio, also makes no secret of the fact that it is a mix copy of the 1073 (preamp) and 1081 (EQ) modules from AMS Neve. Let's see if the significantly cheaper product can live up to the expectations.

The construction of the Heritage Audio HA-81A Elite

"What looks good, sounds good". If this gladly once shot from the hip, not quite seriously increasing assertion were true, the developers of the Heritage Audio HA-81A Elite could lean back relaxed. The product leaves a very good first impression in its solid sheet steel design, which is also supported haptically by a weight of just under 3 kg. The case itself is easily accessible, to take a look inside the case, the upper panel can be removed very easily with 6 screws.

Should you have doubted the principle of the copy, a look at the front layout will immediately prove you wrong. The optical combination of the red 12-position gain control, the gray-silver / blue-silver double potentiometers, the white push buttons and the whole thing on a medium gray background could also be printed 1:1 in the current AMS Neve catalog without anyone noticing it at first glance.

The inner knobs of the five double potentiometers run pleasantly smoothly, while the outer detent rings have a bit of play due to their design, but this is of no consequence. Interesting is the elegant layout, with which the five double axes accommodate a total of 2 bandpass, 2 shelving (or peak) and one each lowpass and highpass on the front. A total of 11 pushbuttons regulate the further actions, whereby only the power switch and the optionally switchable phantom power call a control LED their own. However, since the white pushbuttons have a very deep control travel, you can see the status very well without an LED.

In principle, the Heritage Audio HA-81A Elite can process all signals, be it microphone, line or unbalanced instrument signals. For this purpose, there is an XLR jack for the microphone section, as well as an XLR jack for line signals and a jack socket on the front of the case, with the jack input bypassing the microphone jack. However, why the line input was not at least designed as a combo jack for the purpose of accepting TRS plugs, which are very often used in line mode, is not really clear to me.
For further signal processing, four push buttons offer some options. On the one hand there is a PAD switch, which reduces the signal by 20 dB, Furthermore one has the choice of the input impedance of the microphone input between 1200 and 300 ohms, which as is well known influences the sound of a microphone crucially. Of course still phantom power and a selector switch for the inputs. A special feature is the gain switch, which boosts the signal in 5 dB steps from 30 dB up to 80 dB, offering an OFF position between 50 and 55 dB, where the preamp is switched off.

The concept of the 4-band equalizer on the Heritage Audio HA-81A Elite is interesting. The two cutoff bands are shelving character and have a frequency response of 3.3 - 15 kHz, and 33 - 330 Hz, respectively. However, both can also be switched to bandpass characteristics via a push switch. The two inner bands ( 220 - 1200 Hz and 1.5 - 8.2 kHz), on the other hand, can be switched to a higher Q-factor with a push switch. Finally, there is a high-pass / low-pass variation at the double potentiometer on the far right, where the high-pass filter allows a five-step cut between 27 and 270 Hz, while the low-pass filter moves between 3.9 and 15 kHz. In the center position the filters are deactivated.
The final output control now allows you to lower the processed signal once again, which turns out to be very useful, especially if you want to drive the preamp slightly into saturation. Finally, three pushbuttons allow you to completely remove the EQ from the signal path, rotate the phase and turn the unit off completely.

When you open the case, the first thing you notice are the two stately Carnhill transformers at the input and output of the device. They have a very good reputation and are also used in other devices of the Heritage Audio Elite series. The whole construction is very neat and does not reveal any weak points.
Even though I understand the reason, an external power supply on a product of this quality level will be an eternal minus point on my scale. Proper cabling in the studio complex is simply not possible with it, as the rectangular blocks always have to be placed somewhere and are both haptically and visually disturbing.

The handling
Those who have some experience with Neve products will find their way around the front panel comparatively quickly. After a little training time, the knobs and switches are almost self-explanatory, although the channelstrip-based structure of the EQ may cause some confusion. As with the original Neve, the highest band is on the left, which is due to the fact that the channel strip was borrowed from a console where the treble control is almost always on top. The neutral position at 6 o'clock can also cause some confusion at first, but is probably also due to the rotation of the product after removal from the console. Well, a little exotic status never hurt anyone.

The Heritage Audio HA-81A Elite In Practice
It is well known that the more a product does not stand out due to a mostly unpleasant peculiarity, the harder it is to describe it in terms of sound. This fact is additionally intensified when the product generally exerts a coloring effect on the adjacent material, which, however, can usually be captured by endeavoring flowery descriptions of the class "musical" or "warm". The sometimes esoteric descriptions always have something straining for me, the more I am also constantly on the lookout for the appropriate adjectives, without resorting to the standards.

Almost always, when a Neve product or a corresponding clone hangs in the signal chain, the signal at hand is given a very unique coloring, which mostly flatters the human ear. This is also true of the Heritage Audio HA-81A Elite, even with all EQ's removed from the signal path. It is precisely for this effect that people love these products and use them specifically for signals that are not to be processed by means of precision analysis, but have a comparatively high human element in their sound production, such as stringed instruments, wind instruments and, above all, vocals, of course.

The entire approach of the product, be it the gain rastering or else the EQ application shines with great practicality and facilitates a sensible application across the entire frequency spectrum. With a neutral management, the preamp always sounds soft and discreetly flattering, but also offers the possibility to add a discreet saturation to the signal by means of a "hot" control up to a powerful overdrive. This can be used as an interesting sound shaping especially for signals with strong impulses.

In general, there is hardly a signal that the Heritage Audio HA-81A Elite can't handle. With a preamp gain of up to 80 dB, there should hardly be a signal that the preamp can't catch up with, be it a typical ribbon microphone or the infamous piezo pickups without a preamp. However, a fixed component always remains the basic sound of the product, those who prefer a neutral sound shaping will possibly frown occasionally.

Conclusion
With the Heritage Audio HA-81A Elite, the Spanish company has a channel strip of the sonic extra class in its portfolio. As a purebred Neve clone of the two products 1073 and 1081, it also takes over the sonic advantages of the originals at a significantly lower price. With its pre-amplification of up to 80 dB, the European-made product provides an excellent basis even for difficult signal carriers, while maintaining the legendary Neve sound in all applied signals across the entire bandwidth.
Sonically outstanding and highly recommended!

Additional informations:
- Heritage Audio is a renowned manufacturer of high-end audio equipment based in Madrid, Spain. The company was founded in 2011 by Peter Rodriguez, an experienced sound engineer with a passion for vintage analog equipment. Today, Heritage Audio is known for its faithful recreations of classic audio gear from the 1960s and 1970s, as well as its innovative designs that incorporate the best of vintage and modern technologies.

One of Heritage Audio's primary goals is to provide professional audio engineers and musicians with access to the same high-quality sound that was once only available in expensive vintage equipment. To achieve this goal, the company has developed a range of products that are handcrafted in Spain using the finest components and materials. Each piece of equipment is designed to be rugged, reliable, and easy to use, with a sound that is warm, musical, and full of character.

Heritage Audio's product range includes preamplifiers, equalizers, compressors, mixers, and other signal processing tools. Some of the company's most popular products include the 1073/500 preamp, which is based on the classic Neve 1073 design, the DMA-73 dual preamp, which adds modern features like high-pass filters and direct inputs to the classic 1073 circuit, and the 2264JR compressor, which is based on the legendary Urei 2264 compressor.

In addition to its faithful recreations of classic equipment, Heritage Audio has also developed several innovative products that incorporate modern technologies. For example, the RAM System 5000 is a modular mixing and recording system that combines the best of analog and digital technologies. The system features a range of modules that can be combined to create a custom mixing and recording setup, with built-in digital signal processing and automation.

Heritage Audio's commitment to quality and innovation has earned it a reputation as one of the world's leading manufacturers of professional audio equipment. The company's products are used by top recording studios, producers, and musicians around the world, and have been praised for their exceptional sound quality, reliability, and ease of use.

Overall, Heritage Audio is a company that is deeply committed to preserving the legacy of vintage audio equipment while also pushing the boundaries of modern technology. Its products are a testament to the company's dedication to quality, craftsmanship, and innovation, and are highly recommended for anyone looking for the best in professional audio equipment.

- Rupert Neve was a renowned British audio engineer and inventor, best known for his innovative designs of analog audio equipment. He was born on July 31, 1926, in Newton Abbot, Devon, England, and passed away on February 12, 2021, in Wimberley, Texas, United States, at the age of 94.
Early Life and Career:

Neve developed an interest in electronics at an early age and built his first radio at the age of 13. He later studied physics and mathematics at the University of Leeds but left before completing his degree to work for a company that manufactured military radios. In 1960, he founded his own company, Rupert Neve Designs (RND), which quickly gained a reputation for producing high-quality audio equipment.

Innovative Designs:
Neve is best known for his innovative designs of mixing consoles and microphone preamplifiers. He was the first to incorporate solid-state electronics into audio equipment, which was a major breakthrough at the time. His designs were renowned for their warmth, clarity, and musicality, and they were used by many of the world's top recording studios and artists.
Neve's most famous design was the Neve 1073 microphone preamplifier/EQ module, which was introduced in the early 1970s. The 1073 quickly became the industry standard for recording vocals, drums, and guitars, and it is still highly sought after today. Neve also designed the Neve 8048 console, which was used by many famous recording artists, including Fleetwood Mac, Pink Floyd, and David Bowie.

Legacy:
Neve's designs have had a lasting impact on the music industry, and his equipment is still highly regarded today. His contributions to the development of analog audio equipment have earned him numerous awards, including a Technical Grammy Award in 1997.
Neve's legacy lives on through his company, Rupert Neve Designs, which continues to produce high-quality audio equipment based on his original designs. In addition, his son, Josh, has continued in his father's footsteps and is also a respected audio engineer and inventor.

Conclusion:
In summary, Rupert Neve was a true pioneer in the field of audio engineering. His innovative designs of mixing consoles and microphone preamplifiers revolutionized the industry and set a new standard for audio quality. His contributions to the development of analog audio equipment have had a lasting impact on the music industry, and his legacy will continue to inspire future generations of audio engineers and inventors.

TEST: Hercules Stands

It is truly only very rarely the case that a German company has a de facto monopoly position with its products in the music industry. In terms of stands, tripods and mounts, you can't get past the name K&M so far, provided you don't want to fall short of a self-imposed quality standard. In addition to the general workmanship, it is particularly components such as the wall thickness of the tubes used, the durability of the plastics in terms of post-hardening or the diffusion of solvents from the foams into the paints of the instruments.

Added to this are ease of handling, a high degree of stability against external influences during transport, and the whole thing should be equipped with a clever folding system that allows the products to disappear into a small bag if possible. If you want to combine all these factors in one product, you can't avoid a corresponding retail price, which is why the above-mentioned company has so far primarily had its permanent home in the high-priced professional sector.

This is exactly the area that the Hercules Stands offensive is about, which is preparing to break the supremacy with its combination of good workmanship and moderate price due to the Chinese production. The guitar stands HCGS-200B, HCGS-412B, HCGS-405B and the iPhone / iPad holders HCDG-200B and HCHA-300+ are available for testing.


Design

Every company needs a visual trademark, preferably one that can be easily seen from a distance without seeing the lettering or emblem. In the case of Hercules Stands, they have chosen the combination black / yellow, which is perceived discreetly, but still very concise.

Hercules Stands informs in its documentation that no plasticizers are used in their foams. Nevertheless, especially with nitro paints, you should be aware that prolonged contact with dark foam can cause discoloration of the paint. In most cases, however, the color will diffuse back out of the paint, but this can take months or years.

Here we go:

1.) Guitar stand HCGS-200B: Let's start directly with the small stand and the big whoops. To my knowledge, there is currently no other stand that can hold both an acoustic and electric guitar, while folding up so incredibly small. The dimensions (L x W x H) 25 cm x 10 cm x 3.6 cm and the weight of 545 grams speak for themselves.

The slogan used by Hercules Stands of a tripod in your pocket is perhaps a bit daring with a tight-fitting pair of jeans, but in an expansive leg pocket or but a gig bag finds the stand easily place. The patented folding system is indeed simple and revolutionary at the same time. After setting up the stand by means of a simple folding mechanism, which adjusts the support surface for the body of the instrument selected. The stability of the stand and the safety for the instrument are set rather in the middle range, but the space required during transport is minimal. A real enrichment for the stand market.


2) Guitar stand HCGS-412B: Even though all stands are of course suitable for mobile use, it is still necessary to distinguish between floor stands and compact stands. The HCGS-412B belongs to the first category, turning out to be a specialist for very large instruments due to its suspended design. Even very long Flying V type instruments can find their place on this stand. In addition, the holding device has the Auto Grip System AGS, which is an additional safety feature.

Via the foldable back support, you can very quickly adjust the support point on the back of the guitar / bass individually, the same applies to the handle on the back, which manages the overall length of the stand. With optimal adjustment for the respective instrument, the stand offers high stability, especially for body types for which there are very few (Flying V) or no (Explorer) compact stands.



3) Guitar stand HCGS-405B: As a typical representative of the compact stands, the HCGS-405B is especially suitable for mobile use, whereby it is equally suitable for acoustic guitar / bass as well as electric guitar / bass. The center rod of the stand is mounted movably and, in cooperation with the curved neck mount, ensures that even the front men who sometimes stumble around in the area do not put your piece of jewelry in danger too easily.

Via a total of three snap locks, both the feet and the two holders can be bent in a single direction, so that the stand can easily find its place in a tripod case or bag.



4) Smartphone Holder HCDG-200B: Whether used as a recording device or as a text support, the smartphone has long since made its way into rehearsal rooms or onto the stage. Similar to a microphone, an appropriate stand is still the best method to place the smartphone coherently and sensibly. All the more reason why appropriate mounts are a must nowadays. Hercules Stands tries to cover all areas with the HCDG-200B by covering two different tripod designs (square and round) on the one hand and allowing all orientations by means of a ball head mount.

Mounting is quick, the alignment is flexible and the workmanship is practical. All common smartphones between 43.5 mm and 90 mm wide can be clamped via a snap-on device, while the ball head nut also allows quick readjustment. Due to the wide mounting surface, smartphones that are in a protective case can also be accommodated.



5) Tablet holder HCHA-300+: The application possibilities of the HCHA-300+ include the possibilities of the HCDG-200B, but expand the range even further with the included accessories. Two additional ball head extensions allow the usual back stand operation, which works in portrait as well as in landscape mode, as well as the direct attachment to a microphone stand. In this case, only the upper boom has to be removed.



Practice

The practical part is pleasantly short. All products meet the demands that can be placed on a professional stand or a professional mount. The handling is easy, self-explanatory and purely tailored to practice. In addition, all metal surfaces are anodized, which prevents both the unpleasant smell and the formation of rust.



Conclusion

With very good quality at reasonable prices, Hercules Stands is setting out to establish itself in the professional tripod market. Due to the very good workmanship, combined with interesting detail solutions, the ambitious customer has the choice of an additional provider that does not cover the inferior cheap sector.

Unfortunately, many musicians only realize far too late how immensely important such an unspectacular market as the tripod business is, namely when their beloved instrument lies on the stage floor with chipped varnish in the best case, or with a broken headstock in the worst case.


Additional Informations:

- Hercules Stands is a company that specializes in the manufacture and distribution of high-quality stands for musical instruments. The company was founded in Taiwan in 2008 and has since expanded its presence to more than 70 countries worldwide. Hercules Stands stands out for its innovative design, sturdy construction and user-friendly handling. Hercules Stands products are suitable for both professional musicians and hobbyists who want to store and transport their instruments safely and conveniently.

Among the most popular Hercules Stands products are the GS series guitar stands, which feature a patented Auto-Grip system that automatically holds the guitar when it is placed in the stand. The stands also feature a foam pad that protects the guitar from scratches. The GS series includes various models for acoustic, electric and bass guitars, as well as ukuleles and banjos. Another successful Hercules Stands product is the DS series saxophone stand, which is designed with a unique folding mechanism that allows the stand to be assembled and disassembled in seconds. The stand is also height adjustable to fit different sizes of saxophones.

Hercules Stands aims to meet and exceed the needs and expectations of its customers. The company places great emphasis on quality assurance, customer service and environmental protection. Hercules Stands is ISO 9001 certified and uses recyclable materials for its packaging. The company also offers a lifetime warranty for its products and has a dedicated support team that responds to customers' questions and concerns quickly and professionally. Hercules Stands is proud to be a trusted partner for musicians around the world.

- A guitar stand is a practical accessory for any guitarist who wants to keep his instrument safe and within reach. There are several types of guitar stands that differ in shape, material, size and function. In this text, we will present some important criteria that can help in choosing a suitable guitar stand.

First of all, you should consider how many guitars you want to place on the stand. There are both single stands and multiple stands that can hold several guitars at the same time. Single stands are usually more compact and easier to transport, while multiple stands take up more space but also offer more stability.

Another aspect is the material of the guitar stand. Most guitar stands are made of metal, which is sturdy and durable. However, you should make sure that the metal has a protective coating to prevent scratches or damage to the instrument. Alternatively, you can choose a guitar stand made of wood, which has a natural and elegant look. However, wood is more susceptible to moisture and temperature fluctuations, which can affect its durability.

Finally, you should also consider the shape and function of the guitar stand. There are several models that differ in the way they hold the guitar. Some examples are:

- A-frame stands: these stands have a simple and foldable design that consists of two slanted legs that rest against the bottom of the guitar. They are easy to handle and are suitable for different types of guitars.
- Neck rest stands: these stands have a vertical bar to which a padded neck rest is attached to hold the guitar by the head. They are sturdy and gentle on the instrument, but require more space and are harder to transport.
- Wall mounts: These mounts attach to the wall and have a movable bracket that clamps the guitar to the neck. They save space and are decorative, but require permanent mounting and are not suitable for all types of walls.

So, depending on personal preferences and needs, you can choose the right guitar stand for your instrument. It is important that the stand provides a secure hold and protects the instrument from damage.

TEST: Harley Benton SC-550 II Gotoh PAF vs. Gibson Les Paul Custom 1968

Yes, I know that you can't really speak of fairness in this comparison test, but a low-end vs. high-end test always has a certain appeal. Some will look forward to having their prejudices confirmed, but others may be surprised that the expected differences are much bigger or much smaller than they initially expected. Well then, it is indeed David against Goliath in the field of single cut against each other, or rather a Harley Benton SC-550 II Gotoh PAF against a Gibson Les Paul Custom year of manufacture 1968. The Harley Benton has a retail price of 349, - €, the LP Custom 68' is traded depending on the condition with about 30,000 - 40,000 €, one could throw as very roughly in the room that the Gibson is about 100 times more expensive than the HB. To take the core statement right away, even if the Harley Benton would be made of pressboard and the Gibson of 100 years aged mahogany, it is impossible that a regular playable instrument sounds a hundred times "better" than another. But what are really the differences in detail or is the comparison test already complete nonsense from the beginning?

A touch of history must be

In principle it means to carry owls to Athens, if one wants to write something about the history of the Les Paul in a musician magazine, however there are regarding the value development a few points, which one should consider again briefly. One or the other reader will wonder why I would not use an old Standard for the comparison test. Well, the reason is found relatively quickly, unfortunately none was available to me. Of course, it would have been great to have one of the legendary LP Standards from 1958 - 1960 at hand, of which allegedly about 2,000 copies were built, but the only colleague I know personally, who owned an original 59' LP, has sold the same some time ago for almost 200,000 € and the rest of these instruments are in the hands of well-heeled rock stars or ekes out a sad existence as a capital investment in air-conditioned bank lockers of even better-off businessmen.

After 1960, it was to take 17 years until Gibson reissued the "original" LP Standard in 1976 as its creator Lester Polfuss had planned. However, the quality of the instruments was nowhere near the level of the legendary 3-year period, so the biggest price explosion of all time in the field of electric guitars can only be found in this segment. Today, no instrument can be bought for less than a quarter of a million, the average price is around half a million, and when it comes to legends such as the "Greeny", which went from Peter Green to Gary Moore to Kirk Hammet, it can easily reach seven figures.

On place 2 of the most sought-after Les Pauls with humbuckers are then but also the Customs of 1968, because from 1969 the body consisted of 2 parts. No difference in sound, but collectors prefer the one-piece version. The Paula presented for the comparison test is original in large parts, only the frets and the bridge were so played down, respectively rotten, that they had to be replaced. Which fool drilled an additional hole for a strap holder on the backside can't be told after 55 years, unfortunately.

The gold layer is almost completely played down, many screws are heavily affected by rust, but the paint is comparatively well preserved. I personally like the "violin shaping" of the top, which was characteristic for the models of that time.

A small specs comparison overview

Many points seem similar at first sight, but there are big differences in detail. First of all, the Harley Benton SC-550 II Gotoh PAF must be credited with a good first impression. Made in Indonesia, the instrument is impeccable in terms of manufacturing quality and factory settings. Moreover, at just under 3.4 kg, the instrument is very light for a Les Paul copy, which is due to the fact that it is a "chambered body", meaning that the body is hollowed out in some areas, which reduces the weight of the instrument and leads to a more "hollow" sound. The top is an intensively stained maple top, which only has veneer thickness and therefore only has a visual and not an acoustic effect.

In contrast, the 68' LP Custom, also known as "Black Beauty" due to its deep black ebony fingerboard, offers everything that has made this instrument genre famous, popular and also infamous. Infamous is perhaps not really appropriate, because with just over 4 kg the instrument is comparatively light for a solid mahogany body plus a maple top about 1.5 cm thick and still far from the "minimum 5 kg". bolides of the eighties Les Pauls. In addition, almost everything about this instrument is "solid" and "angular". Anyone who has ever played in the higher registers of a Vintage Paula is certainly familiar with the struggle against the hard corners of the 7-ply binding, which only reluctantly gives up its right-angled edge even after thousands of hours of use.

Also familiar, of course, is the "half baseball bat" league of neck shaping, which comes across as truly massive. The 68' Paula, despite its massive appearance, nevertheless has an Achilles heel in terms of stability. Until about the beginning of 1970, these instruments were manufactured without "knobs" at the headstock transition, which meant that due to the strongly angled headstock, even the smallest fall, for example from a guitar stand, could lead to the infamous "base of the skull fracture". Although today any well-trained guitar maker can repair this damage, the collector's value decreases immensely with such damage, unless the instrument previously belonged to a celebrity, then such quirks are even more conducive to sales.

The Harley Benton SC-550 II Gotoh PAF feels much smoother. Especially in the neck foot area, the edge area has been softened and the transition to the body has been slanted and thus made more ergonomic. The instrument is definitely not designed for a "fight with the guitar", but for a cozy rendezvous. In general, the approach of the instrument is not to come up with an identical LP copy as possible, but rather to fuse the visual approach of a legend with the conveniences of a modern guitar. Nevertheless, visually several details, such as the different colors of the humbucking coils (which were used at the time for lack of stock) try to point to the original.

The sound!

That it is an unfair competition, as I said, has already been discussed in advance, but should you see the instruments in direct comparison, I spontaneously think of an analogy from fencing. If one would call the Harley Benton SC-550 II Gotoh PAF with a foil or if necessary still with a sword, one would not even come with a saber with the Gibson Les Paul Custom 1968, but would have to act already with the designation sword. The instrument has everything you can pack into an electric guitar in terms of mass, and that's exactly how it sounds. Every attack has the force of a fist punch and cojones the size of ostrich eggs.

Of course, one can only estimate how many playing hours an instrument of 55 years has on the hump, but if it were only about 30 minutes a day, one comes to over 10,000 hours. It goes without saying that the woods used are tuned to the point of no return. The tonal yield is correspondingly massive and rich in sustain, whereby one has the feeling that one could strike a chord, get a coffee and the chord still vibrates. It should be mentioned, however, that corresponding vintage instruments are usually not high-gain enthusiasts. The output of the pickups, despite humbucking circuitry, is not far from corresponding single coils and therefore really worth appreciating at most up to lead characteristic.

In parallel, it beats the Harley Benton SC-550 II Gotoh PAF really well, although once again the used in-house Tesla pickups can not really convince, but probably a prerequisite for the very low retail price. In fairness, however, one must admit that the Tesla pickups gain in quality with increasing gain, but cannot match the Gibson humbuckers in character. A corresponding investment in high-end pickups would probably push the retail price even at a low price easily over the 500, - € limit and thus call new competitors in this price segment on the scene. However, it remains to be seen whether one simply exchanges the pickups and takes over the very good wood properties of the HB at a small price. Therefore, soldering iron thrown on and just try once.

Additional Informations:

- Harley Benton is a brand owned by the German music retailer Thomann. The brand specializes in musical instruments and equipment, offering a wide range of products including guitars, basses, amps, effects pedals, and accessories at affordable prices.

Harley Benton was founded in 1997 and has since become a popular brand among musicians of all levels. The brand's mission is to offer high-quality instruments and equipment at prices that are accessible to everyone, from beginners to professionals.

One of the brand's most popular products is their line of electric guitars, which includes a wide range of models that are inspired by classic designs. These guitars feature solid construction, quality hardware, and versatile pickups, making them ideal for a variety of playing styles and genres.

In addition to their electric guitars, Harley Benton also offers a range of acoustic guitars that are designed for both beginners and experienced players. These guitars feature high-quality construction and materials, making them a great choice for anyone looking for a reliable and affordable instrument.

Harley Benton's product line also includes a variety of bass guitars, including both electric and acoustic models. These basses are designed to provide a full, rich tone, and are perfect for players of all levels.

In addition to guitars and basses, Harley Benton offers a wide range of amplifiers, effects pedals, and other accessories. These products are designed to work seamlessly with the brand's guitars and basses, providing musicians with a complete setup that is perfect for recording or live performance.

One of the reasons for Harley Benton's success is their commitment to quality. All of their products are designed and manufactured to the highest standards, ensuring that they are reliable, durable, and easy to use. The brand also offers a range of warranty and customer support services, making it easy for customers to get help if they need it.

Another reason for Harley Benton's popularity is their commitment to affordability. The brand's products are priced well below the competition, making them accessible to musicians of all levels and budgets. This has helped to make Harley Benton a favorite among beginners and students who are just starting out, as well as more experienced musicians who are looking for high-quality instruments and equipment at a reasonable price.

In conclusion, Harley Benton is a brand that offers high-quality musical instruments and equipment at affordable prices. Their product line includes a wide range of guitars, basses, amplifiers, effects pedals, and accessories that are designed for musicians of all levels and styles. With a commitment to quality and affordability, Harley Benton has become a favorite among musicians around the world.

- Gibson Guitars is a legendary American company that has been producing guitars since the late 19th century. The company has a long and storied history in the music industry, and its guitars have been used by some of the greatest musicians of all time.

Gibson was founded in 1902 by Orville Gibson, and initially produced mandolins and other stringed instruments. In the 1920s, the company began producing guitars, and quickly became known for their high-quality craftsmanship and innovative designs.

One of Gibson's most famous guitars is the Les Paul, which was first introduced in the 1950s. The Les Paul is a solid-body electric guitar that has been used by some of the greatest guitarists of all time, including Jimmy Page, Slash, and Eric Clapton.

Gibson also produces a range of other electric and acoustic guitars, including the SG, the Explorer, and the J-200 acoustic. These guitars are known for their high-quality construction, versatile tone, and iconic designs.

In addition to their guitars, Gibson also produces a range of amplifiers and effects pedals, which are designed to complement their guitars and provide musicians with a complete setup that is perfect for recording or live performance.

One of the reasons for Gibson's success is their commitment to quality. All of their guitars are made from high-quality materials, and are built to exacting standards to ensure that they are reliable, durable, and easy to play. Gibson also offers a range of warranty and customer support services, making it easy for customers to get help if they need it.

Another reason for Gibson's popularity is their commitment to innovation. The company has a long history of pushing the boundaries of guitar design, and has introduced many groundbreaking features and technologies over the years. For example, the Les Paul was one of the first solid-body electric guitars, and the SG was one of the first guitars to feature a double-cutaway design.
In recent years, Gibson has faced some challenges, including financial difficulties and controversies surrounding their management and business practices. However, the company has remained committed to producing high-quality guitars and equipment, and continues to be a favorite among musicians around the world.

In conclusion, Gibson Guitars is a legendary American company that has been producing high-quality guitars and equipment for over a century. Their guitars are known for their iconic designs, versatile tone, and high-quality craftsmanship, and have been used by some of the greatest musicians of all time. With a commitment to quality and innovation, Gibson remains a favorite among musicians and guitar enthusiasts around the world.

TEST: HEDD Type 20 MKII

When it comes to high-quality studio monitors Made In Germany, Berlin is always a good address. In addition to Eve Audio, the company HEDD (Heinz Electrodynamic Designs) around the former ADAM chief developer Klaus Heinz has its headquarters in the capital. HEDD consistently relies on German manufacturing, which not only builds up a corresponding expectation, but also comes with a corresponding retail price. Well then, we are curious about the inner and outer values of the HEDD Type 20 MK2.

Concept and construction of the HEDD Type 20 MK2

Already during the unpacking of the HEDD Type 20 MK2 several points reveal themselves, which arouse my curiosity, but let's devote ourselves first to the standard analysis. At first glance, the HEDD Type 20 MK2 monitors remind me a bit of the recently tested Eve Audio 3070 midfield speakers, which both visually and conceptually address the same target group. Both prefer a 3-way design with DSP control and turn in terms of performance data already clearly towards midfield, although the dimensions are still quite compact.

With 15.4 kg per monitor box and the dimensions HxWxD 280 mm x 358 mm x 338 mm, the HEDD Type 20 MK2 still proves to be quite compact, but can no longer be operated as a typical nearfield monitor with a placement on the desk. In any case, this requires appropriate stands and, if possible, control room dimensions, which should cover at least 30 square meters. However, anyone who is willing to spend just under €2,000 per monitor box will probably also have professional rooms with the appropriate dimensions and acoustic optimization. Why is this important?

Well, similar to a powerful tube amplifier, which also ignites its sweet spot only at a certain volume, it also requires a slightly higher listening volume for midfield speakers to be able to optimally examine the dynamics and the frequency interaction of the individual components. The opulent and unusual distribution of the power reserves of the HEDD Type 20 MK2 already shows that it is possible to draw from the full range. An even distribution of 300 watts each among the components 7" woofer, 4" midrange and 2" AMT tweeter provide a comparatively huge headroom, especially in the midrange and treble, which allows relaxed listening even at higher volumes.

Visually, the HEDD Type 20 MK2 leaves an extremely tasteful impression. The rounded corners of the housing and the very clean transitions of the individual components are of the highest quality and convey a very valuable impression. What surprises me, however, is the complete lack of any form of rubber or foam feet in the scope of delivery. Sure, almost all monitor stands have a padded support, but put the box only twice on the floor and you can see the first haptic effects on very tasteful, but highly scratch-prone surface. Three small LEDs on the front inform about the regular operating status, (green), overload (red) and standby (white).

The back

On the back of the HEDD Type 20 MK2 is an extensive armada of a total of nine controls, divided into 3 levels a 3 knobs to implement the personalized sound. Starting with a volume control, which varies the applied signal by +/- 12 dB, an On / Off switch of the patented Lineariser, which allows a phase optimization at a response of less than 10 ms and a COP switch, whose function we will come to in a moment. This is followed by the sound processing, which can process the bass and treble ranges by +/- 4 dB each, as well as a separate Bass Range control, which allows either a neutral function, an extension of the bass range (while reducing the SPL), or a high pass at 80 Hz for subwoofer operation. The last row offers input selection, system input sensitivity, and three different desk filters that can compensate for a console's dispersion range. Below that are XLR analog In, AES In and AES Through for daisy chaining.


We plug a hole ...

Now we come to the COP switch, which distinguishes between the positions Ported and Closed and whose function I have actually never encountered before in my entire career. Already during the unpacking I noticed a plastic block wrapped with soft rubber, which also has a screwable "puller" and which I initially mistook for a pad. The approach, however, is as simple as it is ingenious!

Perhaps one or the other will know the tonally different alignment of a guitar cabinet, depending on whether it is a closed, or an open variant. Especially with smaller housings, one tends to keep the back of the speaker open in order to create a more voluminous bass response in the interaction with the room acoustics, while closed cabinets are more compressed and generate a more mid-focused sound. In the near-field monitor range, a similar sound behavior could be noticed with the legendary NS-10, which sounded horrible overall, but had a well-defined midrange due to the lack of a bass reflex port.

A similar approach is taken by the HEDD Type 20 MK2 with its "stopper". Within seconds attached, one changes the sound of the monitor radically. Attention, do not forget to activate the DSP accordingly. So much is already revealed in advance to the practical part, the sound changes so strongly that one is close to perceiving a second pair of speakers.

The HEDD Type 20 MK2 in practice

First of all, you have to realize that the HEDD Type 20 MK2 is a real powerhouse. The total of 900 watts of output power indeed easily manage to fulfill its midfield mission. To experience the optimal sound, you should sit at least 1.50 meters away from the speakers, better twice that and then drive the system a bit higher in volume if necessary. In return, you get a brilliant sound performance, which is located in the high-end range. Ale Standatds such as depth, spatial resolution and signal separation are at the highest level.

It should be known by now that AMT tweeters have nothing left of the sharp basic alignment of the first generations. However, the fact that a tweeter is driven with 300 watts, with which even the midrange driver is already very potent, is very unusual. The result is an extremely relaxed basic sound that doesn't cause any hearing fatigue even at high volumes. The fact that a three-way system can trump especially in the midrange, where most 2-way systems have their crossover hole, is self-explanatory, which also significantly shapes the basic sound of the HEDD Type 20 MK2. At first sound impression, the system seems "harder" than many competitors, but after a short listening, you do not want to give up the newly acquired control, especially in the guitar and vocal range.

The highlight of the system, however, is the ability to close the bass reflex port. Many will be familiar with the effect that with an effective bass reflex port, one is happy about the additional bass power on the one hand, but in the same breath also perceives a reduction in bass definition. It's nice when it still pushes below 80 Hz, but the physicality can also be accompanied by a loss of control under certain circumstances. If you now make use of the "tamper", the bass operating point shifts a bit higher into the low-mids and increases massively in compression there, which is especially beneficial for stringed instruments. All kinds of guitars, bass and various keyboards virtually experience a booster effect in terms of perception and basic character, without the bass range suffering. In my opinion, a real enrichment of the sound experience with a resolution that no DSP can calculate. Outstanding!

The only thing that is a bit annoying is a kind of noisegate, which opens with a soft click before the signal is played and closes with the same click after playback. At higher listening volumes this is not a problem, but at lower volumes it reduces the listening pleasure.

Conclusion

With the HEDD Type 20 MK2, the German company carries a top-class product in its portfolio. The midfield monitor convinces with excellent standard values in the area of phase fidelity, depth gradation and spatial resolution. What lifts the product far above many competitors, however, is the very high power reserve and the COP circuit, which, although at first glance seems quite simple, represents a gamechanger in the field of flexibility.

Definitely test it once, a highly recommendable product!

TEST: Harley Benton AW-5

Is it my imagination, or is yellow the new fashion color of the year for anything that can be housed in small, rectangular metal cases? Now that the third cabinet with this color falls into my hands within a few weeks, one may believe in this thesis. With the Harley Benton AW-5 I also have an effect for testing, which is still a little insider tip on the pedalboards of this world. We're talking about the so-called Auto Wah, an effect that was used very often in the seventies and immediately creates a pleasant vintage feeling.

Well, what does an Auto Wah do? In contrast to a classic wah wah pedal, where an edge-splitting bandpass filter is controlled by the angle of attack of a pedal, the bandpass filter of an Auto Wah is based on the envelope of the incoming guitar signal, or in simpler terms, hard attack equals strong shift of the bandpass filter into the treble range, soft attack equals weak shift into the bass range. This means a direct conversion of the touch technique into a sonic effect, which again massively emphasizes the personal aspect of the playing style. Its primary field of application is a crunchy rhythm guitar, clean or slightly crunchy, with which you can get the maximum effect in a funky touch technique.


Concept

As the house brand of the music house Thomann, the label Harley Benton is known in the effect pedal field as a provider of ultra-cheap pedals, which rarely exceed the 30, - Euro retail price mark. With the Custom Line series, however, Harley Benton has made a step in the direction of "Boutique Pedals - Made In China", in order to be able to supply the musician with inexpensive effects even in the high-quality pedal range. This claim refers to all components of an effect pedal such as processing, design and of course sound. Well then, let's take a look at the eye-catcher, which is located with the dimensions (W x H x D): 120 mm x 56 mm x 95 mm at our feet and with its four soft rubber feet also finds good grip on smooth surfaces.

In terms of workmanship, the Harley Benton AW-5 gives itself a very good report card. No stray lugs, clean transitions and a tidy interior, although the mounting solution of the included 9V battery makes you wonder. It is only clamped between the circuit board of the true bypass switch and the outer wall, so that the entire pressure load is on the circuit board. Could have been solved more nicely. Alternatively, the product can also be operated with a 9V power supply.

In terms of control options, three chickenhead controls are available, which are labeled with the words Mode, Drive and Q, whereby the mode switch defines three fixed control ranges with the letters hp, bp and lp. All the designations should not be internalized too much, as they may cause confusion. Drive has nothing to do with overdrive, but controls how low the frequency range of the signal to be processed is selected. Q has nothing to do with the slope of a fully parametric equalizer, but controls how far up the effect opens. And the letter abbreviations hp, bp and lp do not stand for highpass, bandpass and lowpass, but contain a two-stage lowering of the bass range.


Practice

Yes, this is a real joy when you first activate the effect. I recommend lp to capture the full frequency range of the guitar, a Q value of 3 o'clock and a Drive value of 9 o'clock. Now add the most dynamic playing possible with the strumming hand and the sun comes up. Unlike modulation effects like chorus or phaser, in which a fixed effect can be turned on or off, the Harley Benton AW-5 is an interactive effect that forms a symbiosis with your playing. You just have to be careful not to use it on every number, as such a flashy effect will naturally wear on your ear quickly.


Conclusion

The Harley Benton AW-5 brings an unjustly disdained vintage effect to new life. The merging of the personal envelope in the form of the velocity hand with an interactive, edge-splitting bandpass filter makes the effect a highlight of the pedalboard. Only the restriction to clean and crunchy sounds limits the range of application of the pedal, otherwise the effect brings new life to almost any musical style. Note, in no case switch a distortion before the pedal, which robs the signal of any dynamics and leads the auto wah effect ad absurdum.

Additional Informations:

- Harley Benton is a German musical instrument brand that has gained popularity for its affordable yet high-quality products. The company was founded in 1998 and has since become a go-to brand for guitarists and bassists worldwide.

Harley Benton's mission is to provide musicians with instruments that are both affordable and high-quality. They achieve this by partnering with manufacturers in China and other countries, utilizing their economies of scale to keep prices low while ensuring that their products meet their quality standards.

Harley Benton offers a wide range of products, including electric and acoustic guitars, basses, ukuleles, and various accessories. Their most popular products are their electric guitars, which range from classic Stratocaster-style models to modern seven-string guitars.

One of the reasons for the popularity of Harley Benton guitars is their exceptional value for money. For example, their HB-35 guitar, which is a semi-hollow body electric guitar that is modeled after the Gibson ES-335, has a price point of around €200, which is significantly lower than the cost of the Gibson original. Yet, the HB-35 is still considered to be a high-quality instrument with excellent sound and playability.

In addition to their affordability, Harley Benton instruments are also known for their quality. Many musicians have praised the brand for their consistency in delivering high-quality instruments at affordable prices. This is possible due to the company's rigorous quality control processes, which ensure that each instrument meets their standards before it is released to the market.

Another aspect that sets Harley Benton apart from other brands is their customer service. The company is known for their excellent after-sales service, with a dedicated customer support team that is available to assist customers with any issues they may encounter with their products. This has helped to build a loyal customer base for the brand, with many musicians returning to purchase more instruments from Harley Benton over the years.

Harley Benton has also been successful in utilizing social media to engage with their customers and build a community around their brand. They have a strong presence on platforms such as YouTube and Instagram, where they showcase their products and provide tutorials and other educational content for musicians. This has helped to create a sense of connection between the brand and their customers, and has also helped to increase brand awareness.

In recent years, Harley Benton has expanded their product line to include other musical instruments such as ukuleles and basses. They have also launched a range of accessories, including guitar pedals, strings, and cables. This has allowed the brand to cater to a wider range of musicians and has helped to further establish their reputation as a reliable and affordable brand in the musical instrument industry.

Overall, Harley Benton has achieved a remarkable feat by providing high-quality instruments at affordable prices. Their commitment to quality and customer service has helped to build a loyal customer base, and their expansion into new product lines has further strengthened their position in the market. With their continued focus on innovation and quality, it is likely that Harley Benton will continue to grow and succeed in the years to come.

- The Auto Wah is a type of guitar effect pedal that is designed to mimic the sound of a wah-wah pedal, but with an automated sweep instead of being controlled by a foot pedal. The effect is achieved by using a filter that responds to the dynamics of the guitar's signal, producing a sweeping effect that mimics the sound of a wah-wah pedal.

Auto Wah pedals have been around since the 1970s, with some of the earliest models being produced by brands such as Mu-Tron and Boss. The effect was popularized by guitarists such as Frank Zappa and Jerry Garcia, who used it to create unique sounds and add texture to their playing.

The Auto Wah effect is achieved by using a filter circuit that is triggered by the dynamics of the guitar's signal. As the volume or intensity of the guitar's signal increases, the filter circuit opens up, producing a sweeping effect that mimics the sound of a wah-wah pedal. The effect can be adjusted using various controls on the pedal, such as the sensitivity and resonance knobs, which allow the user to fine-tune the sound to their liking.

One of the advantages of using an Auto Wah pedal over a traditional wah-wah pedal is that it allows for more precise control over the effect. With a traditional wah pedal, the sweep is controlled by the user's foot, which can be imprecise and inconsistent. With an Auto Wah pedal, the effect is automated, allowing for a more consistent and precise sweep.

Another advantage of using an Auto Wah pedal is that it can be used in a wider range of musical contexts. While a traditional wah-wah pedal is often associated with blues and rock music, the Auto Wah can be used in a variety of genres, including funk, jazz, and even electronic music.

There are a variety of different Auto Wah pedals available on the market, with different features and price points. Some popular models include the Electro-Harmonix Q-Tron, the Boss AW-3, and the MXR Auto Q.

The Electro-Harmonix Q-Tron is a classic Auto Wah pedal that has been used by guitarists such as Trey Anastasio of Phish and John Frusciante of the Red Hot Chili Peppers. It features a range of controls, including sensitivity, decay, and resonance, allowing for a wide range of sounds.
The Boss AW-3 is another popular Auto Wah pedal that is known for its versatility. It features multiple modes, including a classic Auto Wah mode, a dynamic filter mode, and a humanizer mode, which adds a vocal-like quality to the sound.

The MXR Auto Q is a compact and affordable Auto Wah pedal that is popular among guitarists who want a simple and easy-to-use effect. It features a single control knob that adjusts the intensity of the effect, making it easy to dial in the perfect sound.

In conclusion, the Auto Wah is a versatile and unique effect pedal that has been used by guitarists for decades. It allows for precise control over the sweeping effect, and can be used in a variety of musical contexts. Whether you're looking for a classic sound or something more experimental, there is an Auto Wah pedal out there that can help you achieve the perfect sound for your playing style.

- Musikhaus Thomann is a German-based company that specializes in the sale of musical instruments and equipment. Founded in 1954 by Hans Thomann Sr., the company has grown to become one of the largest music retailers in Europe, with a wide range of products and services that cater to musicians of all levels.

With a strong online presence and a vast selection of products, Musikhaus Thomann has become a go-to destination for musicians around the world. The company offers a range of products, including guitars, basses, drums, keyboards, and DJ equipment, as well as a range of accessories such as cables, stands, and cases.

One of the reasons for the company's success is its commitment to customer service. The company offers a 30-day money-back guarantee on all products, as well as a three-year warranty on all Thomann-branded products. Additionally, the company offers free shipping on most orders over a certain amount, making it easy and affordable for customers to purchase the products they need.

Musikhaus Thomann also offers a range of services for musicians, including instrument repairs, music lessons, and a recording studio. The company's instrument repair service is staffed by trained technicians who can repair and service a wide range of instruments, including guitars, drums, and brass and woodwind instruments.

The company's music lesson program is led by a team of experienced teachers who offer lessons in a range of instruments and styles. The lessons are available both in-person and online, making it easy for musicians to learn from the comfort of their own home.

Musikhaus Thomann's recording studio, Thomann Recording Studio, is a state-of-the-art facility that is equipped with the latest technology and equipment. The studio is staffed by experienced engineers who can help musicians with all aspects of the recording process, from pre-production to mastering.

In addition to its online store and range of services, Musikhaus Thomann also has a physical store in Treppendorf, Germany. The store, which is located on a 4-acre campus, is a destination for musicians from around the world, with a vast selection of products on display and a range of interactive exhibits that allow visitors to try out instruments and equipment.

Musikhaus Thomann has also been recognized for its commitment to sustainability. The company has implemented a range of environmentally-friendly practices, including the use of renewable energy sources and the reduction of packaging waste. Additionally, the company has partnered with a number of environmental organizations to support conservation efforts.

In conclusion, Musikhaus Thomann is a leading music retailer that offers a wide range of products and services for musicians of all levels. With a commitment to customer service, a range of environmentally-friendly practices, and a physical store that is a destination for musicians around the world, Musikhaus Thomann has established itself as a trusted and respected brand in the music industry.