TEST: INEAR SD-2 / SD-3

- Rarely does a manufacturer succeed in placing the field of action of its product range so clearly in the company name as the company Inear. What might the company, which is located in the village of Roßdorf near Darmstadt, produce? Joking aside, even without the striking company name, the manufacturer of Inear monitor systems has made a name for itself far beyond the borders of the music business. Among other things, the guys also equip the German Formula 1 drivers around Sebastian Vettel with monitor systems to provide them with the necessary instructions for the next pit stop.

Normally, Inear manufactures its systems as custom-made products, i.e. the customer has an impression of his inner ear cast by the guys directly or by a hearing aid acoustician of his choice and receives a custom-fit design. As a supplement to this, Inear has now brought the Stagediver series onto the market, which have determined an average from over 500 custom-made models and shine in 99% of all cases with a very high fitting accuracy. In the offer are the Stagediver SD2, respectively SD3, which go with a 2-way, respectively 3-way system to the start.


Construction

Even before I hold the actual product in my hands, my eyes shine after unpacking as when I still ran naked with the drum around the Christmas tree. The Stagediver series comes with a Pelican case of the highest quality in both the 2 and 3 models, which is reflected in the form of a black steel finish, an unbreakable snap hook, a pressure equalization valve (the Yanks love that sort of thing), and a plastic-padded interior. You can't pack an item any better than that!

If you open a case, you'll find a gold-plated adapter (3.5 mm to 6.3 mm jack), 3 cleaning cloths and 2 additional plastic attachments to adjust your personal wearing comfort. In addition, the cerumen filters (filters for earwax) are interchangeable. The connection cable has a length of 1.40 meters, with which one can easily reach both the receiver of a radio system and a stationary solution. When using the system, external noise is additionally attenuated by about 26 dB.

The overall workmanship is excellent, which is due in no small part to the fact that the entire manufacturing process is carried out in the home country. If you take a look at the earphones, the plastic bodies, reminiscent of modern art, give you pause for a moment. Is this what the inside of my ear should look like? Well, the subsequent wear test disproves the initial skepticism and shows how complex our ear canal is after passing the auricle. Although no individual adjustment was made, the earphones actually fit like a glove. Nothing wobbles, nothing presses and even heavy headbanging does not bring the system out of its anchorage. The rounded upper ends of the earphone leads nestle unobtrusively around the front of the outer ear, so discreetly that you hardly notice you're wearing earphones at all when the system is in use.

At the same time, the shielding from ambient noise is kept within pleasant limits. The external sound is audibly reduced and conversations with a person standing opposite can only be understood with difficulty on a stage, but the notorious total isolation does not occur, which sometimes creates an uneasy feeling with some artists. A good compromise, where in case of doubt the monitor man must mix a little room component to the main signal.


Practice

So how do the two Stagedivers sound? In order to answer this, one must first consider the different conceptions of the two systems. While the 2 ways of the SD2 should generate a frequency response as linear as possible, the SD3 generates a deliberate coloring of the sound in favor of the bass frequencies. So we are not dealing with an SD2 counterpart with a slightly higher bass content, but an independent design, which is only visually almost identical to SD2, but sonically has a completely different target audience in mind.

While the SD2 indeed generates an even, unobtrusive sound image without the horrible bathtub EQ, the SD3 delivers a clear bass boost in combination with a discreet lowpass in the high-frequency and high-mid range. The result is obvious. While guitarists, singers or even keyboardists will rather prefer the linear sound without too much frequency bending, bassists or even drummers will appreciate the extreme low-frequency poundage of the SD3. Especially our 4-5 string players, who like to turn the stage into a booming bass hell ("I need it for the feeling") can rattle their cheekbones with the SD3, while their band mates secretly turn down the master volume of the bass system, longing for redemption.

But also the SD2 convinces me all along the line. It was deliberately avoided to lower the midrange too much for feel-good reasons, after all, you have to be able to manage your sound on stage via the system. Nevertheless, the system does not come across too bony, which tends to spoil the joy on stage. The system is also very resistant to overdriving at peak levels and, in combination with the external noise attenuation of approx. -26 dB, manages to generate a very high stage volume when required, to which the very low resistance of only 40 ohms also contributes.

Conclusion

With the Inear Stagediver SD2 and SD3, the Hessian company brings two products to the market that are to be placed in the absolute top class. Processing, equipment, sound and conception are in every respect to be considered exemplary and convince all along the line. The average value for the Inear Monitoring, taken from more than 500 custom-made products, fits like a glove. In addition, the choice of system allows you to concentrate on your main instrument in terms of frequency.

Is there nothing at all to criticize about the system? Well, one or the other will chafe at the comparatively ambitious price of the manufacturer, but development AND complete production in Germany has its price. But in return, you get everything that can be done well and better in this segment.  For all who are planning to buy an Inear system, a real must! Top grade!

Additional Informations:

- A Comprehensive Comparison: Floor Monitors vs. In-Ear Monitoring Systems

Introduction:

Audio monitoring is crucial for musicians and performers to deliver their best performances on stage. Traditionally, floor monitors have been the go-to solution, providing on-stage audio reinforcement. However, in recent years, in-ear monitoring systems have gained popularity, offering a more personalized and immersive monitoring experience. This article aims to provide a detailed comparison of the advantages and disadvantages of floor monitors and in-ear monitoring systems.

Floor Monitors: Floor monitors, also known as stage monitors or wedges, are loudspeakers placed on the stage facing the performers. They project sound directly towards the musicians, providing them with a live audio feed during performances.
Advantages: 1.1 Natural Stage Presence: Floor monitors allow performers to hear their own sound in a more natural way, mimicking the experience of a traditional live performance. This can help performers connect with the audience and maintain stage presence.

1.2 Shared Monitoring: Floor monitors are typically set up to provide audio reinforcement to multiple performers simultaneously. This makes them suitable for bands and ensembles who prefer a shared monitoring experience.

1.3 Easy Interaction: With floor monitors, performers can easily communicate with each other and the sound engineer on stage, as everyone hears the same audio mix.
Disadvantages: 1.4 Audio Clutter: Floor monitors can contribute to stage clutter, occupying valuable space and potentially obstructing performers' movements. This can be a concern, especially on smaller stages.

1.5 Feedback and Sound Bleed: Floor monitors are prone to feedback issues, as their sound can easily be picked up by nearby microphones, leading to unwanted squealing or distortion. Additionally, sound bleed from floor monitors can interfere with front-of-house sound reinforcement, impacting audio quality.

1.6 Limited Isolation: Floor monitors provide limited isolation from ambient noise, which can be problematic in loud or noisy environments. Musicians may struggle to hear themselves clearly, leading to imprecise performances.

In-Ear Monitoring Systems: In-ear monitoring systems consist of custom-fit or universal-fit earphones connected to wireless receivers, delivering personalized audio mixes directly into the performers' ears.

Advantages: 2.1
Personalized Monitoring: In-ear monitoring systems provide individualized audio mixes, allowing performers to hear precisely what they need to perform at their best. This tailored monitoring experience can enhance overall performance quality.

2.2 Noise Isolation: In-ear monitors offer excellent noise isolation, blocking out external noise and providing a clean and focused audio signal. This is particularly advantageous in loud environments, ensuring clarity and reducing the risk of hearing damage.

2.3 Mobility and Stage Freedom: In-ear monitors provide performers with the freedom to move around the stage without being tied to a specific monitoring position. This can enhance stage presence and overall performance dynamics.

Disadvantages:
2.4 Learning Curve: Switching to in-ear monitoring systems may require a period of adjustment for performers who are accustomed to floor monitors. Getting used to the new monitoring experience and managing audio mixes can take time.

2.5 Cost: In-ear monitoring systems can be more expensive than floor mon
itors, especially when considering the initial investment in wireless transmitters, receivers, and high-quality earphones. Additionally, ongoing maintenance and replacement costs should be taken into account.

2.6 Limited Ambient Sound: In-ear monitoring systems may provide such excellent noise isolation that performers lose the sense of audience engagement and ambient sound. This can affect the overall performance and connection with the audience.

Conclusion:
Both floor monitors and in-ear monitoring systems offer unique advantages and disadvantages in live performance situations. While floor monitors provide a more natural stage presence and easy interaction, in-ear monitoring systems offer personalized monitoring, noise isolation, and stage freedom. The choice between the two ultimately depends on individual preferences, performance requirements, and budget considerations. Many musicians and performers opt for a hybrid approach, utilizing a combination of floor monitors and in-ear monitors to strike a balance between on-stage audio reinforcement and personalized monitoring.

- Headphones and in-ear monitoring (IEM) systems are both popular choices for personal audio listening and monitoring. While they serve similar purposes, there are distinct differences in their working principles and applications. This article aims to compare the functioning of headphones and IEM systems to understand their unique characteristics and applications.

Headphones: Headphones are over-ear or on-ear devices that cover the ears to deliver audio directly to the listener.

Working Principle: 1.1 Sound Reproduction: Headphones use a combination of drivers, such as dynamic drivers, planar magnetic drivers, or balanced armature drivers, to convert electrical signals into sound waves. These drivers generate sound by vibrating diaphragms, which produce audible frequencies that are perceived by the listener.

Advantages:
1.2 Soundstage and Immersion: Due to their larger size and design, headphones often provide a wider soundstage and a more immersive listening experience. They can create a sense of spaciousness and depth, particularly in stereo recordings.

1.3 Comfort and Extended Use: Headphones are generally designed with ergonomics and long listening sessions in mind. They are suitable for extended use, as they distribute the weight across the head and ears, reducing discomfort during prolonged wearing.

Disadvantages:
1.4 Portability and Mobility: Headphones can be bulkier and less portable compared to IEM systems. Their larger size and wired connections limit mobility, making them less suitable for on-the-go use.

1.5 Noise Isolation: While some headphones provide passive noise isolation due to their design and fit, they may not offer the same level of noise isolation as IEM systems. Ambient noise can still penetrate the ear cups, affecting the overall listening experience.
In-Ear Monitoring (IEM) Systems: IEM systems consist of earphones inserted directly into the ear canal, providing personalized audio monitoring and noise isolation.
Working Principle:
2.1 Noise Isolation: The primary function of IEM systems is to create an acoustic seal in the ear canal, blocking external noise and providing a clean audio signal. This is achieved through the combination of a proper fit, eartips, and the close proximity of the drivers to the eardrums.

Advantages:
2.2 Customization and Personalized Monitoring: IEM systems offer a high level of customization, with custom-fit options available. This allows for a precise fit and personalized audio monitoring, tailoring the sound to the user's preferences and specific needs.

2.3 Noise Rejection: IEM systems excel at isolating the listener from external noise. This is especially beneficial in live performance settings, as it allows performers to focus on their own sound without being distracted by ambient noise.

2.4 Portability and Mobility: IEM systems are highly portable, with wireless options available for greater mobility. Their compact size and lightweight design make them convenient for on-the-go use, ideal for musicians, audio professionals, and listeners who require mobility.

Disadvantages:
2.5 Learning Curve and Adaptation: Using IEM systems may require a period of adjustment, as they provide a different monitoring experience compared to traditional headphones. Getting accustomed to the personalized sound, fit, and managing audio mixes can take time.

2.6 Limited Ambient Sound: The excellent noise isolation provided by IEM systems can result in reduced awareness of ambient sound. This may affect the user's perception of the environment, such as audience response, on-stage cues, or external sounds.

Conclusion:
Headphones and in-ear monitoring systems offer distinct advantages and considerations in terms of sound reproduction, comfort, isolation, and portability. Headphones excel in providing a wider soundstage and comfort for extended use, while IEM systems offer personalized monitoring, noise isolation, and portability. The choice between the two depends on individual preferences, intended use, and specific requirements for audio monitoring or personal listening.

TEST: Inear Prophile-8

If this continues, we will see the extinction of one of the traditional products when it comes to showing the viewer on TV that you are in the recording studio. Microphone in front of the nose and, of course, headphones on the earpieces, a vocal recording must be taking place here. The increasingly popular Inear systems have so far "only" ensured that the monitor systems on the stages have lost their status by about 90%, the classic high-end studio headphones, however, was not yet threatened in its classic habitat.

But this could soon change. With the InEar ProPhile-8, the Hessian manufacturer from the small Roßdorf near Darmstadt brings a monitoring system to the market, which starts with the claim to become nothing less than the future studio reference earphones. We are curious about that.

Design

Conceptually, Inear's InEar ProPhile-8 is based on the system of the StageDiver series. The same series has calculated an average value from over 500 of their manufactured systems, which in 90% of all cases optimally closes the auditory canal of the average earthling. A universal fit is therefore guaranteed, which can be personalized via the enclosed, different rubber plugs. The product comes with 4 pairs of silicone earmold pieces in sizes XS, S, M and L, as well as 3 foam earmold pieces in sizes S, M and L. If you have a very unusual ear canal, you'll have to resort to the custom version, which is also in the works and will be released soon.

However, one has deliberately decided against a continuation of the product name StageDiver, because the InEar ProPhile-8 in many respects leaves the paths of a normal Inear system. First, there are the 8 drivers, which are far above the average of competing systems and are also responsible for the naming. The second special feature is a 4-way crossover, which is manually switchable in its characteristics from the outside.

In contrast to the regular StageDiver series, comparatively little has been changed in the appearance, but the surface has been kept matte and somewhat roughened. This gives a more grippy feel and prevents fingerprints on the surface. As with its predecessors, the InEar ProPhile-8 comes with the tried-and-true black twisted-pair cable, which connects via a 2-pin plug. Since the plugs are led to the housing from above, there is very little cable noise, a very pleasant point in terms of comfort.

Also to be highlighted is the accessories scope of the product. In addition to the aforementioned earmold pieces, the scope of delivery includes several cleaning cloths, a cleaning pen for earwax, a right / left set of 16-fold replacement earpiece filters each, dry capsules and a mini jack to TRS adapter. The whole thing comes in a Pelicase-level high-end case, which is equipped with a strong carabiner.


Practice

The InEar ProPhile-8 is ready to deliver a real alternative to classic monitor speakers, at least as far as the frequency range is concerned. Of course, it can't deliver the typical stereo triangle due to the extreme left/right sound sources, but it should be able to deliver a linear and relaxed listening position. According to this intention, the product comes with a switchable treble and bass boost, but less to equalize spatial over- or underpresence as with monitor speakers, but more to accommodate personal taste. Thus, 4 different presets can be set via two small switches. A high frequency boost of +2dB and a bass boost of +3dB are switchable.

The first sound impression is already excellent. Already in the neutral position, the InEar ProPhile-8 shines with a very good and, above all, neutral resolution, which extends over the entire frequency spectrum. Many subtleties that are sometimes swallowed by impulse or phase problems in classic monitor mode can be analyzed in detail here and make some final mixes seem frighteningly insignificant.

Adding the bass boost activates a subtle volume enrichment, which provides an increased feel-good character without triggering a mega boost. The only danger here is that you might feel too comfortable and not drive the mix sufficiently over the biters a la MS-10 to make even inferior speakers sound.

In terms of treble boost, the InEar ProPhile-8 applies a boost starting at 6-7 kHz, which still extends slightly down into the high-mid range. In this respect, the boost is not a "whisperer", but rather a classic booster, which intervenes discreetly, but still audible in the action. Soundwise also great cinema.


Conclusion

With the InEar ProPhile-8, the Hessian company once again scores across the board. The claim to develop an Inear Monitor System as a studio reference has succeeded across the board. Although the retail price of just under 1,300 euros will shrink the customer base to a minimum, but the same get probably the best-sounding inear monitor system on the market.

Top score!

Additional informations.

- Inear Monitoring Germany is a renowned company specializing in the production of high-quality in-ear monitors (IEMs) and related audio equipment. With a strong focus on precision, comfort, and sound accuracy, Inear Monitoring Germany has earned a reputation as a leading provider of personalized monitoring solutions for professional musicians, audio engineers, and music enthusiasts worldwide. This report provides a comprehensive overview of Inear Monitoring Germany, covering its history, product range, technological innovations, and industry impact.

Company History Inear Monitoring Germany was founded in 2010 in Paderborn, Germany, by a team of audio professionals with a passion for delivering exceptional sound experiences. Since its inception, the company has been dedicated to pushing the boundaries of in-ear monitoring technology, blending craftsmanship with cutting-edge audio engineering techniques. Over the years, Inear Monitoring Germany has built a strong presence in the music industry and has become a trusted brand among musicians and audio professionals.

Product Range Inear Monitoring Germany offers a wide range of products designed to cater to the specific needs of musicians and audio enthusiasts seeking unparalleled audio quality and personalized monitoring solutions. The company's product lineup includes:
3.1 Custom In-Ear Monitors Inear Monitoring Germany specializes in custom-fit IEMs, crafted meticulously to provide a precise fit and exceptional sound reproduction. Using state-of-the-art 3D scanning and printing technologies, the company creates custom molds for the IEMs, ensuring maximum comfort and isolation. The IEMs are available in various driver configurations to suit different musical preferences and performance requirements.

3.2 Universal Fit In-Ear Monitors For those seeking the convenience of ready-to-use IEMs, Inear Monitoring Germany offers a range of universal fit models. These IEMs incorporate advanced driver technology and ergonomic designs to provide excellent sound reproduction and a comfortable fit. They are available in different models, catering to various budgets and audio preferences.

3.3 Wireless Monitoring Systems In addition to IEMs, Inear Monitoring Germany offers wireless monitoring systems, allowing musicians to experience freedom of movement during performances. These systems provide reliable and low-latency audio transmission, ensuring seamless communication and immersive monitoring experiences on stage.

3.4 Earphone Accessories and Upgrades Inear Monitoring Germany also provides a range of accessories and upgrades for their IEMs, including replacement cables, eartips, cleaning tools, and custom artwork options. These accessories enhance the functionality, durability, and personalization of their products.

Technological Innovations Inear Monitoring Germany is committed to innovation and staying at the forefront of audio technology. The company continuously invests in research and development to improve the performance, comfort, and durability of their products. They work closely with audio professionals and musicians to understand their specific requirements and incorporate their feedback into product development. Inear Monitoring Germany's commitment to innovation has resulted in the introduction of advanced driver technologies, improved crossovers, and enhanced acoustic designs, delivering accurate sound reproduction and immersive listening experiences.

Industry Impact Inear Monitoring Germany has had a significant impact on the music industry, particularly in live performances, studio recording, and broadcast applications. Their IEMs have become the go-to choice for many renowned musicians, bands, and audio professionals who rely on accurate and reliable monitoring solutions. By providing personalized and high-fidelity audio experiences, Inear Monitoring Germany has helped musicians and audio engineers achieve optimal performances, precise mixing, and enhanced communication on stage.

Customer Support and Service Inear Monitoring Germany prioritizes customer satisfaction and offers excellent support and service. They provide detailed product information, consultation, and support to assist customers in choosing the right IEMs for their specific needs. The company also offers repair services, ensuring that customers' investments in their products are protected.

Conclusion Inear Monitoring Germany has established itself as a leading provider of high-quality in-ear monitors and wireless monitoring systems. Through their dedication to precision, technological innovation, and customer satisfaction, the company has transformed the way musicians and audio professionals experience live performances and studio recordings. With their commitment to delivering immersive and accurate audio solutions, Inear Monitoring Germany continues to shape the landscape of in-ear monitoring and set new standards for audio quality and personalized listening experiences.

- Choosing the right monitoring system is crucial for musicians and performers to deliver their best performances on stage. Two popular options are floor monitors and in-ear monitoring systems. In this article, we will compare the advantages and disadvantages of these two monitoring methods to help musicians make an informed decision based on their specific needs and preferences.

Floor Monitors:

Advantages:

Natural Sound Dispersion: Floor monitors project sound into the performance space, providing a more natural listening experience. Musicians can hear their instrument's sound reflected off the stage and interact with other performers, fostering a sense of connection and collaboration.

Easy Interaction: Floor monitors allow for easier communication between band members during live performances. Musicians can pick up cues and subtle changes in dynamics by hearing each other's stage sound.

Familiarity: Many musicians are accustomed to floor monitors, as they have been a staple in live performances for decades. The familiarity of using floor monitors can make the transition to in-ear monitoring systems more challenging for some musicians.

Disadvantages:

Sound Clutter: On stage, multiple floor monitors can create a cluttered sound environment. This can result in phase cancellations, feedback issues, and reduced clarity, especially in smaller venues or stages with poor acoustics.

Inconsistent Sound: The sound quality of floor monitors can vary depending on the performer's position on stage. Musicians located farther from the monitors may experience reduced clarity and uneven sound distribution.

Increased Stage Volume: Floor monitors contribute to increased stage volume, potentially leading to sound bleed into microphones and affecting the overall mix. This can be problematic for sound engineers trying to achieve optimal sound balance.

In-Ear Monitoring Systems:

Advantages:

Personalized Monitoring: In-ear monitoring systems provide individualized mixes for each musician, allowing for precise control over the audio they hear. Musicians can adjust their mix to emphasize specific instruments or vocals, resulting in enhanced clarity and focus.
Noise Isolation: In-ear monitors offer excellent noise isolation, minimizing external stage noise and reducing the risk of feedback. This isolation allows musicians to hear their performance with greater detail and accuracy, even in loud environments.

Portability and Mobility: In-ear monitoring systems are lightweight and portable, enabling musicians to move freely on stage without compromising their monitoring experience. This mobility is particularly advantageous for performers who require dynamic movement during their shows.

Disadvantages:

Adjustment Period: Transitioning from floor monitors to in-ear systems may require an adjustment period for musicians. The shift from hearing stage sound to isolated monitoring can initially feel unfamiliar and may affect performance and interaction with bandmates.
Dependency on Technology: In-ear monitoring systems rely on technology, including wireless transmitters, receivers, and personal mixers. Technical malfunctions or issues with battery life can disrupt the monitoring experience and require troubleshooting during performances.

Cost: In-ear monitoring systems tend to be more expensive than floor monitors, especially when considering the need for custom-molded earpieces and individual monitoring units for each musician. This cost factor may be a barrier for musicians on a tighter budget.

Conclusion:

Choosing between floor monitors and in-ear monitoring systems ultimately depends on the specific needs and preferences of musicians. Floor monitors offer a more natural sound dispersion and easy interaction among performers but may suffer from sound clutter and inconsistency. In-ear monitoring systems provide personalized monitoring, noise isolation, and portability but require an adjustment period and involve a higher initial cost. Musicians should consider factors such as stage setup, venue size, desired sound quality, and budget when making their monitoring system decision. Ultimately, both options have their merits, and selecting the most suitable solution will ensure optimal monitoring and performance experiences.

TEST: Monacor Proton 18NEO

"Monacor? Aren't they the ones with the car radios?" I would by no means like to know how often the traditional company from Bremen has already had to deal with this pigeonhole, especially since the current company portfolio could not be more diametrically opposed. Yes, the company was a few decades ago THE company when it came to sound tuning in the car hifi and yes, the catalog of the company has expanded many times over in terms of electronics and sound.

Thus, the company, which still develops and also manufactures all items in Germany, is advancing into the highly competitive consumer sector with a compact P.A. called Monacor Proton 18NEO, whose demands have also evolved in recent years. Let's see what "Made In Germany" has to offer the competition.

Construction

Hands up, who still remembers loading the LT Transporter with speaker constructions close to the 1 ton weight class, in order to then be able to delight the audience of his choice with proud 2x 800 watts in the evening? And whose stomach was in reverse when it came to heaving all the junk back into the warehouse or rehearsal room at 3 o'clock in the morning? I look into knowing faces.

Thanks to neodymium, which is one of the rare earth metals, even 10 inch loudspeakers can easily reach the 250 watt class, bass loudspeakers even reach the kilowatt range. On the other hand, Class D switched-mode power supplies easily manage over 2000 watts RMS, even with cigar-box dimensions, which brings power dimensions to mind that one would never have dreamed of in the past. The result is a completely new type of P.A. compact system, whereby the word compact is almost too high a word. A typical representative of this approach is the Monacor Proton 18NEO, which uses a three-way system to hurl 1300 watts RMS, or 2300 watts peak, into the room when needed. This power is sufficient to transmit a moderately playing band up to about 300 people, with voice transmission it can even go up to 500 people.

The real scoop of the system, however, is the transport construction, which in terms of dimensions is still far below the term "compact". All components, which include the operation of the Monacor Proton 18NEO, are stowed in the subwoofer, which leads to the fact that you ultimately only have a large cube to move, which from the dimensions even finds space in a station wagon car. In order to ensure a good grip, there are corresponding grip recesses in the front as well as in the rear area of the subwoofer.

The whole thing is stored on 75 mm braked transport wheels, but the weight of 57 kilograms prevents the system from being lifted by a single person, unless you decide to stow the two satellite boxes in the same only after loading the subwoofer. In return, however, the birch plywood ensures great resistance to external influences. Both the subwoofer and the satellites are protected against scratches with a rough and durable coating.

The scope of delivery of the Monacor Proton 18NEO includes, in addition to the 3 speaker cabinets (2x satellites - 10-inch Celestion midrange / 1-inch tweeter driver plus 18-inch bass speaker), two high-quality Neutrik Speakon cables, a power cord and a protective cover, which also has a large compartment for lots of odds and ends. The protective cover is not lined, but is very well protected against the usual road vagaries by internal stitching and solid fabric. On the top of the subwoofer enclosure is the access panel to the transport surfaces of the satellites, in the inside of which an additional location area for both Speakon cables is recessed.

The power cable is transported between the two satellites. Suitable high stands for the two tops have to be purchased separately, but the stand sleeves are already embedded in the satellites. On the top of the subwoofer housing, a spacer rod thread is already embedded, so that you can also get there with only one high stand and said spacer rod if necessary.

The interior of the subwoofer is neatly lined with felt and leaves a very good impression. In addition, the view opens up to two bass reflex ports, which additionally increase the efficiency of the enclosure. It goes without saying that the upper cover of the subwoofer has to be closed for an optimal sound during operation. Here, too, the work has been done cleanly, and the seal against the bass stroke is guaranteed despite the simple construction.

In terms of electronics, the amplifier unit and all connections were installed on the flattened rear of the subwoofer cabinet. In terms of input technology, 2 TRS/XLR combo jacks were installed for stereo operation, whereby the system can also be easily switched to mono operation via a small switch. Alternatively, there is also a RCA stereo input, which allows the parallel connection of 2 signal sources. For the combo jacks, as well as for the RCA area, there are corresponding link jacks to loop the signal through to other signal sources, such as a second Monacor Proton 18NEO.

As expected, the design, which was conceived as a pure power amplifier, is sparse when it comes to controls. Besides the already mentioned stereo switch, a pseudo-surround effect can be activated via a phase shift. A balance control manages the proportion of the subwoofer compared to the satellites and a master volume control regulates the final volume. IEC plug, micro fuse, on/off switch, limiter display, ready, simple and effective.

Practice

To say it right up front, in terms of practicality, no one is fooling the Monacor Proton 18NEO. The entire system is set up in 5! minutes including cabling. In addition, no one gets scared ("Oh God, I hope it doesn't get that loud again") when you roll just a small cube out of the station wagon. Assuming 2 people and a low loading sill, you'll find few alternatives that offer a similar power output with the same dimensions.

In addition, the subwoofer has the right height to place an appropriate mixer on it. Due to the solid construction, the 18-incher only resonates comparatively low even at high volumes and doesn't record any rattling noises. A cover band friend of mine called "A Fine Mess" has been using this system continuously for many months now and has nothing but good things to say about its reliability and flexibility.

Soundwise the system convinces by the typical "neodymium sound", which is reflected in a very fast response, clear transparency even at high volumes and the discreet nasal basic sound. Musically, the system's neutral tuning makes it equally suitable for almost all musical styles, as long as you don't lose sight of an appropriate field of application. Heavy dub thunder in disco volume is physically not feasible with such a construction and would only reveal the user's ignorance.


Conclusion

With the Monacor Proton 18NEO, the traditional Bremen-based company has a very hot iron in the fire when it comes to practicality and transportability. Due to the intelligent design and the tuned system, the compact P-A. knows how to convince in almost all sound reinforcement situations. Whether entertainer, DJ, acoustic duo, small band or voice transmission, the system scores due to its excellent components and best workmanship all along the line.

A set-up time in the single-digit minute range with power outputs in the four-digit watt range and a transport that can be done in a station wagon if necessary, are strong buying arguments that will undoubtedly meet with open ears.

Highest purchase recommendation!

Additional informations:

Monacor is a renowned company specializing in professional audio equipment and solutions for various applications. With a rich history spanning several decades, Monacor has established itself as a trusted brand known for its high-quality products, innovation, and commitment to customer satisfaction. This report provides a comprehensive overview of Monacor, exploring its history, product range, industry impact, and key strengths.
Company History Monacor was founded in 1965 in Bremen, Germany, and initially focused on the distribution of audio products. Over the years, the company expanded its operations and began manufacturing its own audio equipment. Today, Monacor has evolved into a global player in the professional audio industry, with a wide range of products catering to various sectors, including sound reinforcement, public address systems, conference technology, and audio installation.

Product Range Monacor offers an extensive product range that encompasses a diverse array of audio equipment and solutions. Their product lineup includes:

3.1 Loudspeakers and PA Systems Monacor designs and manufactures a comprehensive range of loudspeakers, including passive and active models, subwoofers, ceiling speakers, and line array systems. These speakers are engineered to deliver exceptional sound quality, reliability, and coverage, making them ideal for concerts, live events, clubs, auditoriums, and other professional audio applications.

3.2 Amplifiers and Mixers Monacor provides a wide selection of power amplifiers, mixing consoles, and audio processors. These devices are designed to optimize audio signals, ensure precise control, and deliver optimum performance in various audio setups, from small venues to large-scale installations.

3.3 Microphones and Wireless Systems Monacor offers a range of high-quality microphones, including dynamic, condenser, and wireless models. Their wireless systems provide reliable and interference-free transmission, making them suitable for performances, presentations, conferences, and other applications that require mobility and flexibility.

3.4 Conference and Public Address Systems Monacor specializes in conference technology and public address systems, offering solutions for boardrooms, conference rooms, lecture halls, and other venues. Their products include conference microphones, delegate units, interpreter systems, and audio distribution systems, ensuring clear communication and seamless coordination in professional settings.

3.5 Audio Installation and Accessories Monacor provides a variety of audio installation solutions, including in-wall and ceiling speakers, amplifiers, audio routers, and control systems. They also offer a range of accessories, such as cables, connectors, stands, racks, and protective cases, to support and enhance the functionality of their audio equipment.

Industry Impact Monacor's commitment to delivering high-quality audio solutions has earned them a strong reputation in the professional audio industry. Their products are widely used in a broad range of applications, including concerts, theaters, houses of worship, educational institutions, corporate environments, and public spaces. The reliability, performance, and durability of Monacor equipment have made them a preferred choice for audio professionals, sound engineers, installers, and system integrators worldwide.

Research and Development Monacor places a strong emphasis on research and development to continually innovate and improve their product offerings. Their team of experienced engineers and technicians constantly explore new technologies, materials, and design concepts to ensure that their products remain at the forefront of the industry. This commitment to innovation enables Monacor to meet the evolving needs of customers and adapt to emerging trends in professional audio.

Customer Support and Training Monacor's dedication to customer satisfaction is evident in their comprehensive customer support and training programs. They provide technical assistance, product consultations, and system design support to help customers choose the right audio solutions for their specific requirements. Additionally, Monacor conducts training workshops, seminars, and online resources to educate customers about their products and ensure optimal usage and performance.

Sustainability and Quality Assurance Monacor is committed to sustainable business practices and places great importance on environmental responsibility. They adhere to strict quality control measures to ensure that their products meet international standards and regulations. Monacor's commitment to quality and sustainability is reflected in their certifications, such as ISO 9001 and ISO 14001, which validate their dedication to excellence and environmental stewardship.

Conclusion Monacor has established itself as a reputable and innovative provider of professional audio solutions. With their extensive product range, commitment to quality, industry impact, and customer-centric approach, Monacor continues to empower audio professionals across diverse sectors with reliable, high-quality audio equipment and solutions. Through their ongoing research and development efforts, customer support initiatives, and sustainable practices, Monacor remains a leader in the professional audio industry, driving innovation and delivering exceptional audio experiences.

TEST: IK Multimedia iRig Pro Duo

The IK Multimedia iRig Pro Duo in the test for Amazona. After IK Multimedia could win a large clientele with the predecessor iRig Pro, now follows the successor, which already suggests in its name that it now goes to the point with 2 channels. The cornerstones such as ultra-compact format and connection to all common, mobile recording devices should be maintained and one or the other point in terms of equipment should be added.


Design

Built in Italy, the IK Multimedia iRig Pro Duo comes in a sturdy plastic case with dimensions of 127 x 75 x 37 mm and a very light weight of just 197 grams. This makes it roughly equivalent to an iPhone 6 in terms of width and length, along with the height of a pack of cigarettes. Four small rubber feet on the bottom of the case prevent scratching the surface on which the IK Multimedia iRig Pro Duo is placed, but due to their hard compound, they only provide very little grip on smooth surfaces.

The device is powered either by two AA batteries or by means of a 9V power supply that is not included in the package, which must have a power output of at least 500 mA. The batteries are placed on the back of the case via a flap inside. If you switch on the optional phantom power of 48V, the two batteries guarantee a runtime of just under 1 hour. For extended mobile recording sessions, it is therefore recommended to carry spare batteries/rechargeable batteries.



Accessories

Meanwhile, the gates have also opened for the competition beyond the iOS camp. Thus, in addition to all current iOS devices backwards compatible to iPhone 4 / iPad 2 and OSX 10.6, Android devices and Windows ASIO4ALL drivers can also be operated. To ensure this, the product comes with several cables that switch to Lightning, as well as Micro-USB and USB 2.0. 2 mini-jack cables also allow MIDI IN/OUT, which increases the flexibility in terms of 19" equipment immensely.



In/Out

Two XLR/TSR combo jacks are available on the front of the case, which can handle both microphone and line signals. The gain is determined via two smooth, nice looking, but poorly readable knobs. Two multi-color LEDs each provide information about the incoming level, outgoing signals and the battery charge status by means of 4 colors. At outputs, the IK Multimedia iRig Pro Duo has a headphone output in the form of mini-jack and 2 TSR plugs for line signals, both adjustable in its volume via a separate wheel. The ON/OFF switch for direct monitoring and phantom power is also located on the side. The signal is converted in the common standard 24-bit format at either 44.1 or 48 kHz.

Practice

During the test operation, the signals of an unbalanced electric guitar as well as a condenser AKG 414 microphone could be managed without any problems. The system has sufficient headroom and exerts virtually no coloration on the signal. Both an acoustic guitar and voice recordings were handled by the IK Multimedia iRig Pro Duo without any problems.

In terms of output level, the headphone output is of course highly dependent on the impedance of the headphones. Here, too, there were no problems whatsoever; an AKG K 240 was used. For line operation, two active monitors from JBL were used; here, too, there were no complaints whatsoever in terms of level and sound.

Due to the fact that the IK Multimedia iRig Pro Duo has its own power supply, the battery of a mobile device is not used, which speaks for a longer operating time. However, I would always try to run the IK Multimedia iRig Pro Duo from a stabilized power supply to avoid sudden voltage drops at the end of battery life.



Conclusion

With the IK Multimedia iRig Pro Duo, the Italian company expands its catalog in the mobile recording interface sector. After the successful establishment of the predecessor model iRig Pro, the successor now has 2 channels along with optical upgrades in terms of level and function control.

Apart from an increased power consumption with phantom powering and an associated short battery life, the product convinces on all levels and is recommended for all areas where you want to generate a high-quality conversion of the signal in a hurry.

Absolutely recommendable!

Additional informations:

- IK Multimedia is a leading company in the music technology industry, specializing in the development of innovative hardware and software products for musicians, producers, and audio engineers. With a strong focus on mobile solutions and an extensive product lineup, IK Multimedia has established itself as a pioneer in the field, consistently pushing the boundaries of what is possible in music creation and production.

Company History IK Multimedia was founded in Modena, Italy, in 1996 by Enrico Iori and Davide Barbi. The company started as a software development firm, providing tools for MIDI music production. In its early years, IK Multimedia gained recognition for its groundbreaking software products, including T-RackS, SampleTank, and AmpliTube, which quickly became industry standards.

Product Range IK Multimedia offers a wide range of products that cater to various aspects of music production. Their product lineup includes software plugins, virtual instruments, audio interfaces, MIDI controllers, mobile interfaces, and accessories. This diverse range of products allows musicians and producers to create, record, mix, and master music with exceptional quality and versatility.

3.1 Software Plugins IK Multimedia's software plugins are renowned for their exceptional sound quality and usability. AmpliTube, their flagship product, is a guitar and bass amp modeling software that accurately recreates the sound of famous amplifiers and effects. T-RackS is a powerful mixing and mastering suite, offering a comprehensive set of processors and tools. SampleTank is a virtual instrument workstation with a vast library of high-quality sounds, suitable for any genre or style.

3.2 Virtual Instruments In addition to SampleTank, IK Multimedia has developed other virtual instruments that cover a wide range of musical needs. MODO BASS is a physically modeled electric bass instrument that offers incredible realism and expressiveness. Syntronik provides a vast collection of vintage synthesizers, faithfully reproducing their iconic sound characteristics. These virtual instruments provide musicians with endless creative possibilities.

3.3 Hardware IK Multimedia's hardware products are designed to complement their software offerings and provide musicians with hands-on control. They offer a range of audio interfaces, such as the iRig series, which enables musicians to connect their instruments or microphones to computers and mobile devices. Their MIDI controllers, such as the iRig Keys series, provide intuitive control over software instruments and DAWs (Digital Audio Workstations).

Mobile Solutions One of IK Multimedia's distinguishing features is its strong emphasis on mobile solutions. Recognizing the increasing use of mobile devices in music production, IK Multimedia developed a range of products specifically tailored for iOS and Android platforms. Their mobile interfaces, such as iRig Pro I/O and iRig HD 2, allow musicians to connect their instruments directly to their mobile devices for recording and performance purposes. Additionally, IK Multimedia offers a variety of mobile apps, including AmpliTube, SampleTank, and iGrand Piano, providing musicians with professional-quality tools on the go.

Collaborations and Partnerships IK Multimedia has collaborated with renowned musicians and industry-leading companies to enhance their product offerings. They have partnered with musicians like Joe Satriani, Steve Vai, and Slash to develop signature gear and expand their artist-driven product lines. IK Multimedia has also collaborated with companies like Fender and Moog, resulting in the development of officially licensed software and hardware products that accurately capture the essence of these iconic brands.

Awards and Recognition Over the years, IK Multimedia has received numerous awards and accolades for their products and contributions to the music technology industry. Their software plugins and hardware solutions have been praised for their innovation, sound quality, and user-friendly interfaces. IK Multimedia's commitment to excellence and continuous improvement has solidified its position as a trusted and respected brand in the industry.

Conclusion IK Multimedia has played a significant role in shaping the landscape of music technology. Through their innovative software plugins, virtual instruments, and hardware products, the company has empowered musicians and producers to unleash their creativity and achieve professional-level results. With their focus on mobile solutions and a commitment to quality, IK Multimedia continues to push the boundaries of what is possible in music production, ensuring that musicians around the world have access to cutting-edge tools and technology.

- The Mobile Field Recorder is a revolutionary device that has transformed the way audio professionals capture and record sound outside of traditional studio environments. Designed to be portable, versatile, and user-friendly, these compact recorders have become essential tools for field recording, journalism, podcasting, filmmaking, and various other audio applications. This report explores the features, benefits, and impact of Mobile Field Recorders in the audio industry.

Overview of Mobile Field Recorders Mobile Field Recorders are handheld devices specifically engineered to capture high-quality audio in a portable format. They are equipped with built-in microphones, preamps, and recording capabilities, allowing users to capture sound in diverse environments with exceptional clarity and fidelity. These recorders often support various audio formats and offer features like adjustable gain, phantom power, and onboard processing options.

Key Features and Functionality 3.1 Portability and Durability Mobile Field Recorders are designed to be lightweight and compact, enabling audio professionals to carry them easily during field recording sessions. They are built with durable materials to withstand challenging conditions, such as outdoor environments and travel.

3.2 High-Quality Recording These recorders incorporate high-quality microphones and preamps, ensuring accurate and pristine audio capture. Many models support different microphone configurations, including built-in stereo or multi-directional microphones, as well as XLR or TRS inputs for connecting external microphones or other audio sources.

3.3 Versatility and Connectivity Mobile Field Recorders often provide various connectivity options, such as USB, Bluetooth, or Wi-Fi, allowing users to transfer recordings to computers or other devices seamlessly. They may also offer headphone outputs for real-time monitoring, as well as external inputs for connecting instruments or additional microphones.

3.4 Battery Life and Storage To accommodate extended recording sessions, these recorders feature long-lasting battery life. Some models also offer expandable storage options, such as SD cards, to ensure ample space for recording hours of audio.
Applications and Benefits 4.1 Field Recording Mobile Field Recorders are widely used for capturing environmental sounds, nature recordings, sound effects, and ambient audio. Their portable nature allows audio professionals to venture into remote locations, ensuring that no unique sound is missed. Field recordists, sound designers, and filmmakers greatly benefit from the versatility and high-quality recording capabilities of these devices.

4.2 Journalism and Interviews Journalists and reporters rely on Mobile Field Recorders to conduct interviews and record audio in various locations. The portability and ease of use make them ideal for capturing on-the-spot interviews, press conferences, or live events, ensuring the preservation of critical audio content.

4.3 Podcasting and Broadcasting Mobile Field Recorders have become essential tools for podcasters and broadcasters who record interviews, discussions, and on-location segments. The ability to record professional-quality audio outside of the studio environment empowers content creators to produce engaging and immersive content.

4.4 Filmmaking and Video Production In film and video production, Mobile Field Recorders serve as an invaluable tool for recording high-quality audio during shoots. They enable synchronization with camera footage, capturing clear dialogue, ambient sound, and foley effects on location. The convenience and reliability of these recorders contribute to the overall production value of films and videos.

Notable Mobile Field Recorder Brands Several prominent brands offer Mobile Field Recorders, each with its own unique features and capabilities. Some well-regarded brands in this domain include Zoom, Tascam, Sony, Roland, and Sound Devices. These manufacturers have established themselves as industry leaders, consistently delivering innovative and reliable recording solutions.

Conclusion Mobile Field Recorders have revolutionized the way audio professionals capture sound in various contexts. Their portability, high-quality recording capabilities, and versatile features make them indispensable tools for field recording, journalism, podcasting, and filmmaking. As technology advances, Mobile Field Recorders continue to evolve, enabling audio professionals to push the boundaries of creativity and capture the essence of the world around them with unprecedented clarity and convenience.

TEST: IK Multimedia iRig Pro HD

The mobile man! I remember how I dragged my Tascam Portastudio 244 in a specially made flight case to the rehearsal room and back almost 30 years ago and was of the firm opinion that it would not be more comfortable in terms of mobile recording technology. Old guys like me can only smile about these thoughts today, colleagues of younger age will probably not be able to understand the name Portastudio for a long time.

What has happened in mobile recording technology can be easily explored by anyone with the necessary search terms, but some manufacturers tend to outdo each other in features and control options in the smallest space, which often degenerates into completely overloaded menus on tiny displays.

The Italian company IK Multimedia, on the other hand, consistently takes a different approach with its iRig series by accommodating high-quality technology with minimal control options in the smallest possible space and leaving the preservation of the signals to the DAW. For the test, we have the latest offspring of the company, the IK Multimedia iRig Pre HD, which enters the race for the first time with a maximum sample rate of 96 kHz and with a retail price of less than 100 euros.


Design and features of the IK Multimedia iRig Pre HD

The IK Multimedia iRig Pre HD is a very small USB audio interface designed specifically for microphone operation. With dimensions of 40 mm x 110 mm x 34 mm and a weight of only 75 grams (without batteries), it really fits in any jacket pocket. In contrast to the iRig Pro series, which still has 4 small rubber feet for the purpose of a slip barrier on smooth surfaces, the IK Multimedia iRig Pre HD relies on an attachment to the microphone stand by means of a narrow strip of Velcro tape, which is fed from behind through two narrow slots on the battery cover.

Sounds cheap, unfortunately it is. Of course, you don't want to ruin the dimensions of your product with tightly mounted clamps, but there are definitely more professional solutions for a tight fit here. The housing is made of plastic and was painted in matte black. The Velcro strap, which is designed as a cable tie, unfortunately turns out to be fiddly in use and does not fit tightly, rating failed.

The accessories also include a USB cable for connecting to the computer, as well as a mini USB-Lightning cable. IK Multimedia does not make a big deal out of its Apple affinity, but Android users can access an optional USB cable if needed. In addition, 2 AA batteries are included and there are corresponding download links to the iRig Recorder and VocaLive apps.


Power supply and connections of the IK Multimedia iRig Pre HD

As expected, the IK Multimedia iRig Pre HD receives its operating voltage via the included USB cables, i.e. PC or iPhone / iPad. The included German-made AA batteries are only used for 48 V phantom power, which is required by condenser microphones. The associated On / Off switch is located on the side of the housing. How long the operating time of the two batteries in phantom mode, I could unfortunately not find out. While the sister models from the pro series have to be operated with a 9V block, it should not be a problem financially to carry a spare pair of batteries.

Since the IK Multimedia iRig Pre HD was only designed for microphone operation, there is also only one XLR jack on the bottom of the case. Here, the microphone signal can be set to Direct Monitor mode via another switch on the side of the case.

The internally installed microphone amplifier works in Class A technology and has a frequency response of 20 Hz to 20 kHz according to the manufacturer. The gain is controlled via a small level control wheel on the side of the housing. A multi-color LED on the top of the housing acts as a visual control, which indicates the signal strength from blue (too low level) to green / orange (optimal level) to red (clipping!).

The front side, on the other hand, houses the USB connector as well as the connection of a 3.5 mm mini-jack, to which headphones can be connected. The headphone amplifier has a power of 100 mW at 50 ohms, which will be important later in the practical part.


The IK Multimedia iRig Pre HD in Practice

The minimalist concept of the IK Multimedia iRig Pre HD has advantages and disadvantages, which are in the nature of things. On the one hand, the risk of operating errors is comparatively low and allows even beginners to quickly access a vocal or voice recording. On the other hand, the lack of a volume balance control between the playback and direct signal means that there is a risk of incorrect leveling of the incoming signal. To what extent this can become a problem is of course in the hands of the user, one should just not make the mistake of declaring the product as a pure "beginner's product" due to its dimensions and ease of use.

According to the manufacturer, the preamplifier has a gain level of up to 40 dB. This value can be described as practical as long as you stay within the large pool of common dynamic and condenser microphones. However, if you are working with unusual microphones, such as ribbon microphones or older dynamic microphones, it is possible that the catch-up amplifier will break down before an adequate working level is reached. In this case, it is important to weigh up and try out in advance whether the intended combination seems promising.

There is also a consideration in advance regarding the use of the headphone amplifier. Headphones in the lower and mid-range price segments are usually offered in low-impedance versions and can be operated with the IK Multimedia iRig HD's internal headphone amplifier at sufficient volume without any problems.

In the high-end of the studio headphone segment, however, you also come across representatives with an ohm number of up to 600 ohms from time to time. Here the headphone amplifier comes to its limits and will probably not be able to produce sufficient volume. On the other hand, these representatives are also in the studio anyway mostly operated with their own special amplifier, so that the question of use does not arise at all.

Sonically, the components preamplifier, converter and headphone amplifier leave a good impression. Starting with the preamp, which has a very low noise floor and is pleasantly impulse resistant. The product can't generate the highest sound culture, but it would be presumptuous to expect this at a two-digit price. A bit of thinning can be heard in the bass and the resolution in the treble range is merely "decent", but as I said, who would blame the Italian-made product.

A significant difference in a 96 kHz recording can be heard in a direct comparison, especially in the high-frequency range, but it remains to be seen whether this will come through later in a regular mix. The more subtle and discreet the music to be preserved, the more the HD range makes sense, the more the noisy "bully guitarists" take the reins, the more you can forget about the HD range.



Conclusion

With the IK Multimedia iRig Pre HD, the Italian manufacturer has a high-quality miniature vocal interface on the market for a very attractive price. In addition to its compact dimensions, the product impresses in particular with its simple and intuitive handling, which even recording novices can quickly grasp.

By using 2 pcs. AA batteries, you can also build up the phantom power, which is indispensable for condenser microphones, which gives the flexibility a massive push forward. In combination with a device of the iOS class or after purchasing a separate cable also in the Android universe, you have the possibility to perform microphone-based recordings with the minimal equipment microphone - cable - iRig - cable - device - headphones, wherever the muse kisses you.

Additional informations:

IK Multimedia is a renowned technology company that specializes in developing innovative music production tools and software. Since its inception in 1996, IK Multimedia has been at the forefront of the music industry, providing musicians, producers, and audio engineers with cutting-edge solutions for their creative needs. With a diverse range of products and a commitment to quality and innovation, IK Multimedia has established itself as a leader in the field of music technology.

Company History: IK Multimedia was founded in Modena, Italy, by Enrico Iori and Davide Barbi. The company initially focused on software development and digital signal processing for the music industry. In 1997, they introduced their first product, the T-RackS analog mastering software, which quickly gained recognition for its high-quality audio processing capabilities.

Over the years, IK Multimedia expanded its product portfolio to include hardware and software solutions for recording, mixing, mastering, and live performance. Their dedication to innovation and collaboration with industry professionals has allowed them to create products that meet the evolving needs of musicians and audio engineers.

Product Range: 3.1 Software: IK Multimedia offers a wide range of software products designed to enhance music production. Their flagship software includes AmpliTube, a powerful guitar and bass amp modeling suite, and SampleTank, a comprehensive sound library and virtual instrument platform. These products provide musicians with the ability to achieve authentic sounds and emulate classic gear in a digital environment.

Other notable software offerings from IK Multimedia include T-RackS, which provides professional-grade mixing and mastering tools, and Syntronik, a collection of meticulously sampled vintage synthesizers. Additionally, IK Multimedia offers software for mobile platforms, such as iOS and Android, enabling musicians to create music on-the-go.
3.2 Hardware: In addition to software solutions, IK Multimedia manufactures a range of hardware products designed to complement their software offerings. Their hardware lineup includes audio interfaces, MIDI controllers, microphones, and speakers. These devices are engineered to provide high-quality audio capture, precise control, and accurate monitoring, catering to the needs of both studio and live performance environments.

Notable hardware products from IK Multimedia include the iRig series, which offers portable audio interfaces and controllers for mobile devices, and the AXE I/O series, which provides professional-grade audio interfaces tailored for guitar and bass recording.
Industry Partnerships: IK Multimedia has established strategic partnerships with prominent companies and artists in the music industry. Collaborations with renowned gear manufacturers such as Fender, Orange, and Ampeg have allowed IK Multimedia to incorporate the iconic tones of their amplifiers into their software products. These partnerships ensure that IK Multimedia's software accurately replicates the sound and feel of revered gear, providing musicians with a realistic and versatile recording experience.
Additionally, IK Multimedia has collaborated with notable artists and producers, including Joe Satriani, Slash, and Steve Vai, to create signature products that cater to the specific needs and preferences of these musicians. These partnerships further demonstrate IK Multimedia's commitment to delivering innovative solutions that meet the demands of professionals.

Awards and Recognition: IK Multimedia's dedication to excellence and innovation has earned them numerous awards and accolades. Their products have received recognition from industry-leading publications and organizations, highlighting their impact on music production. Some notable awards include the TEC Award for Outstanding Technical Achievement, MusicTech's Gear of the Year, and the MIPA Award for Best Mobile Music Making App.

Conclusion:

IK Multimedia has emerged as a trailblazer in the music technology industry, consistently pushing the boundaries of what is possible in music production. With a diverse range of software and hardware solutions, strategic partnerships, and a commitment to quality, IK Multimedia continues to empower musicians, producers, and audio engineers worldwide.

TEST: IGS Zen

Well? Already formulated a rough opinion about the product based on the preview image? ;-) Yes, I know, outgear has it more than just difficult nowadays. Within their productions, everyone loves the mostly better resolution, the larger headroom and the more "musical" way of working of the 19 inch bolides, which capture the quintessence of the studio atmosphere both optically and haptically. However, if you apply the economic yardstick and briefly calculate how much more revenue was generated by that very product, you sadly move within a very short time in the realm of hobby. Nevertheless, the industry offers a stable base of high and highest-quality dynamic processors, such as the IGS Audio Zen, which has some technical features to offer in addition to an omnipresent appearance and a retail price of just under 3,000 €.

Construction and conception of the IGS Audio Zen

Vintage! This is the first word that comes to mind, both for me and probably for many users who are reading this article. Indeed, the IGS Audio Zen, whose manufacturer is based in Poland, calls up just about everything in terms of visual and tactile attributes that one associates with the classics of analog signal routing. According to company info, the concept of the IGS Audio Zen is based on the "legendary compressors of Abbey Road Studios," which were used extensively by the Beatles, for example. Unfortunately, it was not mentioned exactly which compressors are involved in terms of the exemplary character.

However, you can already see at first glance that the IGS Audio Zen gets by with significantly fewer controls. Similar to a Vari-Mu compressor, the IGS Audio Zen has no ratio control, not even a threshold control can be found on the control panel. Instead, there are 2 massive chickenhead controls for attack and release per channel in the upper section, whose eleven-digit control options are defined by a grid and can be increased by a factor of 4 via a mini-switch. The individual ranges are as follows:

Attack: 5 ms, 8 ms, 12 ms, 18 ms, 25 ms, 37 ms, 50 ms, 62 ms, 75 ms, 87 ms, 100 ms
Release: 10 ms, 25 ms, 50 ms, 100 ms, 200 ms, 350 ms, 500 ms, 625 ms, 750 ms, 1000 ms, 2000 ms

If you now consider the quadrupling of the values, you will indeed get extreme control paths, which would probably be used less in music title production, but would cut a very good figure in the score area, for example. Another mini-switch allows a preset setting from compressor to limiter, which is done via a corresponding soft knee / hard knee adjustment.

Another chickenhead control per channel manages a high-pass filter, which can be set to 60 Hz, 90 Hz, 120 Hz or 240 Hz, or can be switched off completely. Interesting is the AMP position, where the sidechain circuit is bypassed and the compressor works like a 36 dB amplifier, which is also known as THD model. Two illuminated pushbutton switches activate the On / Off function by means of a True Bypass, while a Link switch combines the two channels into a stereo module. Two large VU meters, which display the gain reduction, also provide the right vintage flair.

If you still have a rather tired "So what?" on your lips up to this point, you'll raise your eyebrows at the latest when you turn the input and output controls. This is no longer vintage, this is already military standard brand cold war. The black knobs with a 24-fold, extremely difficult to use grid could also be used in any Russian submarine. Overwinding by means of a too fast movement? Not being able to find the last setting exactly? Impossible with these knobs! In fact, these knobs represent a haptic highlight, it's just really fun to move these knobs!

The rear panel

The back of the 3 HE large bolide, which comes with its dark blue / black finish and with 9 kg weight also quite masculine, is quickly dealt with. Per channel 1x XLR male and XLR female In / Out, done. Additional connections? No, everything is vintage in its purest form. Interestingly, the IGS Audio Zen is delivered with four strong rubber feet, which allows the compressor a stable stand even outside the rack operation.

Unfortunately, the manufacturer is very stingy in terms of info material with a comprehensive clarification and also the matching website offers only very spartan information about the still almost 3,000 € expensive product. Not every user wants to struggle through the innards of the technology, but a little more detail would be desirable in my opinion for real gear nerds.

The special feature of the IGS Audio Zen

As the product name suggests, a special diode called a Z-diode operates inside the IGS Audio Zen. A Z-diode, also called a Zener diode, is a diode that is designed to operate permanently in the reverse direction in the breakdown voltage range. In reverse direction, Z-diodes are reverse-biased at low voltages, just like normal diodes. While the Z-diode is operated in the reverse direction, it operates in the forward direction like an ordinary diode. Z diodes are referred to as Zener or avalanche effects, which cause the current to increase abruptly once a certain reverse voltage is reached. Zener diodes are designed so that their breakdown voltage has a very specific value and they can be operated in the breakdown voltage range. Over a wide range of current levels, the voltage drop across the Zener diode is then exactly equal to the breakdown voltage. The Zener effect, named after its discoverer Clarence Melvin Zener (1905-1993), is the occurrence of a current (Zener current) in the reverse direction in a highly doped semiconductor junction by free charge carriers.... In silicon diodes, the Zener voltage is mostly between 2 V and 5.5 V.

Musically this means a high own life and a corresponding sound coloring of the compressor, just like nearly all other signal managers from the sixties / seventies era put their stamp on the signal. In other words, if you take a fast and tonally neutral VCA compressor as a comparison object here, you probably won't find many similarities. However, it is questionable whether the IGS Audio Zen tends to take on the already very own behavior of an Opto compressor, adopts the sluggish but "sticky" behavior of a Vari-Mu, or perhaps even ventures into FET realms in terms of response. The curiosity rises.

The IGS Audio Zen in practice

What is already noticeable during the first control movements is the intuitive operation of the product. Due to the reduced control elements, the targeted sound is found quite quickly, whereby especially the input control has a special function. In this case, the knob not only functions as a simple catch-up amplifier, but also intervenes massively in the sound depending on the gain level. However, this is done in a highly musical manner, so that even with strong saturation, the feeling of an unpleasant semiconductor distortion never arises.

The greatest strength of the IGS Audio Zen clearly lies in the "gluing" of the audio signal, so that the transitions between the different dynamic levels are adjusted extremely tastefully. Once you have found your personal attack / release setting, you can devote yourself in peace to the gain control, which almost allows sound processing beyond the dynamic range. Especially with percussive signals, the IGS Audio Zen can show its full strengths by very skillfully cushioning the peak without affecting the transients. Indeed, the subsequent catching up of the dynamically lower signal stages allows for dramatic loudness increases. I checked several times to see if I had normalization turned on during MP3 conversion, because the processed signal seemed not just louder, but many times louder.

If you manage to get involved with the basic sound of the IGS Audio Zen, you will indeed be amazed with almost any source material how much the signal at hand gains in punch and assertiveness. P.S. If you're wondering about the distortion in the Synth Loop soundfile, this was done on purpose to show how the compressor sounds in the extreme range.

Conclusion

With the IGS Audio Zen, the Polish company carries a sonic heavyweight in its portfolio. The compressor sounds excellent in every respect and offers extensive processing options within the signal path despite reduced parameter access. The product shines with intuitive handling, a very good basic sound and attack / release times that can be extended up to 2000 ms, respectively 8000 ms, and thus enable applications far beyond the regular rock / pop productions.

Although the IGS Audio Zen in its price range undoubtedly meets strong competition, who is looking for a high-end outgear compressor, which already provides excellent sound results after seconds, should definitely test the product once.

Additional informations:

IGS Audio is a Polish-based company that has been pioneering the development of high-quality analog audio equipment since 1997. The company has gained a reputation for designing and manufacturing top-of-the-line audio processing tools that have been used by engineers, producers, and musicians worldwide. In this comprehensive review, we will delve into the key features, design elements, and sonic capabilities of IGS Audio's product line.

Design and Construction: IGS Audio's products are designed with a focus on sound quality and durability. The company uses only the highest quality components, including transformers, capacitors, and resistors, to ensure optimal sound reproduction and minimal noise. The products are built with solid construction, using robust metal casings that can withstand the rigors of professional studio environments.

Preamps: IGS Audio's preamp lineup is known for its warm, natural, and detailed sound. The company offers a variety of preamps, each with its own unique characteristics and tonal coloration. The Neve-inspired 1176-based preamps are particularly popular, providing a classic vintage sound that is highly sought after by many audio professionals. Additionally, the company offers preamps with transformer or transformerless designs, providing a variety of sonic options to suit different recording needs.

Compressors: IGS Audio's compressors are renowned for their ability to add character and depth to audio signals. The company offers a range of compressors, including the SSL-inspired 500 series, the FET-based VCA compressors, and the tube-based Vari-Mu compressors. Each compressor is designed to provide a unique tonal character and level of compression, making them suitable for a wide range of audio applications.

Equalizers: IGS Audio's equalizers are designed to provide transparent and musical tonal shaping capabilities. The company offers a range of EQs, including the Pultec-inspired 500 series, the 19-inch rack-mountable Neumann-inspired EQs, and the mastering-grade S-Type EQs. Each EQ is designed to provide precise control over the frequency spectrum, enabling audio professionals to tailor the sound of their recordings to their exact requirements.

Limiters: IGS Audio's limiters are designed to provide transparent and accurate gain reduction, while preserving the natural dynamics of the audio signal. The company offers a range of limiters, including the 500 series and rack-mountable Vari-Mu limiters, each with their own unique tonal characteristics and compression profiles.

Conclusion: IGS Audio has established itself as a leading brand in the world of analog audio processing. The company's commitment to sound quality, durability, and innovation has made it a go-to choice for audio professionals worldwide. With a product line that includes preamps, compressors, equalizers, and limiters, IGS Audio offers a comprehensive range of tools that enable engineers, producers, and musicians to achieve the highest possible sonic quality in their recordings. Whether you're looking for vintage-inspired analog character or transparent and accurate audio processing, IGS Audio has something to offer.

TEST: IGS One LA

Admittedly, there are fewer and fewer, but they still exist, the manufacturers of 19 inch outgear, which have dedicated themselves to the real dinosaur segment. Just those who with large, heavy and expensive equipment either try to keep a legendary sound alive with high-quality copies, or to develop new products with a construction-related high technical effort, which want to set new standards in the genre. The Polish company IGS Audio definitely belongs to the mentioned manufacturers, which among other things has a 19 inch and a 500 version on the market with the IGS Audio One LA, which wants to prove once again that an analog signal routing is still sonically superior to a plug-in.

The construction of the IGS Audio One LA

To make one thing clear up front, I have absolute understanding for the fact that the vast majority of all productions are only done in the box with appropriate plugin solutions. The administration is easier, the total recall a boon and above all, corresponding plugin copies are much, much cheaper than the analog originals. The constantly dwindling income in the music sector can be compensated to a certain extent and in the final product it is only possible to hear out whether and what was stored with which signal flow with a very high level of specialist knowledge and a correspondingly trained ear. Nevertheless, you can hear very well even on the YouTube videos with less sound quality in the A/B comparison, why economically stable producers still prefer to fall back on the analog original in the free choice.

The IGS Audio One LA is just such an original, or rather a copy of an original. The experienced reader will quickly realize that it is a copy of the legendary LA-2A Leveling Amplifier made by Teletronix Engineering Company, later renamed United Recording Electronics Indistries, better known as UREI. The compressor combines two control possibilities of the first hour, we are talking about an analog tube circuit in combination with the control possibility of a photocell. For a more detailed explanation of the different working methods of the various compressor types, I like to refer to the workshop "What is a compressor", which can be viewed at this link )https://www.amazona.de/workshop-was-ist-ein-kompressor/).

The compressor sits in a massive 2U cabinet and is designed as a mono compressor. For stand alone operation without rack mounting, the IGS Audio One LA has 4 stout, unscrewable rubber feet on which the product rests in this mode of operation. Those who want to operate the compressor in stereo can order a matching pair from IGS. A link jack on form of an RCA-RCA cable is located on the rear panel. This is all that is needed to synchronize two devices. Perfect stereo tuning is achieved by hand-selected tubes and Elma switches.

The IGS Audio One LA is based on an all-analog circuit and uses balanced input and output transformers, the input transformer being a Sowter 4383 and the output transformer being an Edcor 15k/600. Two 6N2P-EW or 6N1P-EW dual triodes are used to amplify the signal, while the compressor unit is also equipped with a 6N2P-EW triode or a 6AQ5 pentode. The compressor unit is controlled by a T4BX photocell. The original solution used the TELETRONIX electroluminescent plate, which illuminated the photoresistor. IGS Audio has developed its own photocell on this basis, which is equivalent to the T4B and is called T4BX. The operating voltage of the 4 tubes is 245 volts, and the entire unit runs on a balanced 4 dBu signal.

The control possibilities of the compressor

Due to the IGS Audio One LA's design as an opto-compressor, the product comes with a clear, almost spartan front panel layout, but this undoubtedly makes it easier to use. The IGS Audio One LA offers a completely centerline mirrored layout, which is dominated by two powerful knobs and a large VU meter. At first glance, the arrangement of the 24-position gain and peak reduction knobs may seem a bit confusing, as the gain knob on the left controls the Make Up function and the peak reduction knob on the right controls the reduction of dynamics. In most cases, the Make Up knob is located on the front panel on the right as the last link in the signal chain.

The VU Meter can be switched in its mode of operation with a toggle switch to the left of the VU Meter. Either it shows the amount of dynamic reduction or it shows the output level of the signal. To the right of the VU Meter is a bypass switch that removes the compressor from the signal path. Attention, the switch position "IN", means, the bypass is inactive, speaks a signal processing takes place. Another toggle switch selects the compressor or limiter function, with the compressor fixed at 4:1 in soft knee mode and the limiter operating at ∞:1 ratio. The On / Off switch and the corresponding red lamp on the front panel are the final touches. All switches and controls seem to come from another century in their design and haptics, but all components seem in their solidity, as if they would survive the next decades without any problems. The rear panel offers only XLR balanced In / Out, a power socket and a fine-wire fuse.

The IGS Audio One LA in practice

It is quite great how the simple switching of a powerful toggle switch or turning the gridded knobs sends the user on a time travel almost 6 decades into the past. Every movement of the knobs / switches is concluded with a corresponding haptic "clack" or "clonk", so that every change of the level setting is also concluded acoustically once again. This makes even screwing with the product really fun!

From the very first notes, you get the feeling that the IGS Audio One LA has an "Auto Mode" switch. No matter how you turn it, a completely "wrong" setting can hardly be set on this compressor. The basic parameters are set very tastefully and allow especially in the first recording stage very quickly and very intuitively a good to very good sound. As flexible and fast as current VCA compressors may be, they cannot achieve the musical approach of an opto compressor, especially in the vocal range.

The IGS Audio One LA is really very discreet and compresses very well, especially in the medium dynamic range. Due to the sluggish response, the one or other fast dynamic peak slips through its fingers (listen to the first note in the acoustic guitar sample), but the IGS Audio One LA nevertheless also processes this peak by tastefully catching up the following notes to a round overall picture without any dynamic break.

This compressor is one of those "ear-pleasers" that settle in your brain within milliseconds and which you immediately perceive as a standard in your perception. If you switch the compressor to bypass, this notorious emptiness in the sound comes to bear, which immediately diminishes the expressiveness of any unprocessed sound, or significantly reduces its intensity. Yet it is precisely the fine resolution of the IGS Audio One LA that makes it seem unspectacular on the one hand, essential on the other. Even if no active compression is set on the device and the signal is only sent through the electronics more or less unprocessed, especially somewhat "brittle" recorded signals clearly gain in warmth and "pleasantness", so that their sound image appears rounder and more balanced.

This compressor undoubtedly has this legendary addictive potential, which leads to the fact that at some point you would like to send every signal, except for highly compressed signals such as high gain guitars, through the IGS Audio One LA. I therefore give to consider, who tries this compressor once, should absolutely count on the fact that he would not like to give the same back again, too good is the standard that can be achieved, which sets in within a very short time.

Conclusion

With the IGS Audio One LA, the Polish company once again introduces an outstanding compressor in its portfolio. The product, whose circuitry is based on the legendary LA-2A Leveling Amplifier from Teletronix Engineering Company, convinces with an outstanding basic sound and almost foolproof operation. Especially in the area of vocals, the IGS Audio One LA refines the output signal many times over and, due to the tube / photocell circuit, gives it a rich portion of warmth without coloring the signal too much.

An outstanding product, definitely test it once!

Additional informations:

IGS Audio is a prominent company in the pro audio industry, specializing in the design and manufacturing of high-quality analog audio equipment. With a strong emphasis on craftsmanship, innovation, and attention to detail, IGS Audio has established itself as a trusted brand among audio professionals worldwide. In this comprehensive review, we will explore the history, product range, and reputation of IGS Audio.

Company History: IGS Audio was founded in 1997 in Poland by engineer and musician Jacek Gawłowski. From its inception, the company's mission has been to create audio gear that combines vintage analog sound with modern reliability. Drawing inspiration from classic studio equipment, IGS Audio has developed a reputation for producing units that capture the warm, musical character of vintage gear while incorporating modern features and reliability.
Product Range: IGS Audio offers a diverse range of analog audio equipment, catering to various aspects of the recording and mixing process. Their product line includes microphone preamps, equalizers, compressors, limiters, tape simulators, and more. Each unit is meticulously designed and built to meet the demands of professional audio engineers and musicians seeking high-quality sound and exceptional performance.

Build Quality and Craftsmanship: One of the hallmarks of IGS Audio is its unwavering commitment to exceptional build quality and craftsmanship. Each piece of equipment undergoes rigorous quality control to ensure that it meets the highest standards. The company utilizes top-grade components and employs skilled technicians who handcraft and assemble the units with great precision. This dedication to craftsmanship results in audio gear that is not only sonically impressive but also reliable and durable, with a long lifespan.

Sound and Performance: IGS Audio's analog audio equipment is widely acclaimed for its exceptional sound quality and performance. The company's products are designed to impart a unique analog character and warmth to audio signals, adding depth, dimension, and musicality to recordings and mixes. Engineers and musicians appreciate the sonic richness and harmonic detail that IGS Audio gear brings to their productions. Whether it's the smooth and musical tones of their preamps, the transparent and dynamic control of their compressors, or the vintage vibe of their equalizers, IGS Audio delivers equipment that inspires creativity and elevates audio productions.

Innovation and Customization: While IGS Audio draws inspiration from classic analog designs, they also incorporate innovative features and functionalities into their products. The company continually seeks to push the boundaries of analog audio technology, offering unique solutions that enhance the creative possibilities for users. Additionally, IGS Audio provides customization options, allowing customers to tailor their equipment to specific needs and preferences. This commitment to innovation and customization further sets IGS Audio apart in the pro audio market.

Reputation and Industry Recognition: Over the years, IGS Audio has earned a stellar reputation within the pro audio community. Their equipment is trusted and used by renowned recording engineers, producers, and musicians worldwide. The company's commitment to quality, innovation, and customer satisfaction has garnered them numerous industry awards and accolades, further solidifying their position as a respected brand in the audio industry.

Conclusion:

IGS Audio has firmly established itself as a leading manufacturer of analog audio equipment, offering a wide range of high-quality products that combine vintage warmth with modern reliability. Their dedication to craftsmanship, attention to detail, and commitment to innovation have made them a trusted choice among audio professionals. With their exceptional sound quality, versatility, and customization options, IGS Audio continues to be at the forefront of analog audio gear, providing engineers and musicians with the tools they need to create outstanding recordings and mixes.