TEST: JBL LSR2325P

Nearfield monitors as far as the eye can see! Have you ever noticed what a huge selection there is in this segment? At this point at the latest, you realize how many commercial productions now come from project studios. Even if it pains me as one of the representatives of the old school, the time of the "big" studio complexes in the hands of internationally operating record companies is over. These constructions are now only brought out like the Rolls Royce Phantom of the British Queen for representation purposes or are maintained and serviced internally as depreciable objects.

The second guard, who use near-field monitors as A-monitors, is already in the starting blocks and is currently being considered by the industry with products like no other clientele, especially since the products are again divided into series and come with changing speaker configurations / power outputs, but the same conception on the market. In short, something is happening in the country.

The low-priced consumer league up to about 300 Euros is very competitive, with every top dog offering at least one product for the consumer's favor. Long-time comrade of the ultimate sound, James Bullough Lansing, also offers a product in this weight class, which we will take a closer look at today, the LSR 2325P.


Design

The single LSR 2325P box comes with a weight of 6.8 kg and the dimensions 298 mm x 197 mm x 248 mm (HxWxD), which corresponds to the current standard. Only the four mounting points on the underside deviate a bit from the standard equipment. There is also a soft rubber plate on the bottom, which acoustically decouples the box from the installation point.

The LSR 2325P is active and has a 5 inch woofer (55 watts, Class A-B) , which is suspended medium-tight and a 1 inch dome tweeter (35 watts, Class A-B), which has an elliptical radiation. Due to this cabinet design, the speaker should only be used in an upright position, not in a lying position!

According to factory specifications, the speaker covers a frequency range of 60 Hz - 18 kHz with a maximum peak SPL of 112 dB. The magnetically shielded box has the usual inputs such as XLR & jack balanced and RCA unbalanced. Via two (somewhat wobbly) mini sliders, one can make a tweeter adjustment (7 kHz shelving) and a low frequency adjustment (120 Hz shelving) of +/- 2dB each.

The maximum volume can be adjusted in small increments via a volume control on the back. The power plug and fuse, a voltage selector switch and the On/Off switch, which is unfortunately also on the back, complete the inventory.


Practice

OK, I admit it, I have always liked JBL from the sound. Even if many colleagues had always set their preferences rather with the variant "Bright-As-Light"-Genelec and consorts, I preferred the rather "dark" sound, which has established itself with almost all JBL products as a trademark. How often have I received smiling looks when I told that a Control One with loudness switching on a Kenwood HiFi amplifier is my main monitor in the mix?

This basic orientation continues with the LSR 2325P. From the very first sounds coming out of the domes, you can hear the more discreet basic design. Especially in the bass below 120 Hz and in the treble range above 5 kHz, JBL doesn't come across as pretentious as many representatives from the direct competition.

The trebles are pleasantly discreet, even if the low frequencies suffer a bit from the design. Not that the stereo image is too two-dimensional, but in direct comparison, some direct competitors reach a bit deeper into the room. The bass problem (bass reflex channel to the rear) has been solved well, the notorious low rumble can be kept well under control with a neutral sound setting.

In general, the two LF and HF switches are conspicuously restrained in their mode of operation and actually only set contours to adjust the monitors to the personally preferred sound sensation. But now we come to the highlight of the monitor, the midrange reproduction.

As some readers probably know, my specialty lies in the field of guitar music, gladly also of the somewhat more violent kind. As almost everyone knows, the recording and playback of a distorted electric guitar in particular presents every sound engineer with the highest demands. Due to the highly compressed reproduction and, depending on the recording technique, the quickly harsh and sharp sounding high frequency range, the mixing of a metal production on a Genelec monitor, for example, turns out to be a real challenge.

What turns out to be a perfect tonal enrichment in the dance / electro / pop area, sometimes becomes a heavy burden in the guitar area. One is constantly inclined to filter out highs, as the guitars scratch like an ice scraper on the windshield in winter. No matter how hard you try, no matter how you tweak the filters, anything between 4 - 7 kHz just gets on your nerves, to say the least!

Here the LSR 2325P can show their full strength. Even heavily distorted guitars sound "embedded" and do not stick out unpleasantly from the frequency image. Due to the moderate, neutral reproduction in the high-mid range, dynamics can be easily understood even with dead-compressed instruments and placed accordingly in the mix.

Especially in the rock / metal area, where both the instrumentation, as well as the tonal range of application does not serve the frequentielle low-end and high-end range at all, one is grateful for a monitoring, which gives you what you need. Even if you always have to struggle a bit with a monitor, after all, it's their job to generate as linear a reproduction as possible, so that the final production sounds tolerable even on the last crappy car radio and the squawking iPod earphones, a minimum of "feel-good factor" supports the performance of the sound engineer / producer / sound engineer immensely, which in turn is very beneficial to the final result.

The impulse fidelity of the speakers is good, medium listening volumes are mastered by the construction without any problems.



Conclusion

The JBL LSR 2325P leave me with a very good impression. Frequency-wise free of extreme high end and extreme low end, the monitor is especially recommended for guitar-heavy styles in pop, rock and metal, without leaving out other types of productions.

Tonally neutral, equipped with the typical JBL "dark" timbre, the product knows how to stand out from the "fine" radiation of its competitors and opens up a near-field monitor for producers, which does not turn out to be the umpteenth copy of the protagonist from Finland.

Respect!

Additional informations:

- JBL (James Bullough Lansing) is a renowned audio equipment company that has been at the forefront of the industry for decades. Founded in 1946 by James B. Lansing, JBL has consistently strived to provide consumers with cutting-edge audio solutions, delivering exceptional sound quality across various product categories. With its commitment to innovation, JBL has become a globally recognized brand, trusted by professionals, musicians, and audio enthusiasts alike.

Historical Background: JBL's journey began in Los Angeles, California, when James B. Lansing, a prominent audio engineer, founded the company. Lansing's vision was to develop speakers and audio systems that would redefine the industry's standards. JBL's early years were marked by groundbreaking innovations, including the development of the first two-way studio monitor and the introduction of the first high-frequency compression driver.

Industry Leadership and Innovations: Over the years, JBL has solidified its position as an industry leader by consistently pushing the boundaries of audio technology. The company's commitment to research and development has resulted in numerous groundbreaking innovations. Notably, JBL pioneered the development of high-quality loudspeakers for both professional and consumer markets.

JBL's product lineup spans various categories, including home audio, professional audio, portable speakers, headphones, and car audio. Let's explore some of JBL's notable innovations within these categories:

Home Audio: JBL offers a wide range of home audio solutions designed to enhance the listening experience. The company's flagship products include floor-standing speakers, bookshelf speakers, soundbars, and subwoofers. JBL's home audio systems combine stylish designs with cutting-edge technology, delivering immersive sound reproduction that brings music and movies to life.

Professional Audio: JBL's professional audio equipment is trusted by musicians, sound engineers, and venues worldwide. The company's product portfolio includes high-performance loudspeakers, studio monitors, amplifiers, and mixing consoles. JBL's professional audio solutions have set the standard for clarity, precision, and durability, making them a top choice for live performances, recording studios, and large-scale events.

Portable Speakers: JBL has revolutionized the portable audio market with its range of Bluetooth speakers. These portable speakers are compact, lightweight, and deliver exceptional sound quality. With features like waterproofing, long battery life, and built-in voice assistants, JBL portable speakers are perfect for outdoor adventures, parties, and on-the-go entertainment.

Headphones: JBL's headphone lineup includes a diverse range of options, catering to different listening preferences. From wireless over-ear headphones to true wireless earbuds, JBL headphones are known for their comfortable designs and impressive sound performance. Many models incorporate noise-canceling technology, allowing users to immerse themselves in their favorite music without distractions.

Car Audio: JBL's expertise extends to the automotive industry, where the company has established itself as a leader in car audio solutions. JBL car audio systems offer powerful amplifiers, high-quality speakers, and advanced sound processing technology. These systems provide a premium audio experience for drivers and passengers, enhancing the enjoyment of every journey.

Brand Partnerships and Collaborations: JBL has forged strategic partnerships with prominent brands and organizations, further strengthening its position in the market. Notable collaborations include partnerships with musicians, such as Quincy Jones and Harman Kardon, as well as associations with major events like the GRAMMY Awards and music festivals around the world. These collaborations demonstrate JBL's commitment to delivering exceptional sound experiences and fostering creative expression.

Conclusion: JBL's rich history, commitment to innovation, and relentless pursuit of audio excellence have made it a force to be reckoned with in the industry. The company's diverse product portfolio caters to the needs of various audio enthusiasts, from professionals to casual listeners. With its cutting-edge technology, superior sound quality, and stylish designs, JBL continues to shape the future of audio and deliver unforgettable listening experiences for customers worldwide.

- Nearfield monitors, also known as studio monitors or reference monitors, play a crucial role in professional audio production, mixing, and mastering. These specialized speakers are designed to provide accurate and transparent sound reproduction, allowing audio engineers and producers to make critical decisions based on what they hear. In this comprehensive report, we will delve into the world of nearfield monitors, exploring their purpose, design principles, features, and the significance of accurate audio monitoring.
Purpose and Importance of Nearfield Monitors: The primary purpose of nearfield monitors is to provide a reliable and precise representation of audio signals in a controlled listening environment. They are designed for close-range listening, typically placed within a meter of the listener, hence the name "nearfield." This proximity allows the listener to hear the direct sound from the speakers, minimizing the impact of room acoustics and reflections.
Accurate audio monitoring is crucial in various stages of audio production, including recording, mixing, and mastering. Nearfield monitors offer a balanced and uncolored sound reproduction, enabling engineers to detect subtle details, frequency imbalances, stereo imaging, and dynamics accurately. The goal is to ensure that the final audio product translates well across different playback systems, from home speakers to car audio and professional venues.

Design Principles and Features:
Frequency Response: Nearfield monitors are engineered to have a flat frequency response, meaning they reproduce sound equally across the audible frequency spectrum (20Hz to 20kHz). This characteristic ensures that audio engineers can hear all elements of the mix accurately, without any undue emphasis or attenuation of specific frequencies.
Driver Technology: Nearfield monitors typically employ two types of drivers - woofers and tweeters. Woofers handle the lower frequencies, while tweeters reproduce the high frequencies. These drivers are carefully designed to provide a wide frequency range, low distortion, and precise transient response.

Enclosure Design: Nearfield monitors often feature a sturdy, non-resonant enclosure to minimize unwanted vibrations and resonances that could color the sound. The cabinet design may incorporate specialized internal bracing and damping materials to further enhance clarity and accuracy.

Amplification: Many nearfield monitors have built-in amplifiers that are specifically matched to the speaker drivers. This integration ensures optimal performance and allows for precise control over the power sent to each driver, resulting in accurate sound reproduction.

Controls and Adjustments: Nearfield monitors often include various controls and adjustments to tailor the sound to the specific listening environment. These can include room compensation switches, high- and low-frequency adjustments, and input sensitivity controls.

Significance of Accurate Audio Monitoring: Accurate audio monitoring is crucial for several reasons:
Precise Mixing and Mastering: Nearfield monitors provide audio engineers with a reliable reference point for making critical decisions during the mixing and mastering processes. By hearing the mix accurately, engineers can ensure that the balance, tonality, and spatial placement of audio elements are optimized for various listening environments.
Identifying Issues and Artifacts: Nearfield monitors reveal imperfections, phase cancellations, resonances, and other anomalies that may not be apparent on consumer-grade speakers or headphones. This allows engineers to address and rectify these issues, resulting in a polished and professional audio production.

Consistency Across Playback Systems: Nearfield monitors help audio professionals create content that translates well across different listening devices, ensuring a consistent and enjoyable experience for the end-user.

Conclusion: Nearfield monitors are indispensable tools in the world of professional audio production. By providing accurate and transparent sound reproduction, these specialized speakers enable engineers and producers to make informed decisions, identify issues, and create high-quality audio content. With their precise design, flat frequency response, and meticulous craftsmanship, nearfield monitors play a pivotal role in achieving exceptional sound quality and ensuring the fidelity of audio productions across diverse playback systems.

TEST: JBL LSR 705P

When you talk about a product of the first hour, the name JBL inevitably comes to mind. Even when I was a little boy, almost everything that impressed sonically, was in some form associated with the three big letters of the founder James Bullough Lansing, whether it was the aluminum dome speakers in the Fender Twin Reverb, the famous "butt cheeks" of the 44 studio monitors or last but not least, the legendary Control 1, with which I myself have driven countless productions and which incidentally probably developed into the most popular restaurant sound system of all time. With the JBL LSR 705P, the US manufacturer now incorporates some components from its high-end M2 series in the ultra-compact monitors of the project studio class.

Even if one can not help but think that the great times of JBL in the professional studio monitor sector have been replaced by car hi-fi and Bluetooth speakers, the Professional Series still enjoys great esteem in the pro camp. To what extent this claim can also be saved in the class just under 1000, - € retail price over, should show this test.

Structure and construction of the JBL LSR 705P

When you take the JBL LSR 705P out of its packaging, the monitor's field of application is revealed immediately after looking at the dimensions. Due to its slim appearance, the near field monitor is especially suitable for desktop use, where it is known that the room is usually a bit "stuffed". Here, the product can score with the dimensions (H x W x D): 268 mm x 151 mm x 274 mm and a weight of a moderate 5.68 kg. Unfortunately, the box is delivered without any feet or foam pads, so it's only a matter of time until the underside of the case and on the support surfaces show the first scratches and scuffs. For me personally, this is unacceptable in this price range.

That this is not a toy, however, already shows the performance data of 2x 250 watts per box, which are controlled by a processor. In addition, each box offers an AD / DA converter, which is also necessary due to the analog and digital connections (AES / EBU) designed in interlocked XLR. The digital input can be looped through in daisy chain via an output also designed in XLR. As another special feature, the JBL LSR 705P has an RJ-45 connector that can access the Harman HiQnet network to manage filter and delay functions via remote control.

On the back is the control center of the JBL LSR 705P, which consists of a jog wheel, three buttons and a narrow display. This allows extensive settings to optimize the system for the respective application. For example, delays can be set to compensate for different run times in unbalanced setups, or filter settings for room optimization or video synchronization. All these settings can be stored and assigned with separate names. A very flexible alignment is guaranteed!

The JBL LSR 705P in practice

Due to the very small dimensions, one is tempted to place the JBL LSR 705P in close proximity to the listening position, but in many respects this is too short-sighted. On the one hand, the radiation pattern of the tweeter promises a high signal fidelity even from a greater distance due to its comparatively tight bundling of the signal, on the other hand, one should once again recall the power data of just under 500 watts per speaker, which clearly tends more towards midfield than nearfield.

In general, you can't get rid of the impression that JBL actually sees the tiny speaker as an A monitor, which explains the extremely ambitious performance data on the one hand, as well as the extremely extensive frequency response of 40 Hz - 36 kHz despite a comparatively small woofer of only 5 inches, whereby everything above 20 kHz serves as "thick pants" for the manual. Actually, you could save such data for the consumer sector, for me, such information always creates a bland aftertaste.

Visually, however, the JBL LSR 705P can hardly be undercut in terms of inconspicuousness. The matte black housing fits perfectly into any working environment and since the bass reflex port is on the front, you can even get comparatively close to a solid wall with the housing. By the way, JBL sells the speakers individually, which suggests their use for multi-channel productions.

In order to test the monitors directly for their performance in the midfield range, the speakers were not placed to the right and left of the monitor as usual, but they were allowed to make themselves comfortable above my current A monitor from Eve Audio. A sight for the album, if you take the almost 6 times larger Eve Audio behemoths in direct comparison, which offer with their 800 watts only about 30% more power than the JBL dwarfs.

The distance to the listening position is just under 180 cm, the distance to the wall behind it is 200 cm. A Palmer Monicon acts as the master volume control, and all the cabling is from Cordial. The control room is moderately damped with Basotect panels and was covered with a short-pile carpet.

Already with the first notes from the JBL LSR 705P one feels a clear bundling of the high frequency range, which on the one hand somewhat limits the sweet spot of the isosceles triangle, but on the other hand also ensures a better stereo image at greater distances. Again, the tendency towards midfield monitoring is unmistakable.

Let's go a bit more into detail. Even with the first songs, it's really hard not to lose sight of what a small monitor you have in front of you. Especially the bass range creates a volume and a frequency response that you wouldn't expect from a 5 inch speaker. Even if the built-in processors generate significantly more efficiency than, for example, a passive system, I would not have trusted the system with this volume. Last but not least, the high power reserves give the system a headroom that still allows a great linearity in the frequency response even at higher volumes.

The 40 Hz mentioned in the manual are actually also touched, which even makes the purchase of a subwoofer obsolete, depending on the music style. Whether bass-heavy productions from the "artificial" metier a la techno or hip-hop are satisfied with this, every sound engineer must clarify with himself, "natural" music from the rock / pop / jazz camp should have no problems with this bass range.

The high-frequency range of the JBL LSR 705P, on the other hand, comes across very sober, which is by no means to be understood negatively. Neither is the range excessively soft and flattering, nor too harsh or biting, just sober. The Image Control Waveguide adopted from the M2 leaves me with a very good impression, even if the listening position must be maintained somewhat more disciplined than with other models.

Now we come to the area for which JBL offered a legendary basic sound in many of its models, the mids. Particularly for guitar-heavy productions, JBL has always had a tick' more in the 400 Hz - 1.6 kHz range than the comparable competition in recent decades. This is no longer the case with the JBL LSR 705P. Not that the mids are in any way flawed, but in terms of "warmth" and "smoothness," JBL has matched the general listening expectations.

Also, in terms of spatial resolution, it is clear that despite the highest optimization of all components, it is not possible to expand the soundstage beyond a certain point in terms of dispersion. While spatial depth may be far down the priority scale in modern productions anyway due to the sonic material and mastering parameters, it represents an important point in space-affine productions from the jazz and blues area. Here, the JBL LSR 705P has to be given slight marks, since the system does not succeed optimally in generating a perfect transition from the direct component to the reverb tail. The room is clearly perceptible, but the feeling of "immersion" does not want to fully set in.

What can be adjusted very well, on the other hand, are the different ways in which the system can be used. Any form of synchronization or also different runtimes due to different distances can be managed very well. The small display, which was criticized by some colleagues, didn't bother me personally, especially since you don't constantly change a configuration once it has been set.

Conclusion

With the JBL LSR 705P, the American manufacturer delivers a nearfield monitor whose performance data easily radiates into the midfield range. The sound of the Mexican-built system is convincing all along the line, whereby a preference for modern music genres is undoubtedly perceptible. Despite the ambitious price, the accommodation of several purchase arguments such as digital inputs, various synchronization, filter and delay programs in a virtually tiny housing seems to me to be worth the price.

Additional informations:

JBL, an abbreviation for James Bullough Lansing, is a renowned American audio electronics company that has left an indelible mark on the audio industry since its inception in 1946. The company has consistently delivered exceptional sound quality, cutting-edge technology, and a wide range of products that cater to various audio needs. This comprehensive report aims to provide an in-depth analysis of JBL, encompassing its history, product portfolio, innovative advancements, market presence, and customer satisfaction.

Historical Overview: JBL was founded by James Bullough Lansing, a pioneering audio engineer with a vision to create the highest-quality audio equipment. The company started as Lansing Manufacturing Company, specializing in loudspeaker systems for cinemas, theaters, and other venues. In 1946, Lansing left the company and established JBL to focus on creating innovative and consumer-oriented audio solutions.

Product Portfolio: JBL offers an extensive array of products, including loudspeakers, headphones, soundbars, subwoofers, and professional audio equipment. JBL's loudspeaker lineup comprises various categories, such as home audio, portable speakers, professional audio, and car audio. The company's headphones range from wireless Bluetooth options to noise-canceling models, providing immersive and high-fidelity audio experiences for consumers.

Innovative Advancements: JBL has consistently pushed the boundaries of audio technology, leading to groundbreaking advancements in the industry. The company has introduced several innovative features in its products, including:

JBL Connect+: This technology allows users to connect multiple JBL speakers wirelessly, creating a synchronized audio experience across multiple devices.

b) Noise-Canceling Technology: JBL has incorporated advanced noise-canceling algorithms into its headphones, minimizing external disturbances and enhancing the audio quality.

c) Voice Assistant Integration: JBL has integrated voice assistants like Google Assistant and Amazon Alexa into its speakers, enabling users to control their audio experience through voice commands.

d) Waterproof and Portable Designs: JBL's portable speakers are designed to withstand water and dust, making them ideal for outdoor and adventurous use.

Market Presence:
JBL has established a strong global presence, with its products being sold in over 100 countries. The company has formed strategic partnerships with various retailers, both online and offline, ensuring widespread availability of its products. JBL has also collaborated with prominent musicians, DJs, and athletes, leveraging their influence to enhance brand visibility and appeal to a diverse consumer base.

Customer Satisfaction:
JBL has garnered a loyal customer base through its commitment to delivering high-quality audio products. The company's emphasis on sound accuracy, durability, and user-friendly interfaces has earned it a reputation for customer satisfaction. JBL's products consistently receive positive reviews, with users praising the brand's ability to provide immersive audio experiences across different price points.

Competitive Landscape:
The audio industry is highly competitive, with numerous brands vying for market share. JBL faces competition from established players like Bose, Sony, Sennheiser, and others. However, JBL's strong reputation, constant innovation, and diverse product offerings have enabled it to maintain a competitive edge in the market.

Conclusion:
JBL has undoubtedly established itself as a leader in the audio industry, continuously setting new standards for sound quality, innovation, and customer satisfaction. With its rich history, diverse product portfolio, and cutting-edge advancements, JBL continues to captivate audio enthusiasts worldwide. The company's commitment to excellence, coupled with its ability to adapt to evolving consumer needs, positions JBL for a promising future in the audio technology landscape.

TEST: Jackson_JS32_Roads

If you look at the common body shapes of the electric guitar world, you quickly come to the conclusion that the two protagonists Fender and Gibson have almost divided the market between themselves. With Strat, Tele, Paula, SG, Flying V and Explorer, almost 95% of all basic shapes and their variations are covered, so it is difficult for the designer to let a seed fall on fertile soil.

All the more interesting when ex- Ozzy Osbourne guitarist Randy Rhoads took the Flying V as a model over 2 decades ago, sawed off a tine and created a variation that has found its fan base at least in the metal sector. The company Jackson secured the rights to the design of his time and since then brings this model in different variations on the market.

In order to make a classic of metal axes accessible to the less well-heeled guitarist, Jackson also carries a model with manufacturing in India with the designation JS32 Rhoads and a price under 400, - € in their catalog. The model I have for testing is delivered in classic black.



Construction

At first handle, the JS32 appears tidier than its asymmetrical body suggests in the photos. The eye-catching body is made of "Indian Cedro", an Indian cedar species and is surprisingly light. The maple neck is quad-bolted, sits bombproof and has been fitted with a glued-on rosewood fingerboard. The fretboard inlays are once again the familiar Sharkfin inlays from Jackson, which visually give a slight mother-of-pearl impression, but are made of plastic.

The guitar has 24 jumbo frets, which due to the shape of the body can easily be played in the upper registers. In terms of scale length, the long version with 648 millimeters was chosen. With a nut width of 43 millimeters, the neck is definitely one of the more powerful of its kind, but the slim D-profile takes much of a too powerful and facilitates the playability to a good extent.

As pickups, 2 in-house Jackson CVR2 humbuckers were installed, which follow the look of the guitar in terms of output and sonic aggressiveness. The instrument features a Jackson JT580 FR vibrato system, which was once again licensed from Floyd Rose and adopted its construction accordingly. In terms of electrics, the instrument is deliberately kept spartan, 1x volume control, 1x tone control, 1x 3-way switch, done! The controls run pleasantly light, but not too light, so that they can adjust themselves too easily during the performance.

On the back is still the access to the vibrato system and the wiring of the circuit, both neatly covered with recessed plastic washers. The instrument is delivered in a snug-fitting gig bag, a fact that should not be underestimated. Anyone who has ever tried to get a gig bag from a third-party manufacturer for such a body knows what I'm talking about.



Practice

As you can already guess from the shape, anyone who wants to play this guitar sitting down has undoubtedly not realized the purpose of the instrument. Of course, you can clamp the guitar between your legs in the best classical manner, but the resulting sight is hard to beat in sadness. Although the jack is located on the upper horn of the body, so you don't have to take an angle plug for "sitting", but as I said, it seems visually very strange.

Hanging on the strap, on the other hand, the artist and instrument really blossom. The guitar hangs balanced in the perpendicular and allows a loose and unstrained playing. In addition, the weight of the instrument is very moderate and does not leave any dents in the shoulder even after prolonged playing.

As expected, not only the appearance of the instrument follows the orientation to heavy metal, but also the acoustic properties were clearly optimized in this direction. The in-house pickups also allow a clean setting on the amp, but clearly play out their strengths in the distorted modes. Here the instrument shines with biting highs and crisp mids, which especially in the high-gain range a cutting sound to the day and also in the frequency jungle of a loud playing heavy combo knows how to assert itself.

The vibrato system is quickly dealt with, all advantages and disadvantages of the Floyd Rose patent were flawlessly adopted, who prefers an appropriate vibrato system over a fixed bridge, will not be disappointed. Due to the 24 frets, the neck pickup is forced to sit a bit lower in the body and thus catches a different overtone vibration than in the classic 21/22 fret version of the competition. Whether this is a sonic advantage or disadvantage, everyone should decide for themselves. Just test it!

Since the neck pickup sounds somewhat higher due to the offset, you can elicit unusually crisp funk sounds from the instrument in the appropriate position. Also in the intermediate position the guitar convinces due to its choice of wood by strong treble presence, which also presents pearly pickings, if necessary enriched with chorus and delay, quite tasteful.

However, the main focus of the instrument is undoubtedly on the bridge pickup, which remains transparent in the sound structure, especially in the gain range, even with high distortion intensity. The sustain behavior of the guitar is good, although due to the vibrato system in combination with the small contact surface of the knife edges you always have to make a small sacrifice compared to a fixed bridge construction. However, at appropriate gain operation, this fact is more than compensated for by the resulting compression, from there this is negligible.


Conclusion:

The Jackson JS32 Rhoads leaves a very good impression. For a retail price of less than 400, - € you get a good craft instrument, which is visually and acoustically clearly assigned to the heavier gear. Even if the instrument can score in the clean range unduly, its strengths are clearly in the distorted range. All distortion settings, starting from moderate crunch up to real high-gain, are very well covered by the guitar and reflected in the sound without sponginess.

Who does not want to / can not buy a USA Jackson, or is looking for a good second guitar, will be well served with the instrument.

Additional informations:

- Jackson Guitars is a renowned manufacturer of electric guitars and basses, recognized worldwide for its commitment to crafting high-performance instruments. With a rich history rooted in the heavy metal and rock genres, the company has become synonymous with precision, speed, and exceptional playability. This comprehensive report delves into the legacy, craftsmanship, iconic models, and innovations that have propelled Jackson Guitars to the forefront of the guitar industry.

History and Legacy Founded in 1980 by Grover Jackson, a skilled luthier, and Randy Rhoads, the legendary guitarist, Jackson Guitars initially gained prominence by designing custom instruments for notable musicians like Eddie Van Halen and Randy Rhoads himself. The collaboration with Rhoads led to the creation of the iconic Jackson Rhoads V model, which became a symbol of the company's commitment to innovative design and high-performance guitars. Over the years, Jackson Guitars has expanded its product line and continued to redefine the boundaries of guitar craftsmanship.

Craftsmanship and Quality 3.1 Precision Construction: Jackson Guitars are renowned for their exceptional build quality and attention to detail. Each instrument undergoes meticulous construction processes, including precise wood selection, hand-shaped necks, and flawless finishes. The result is a guitar that offers excellent playability, stability, and tonal richness.

3.2 Fast and Slim Neck Profiles: Jackson Guitars are revered for their fast and slim neck profiles, providing effortless access to the upper frets and facilitating lightning-fast playing techniques. This feature has made them a top choice for shredders and guitarists who demand speed and precision in their playing.

3.3 High-Output Pickups: Jackson Guitars are often equipped with high-output pickups, designed to deliver aggressive and powerful tones. These pickups excel at capturing the nuances of heavy distortion, making Jackson instruments ideal for hard rock, metal, and other genres that require high-gain tones.

Iconic Models 4.1 Rhoads V: The Rhoads V, inspired by Randy Rhoads' vision, is one of Jackson's most recognizable and iconic models. Its distinctive V-shaped body, sleek design, and aggressive tone have made it a staple in the world of heavy metal.

4.2 Soloist: The Soloist series is celebrated for its versatile and sleek design, offering exceptional playability and tonal options. With features like double-cutaway bodies, compound radius fingerboards, and Floyd Rose tremolo systems, Soloist guitars cater to a wide range of playing styles.

4.3 Dinky: The Dinky series combines compact and lightweight designs with powerful tones. These guitars are popular among guitarists who seek balance between playability, comfort, and aggressive sound.

Innovations and Collaborations
5.1 Extended Range Instruments: Jackson Guitars has embraced the growing demand for extended-range instruments, introducing 7-string, 8-string, and even multi-scale guitars to cater to the needs of modern players exploring lower tunings and extended range playing.

5.2 Signature Models: The company has collaborated with numerous renowned artists, including Adrian Smith, Phil Collen, and Marty Friedman, to create signature models that embody the unique playing styles and tonal preferences of these musicians. These collaborations have further strengthened Jackson's reputation for delivering instruments that meet the demands of professional players.

Endorsements and Artist Relations Jackson Guitars has formed strong relationships with a diverse array of artists, ranging from metal icons like Misha Mansoor and Phil Demmel to virtuosos like Guthrie Govan and Jeff Loomis. These endorsements highlight the trust and confidence placed in Jackson instruments by some of the most respected and demanding guitarists in the industry.

Conclusion Jackson Guitars' legacy is deeply rooted in its commitment to crafting high-performance instruments for musicians who demand precision, speed, and aggressive tones. With exceptional craftsmanship, iconic models, and a dedication to innovation, Jackson Guitars continues to be a driving force in the world of electric guitars, inspiring players to push their limits and redefine what is possible in modern guitar playing.

- A Comprehensive Comparison: Jackson Guitars Made in USA vs. Worldwide Manufacturing

Jackson Guitars has established a reputation for producing high-performance instruments that cater to the needs of guitarists in various genres. While the company's American-made models are renowned for their craftsmanship, the worldwide manufacturing of Jackson Guitars has also gained recognition. This report provides a detailed comparison of the Made in USA models and guitars manufactured elsewhere, exploring factors such as craftsmanship, materials, quality control, and price.

Craftsmanship and Materials
1.1 Made in USA Models: Jackson's American-made models are crafted with meticulous attention to detail and often feature high-quality materials. Skilled luthiers utilize traditional manufacturing techniques, ensuring precision construction, exceptional playability, and premium finishes. These guitars are typically made from select tonewoods, such as alder, mahogany, or maple, offering excellent resonance and tonal characteristics.

1.2 Worldwide Manufacturing: Guitars produced outside of the USA may use similar materials, but the craftsmanship can vary depending on the specific manufacturing facility and country. While some international factories uphold high standards, others may employ cost-saving measures that affect overall craftsmanship and attention to detail. However, advancements in technology have allowed for more consistent quality control across various manufacturing locations.

Quality Control
2.1 Made in USA Models: American-made Jackson Guitars benefit from stringent quality control measures, with experienced craftsmen overseeing every step of the production process. This level of attention ensures that each instrument meets or exceeds the company's high standards before leaving the factory. The result is consistent excellence in terms of build quality, finish, playability, and overall performance.

2.2 Worldwide Manufacturing: Quality control in international manufacturing facilities may vary. While some factories uphold strict standards and implement quality control processes similar to those in the USA, others may have less rigorous procedures. It is important to note that improvements in manufacturing technology have helped bridge the quality gap between Made in USA and international models, resulting in more consistent quality across the board.

Price 3.1
Made in USA Models: Jackson's American-made guitars are typically associated with higher price points due to factors such as skilled labor, higher production costs, and premium materials. The craftsmanship, attention to detail, and reputation for quality contribute to the premium pricing of these instruments.

3.2 Worldwide Manufacturing: Guitars manufactured outside of the USA generally offer more affordable options in the Jackson lineup. By leveraging cost-effective labor and production methods, these guitars provide an opportunity for players to experience the brand's aesthetics and sound at a more accessible price point. However, it is essential to evaluate the specific model and manufacturing location to assess the value proposition and overall quality.

Brand Reputation and Legacy
4.1 Made in USA Models: Jackson's American-made guitars have a long-standing reputation for exceptional craftsmanship, innovation, and association with renowned artists. The Made in USA label is often seen as a symbol of quality and prestige, bolstering the appeal of these instruments to collectors, professionals, and discerning musicians.

4.2 Worldwide Manufacturing: While guitars produced outside of the USA may not carry the same historical legacy, they still benefit from Jackson's brand reputation and commitment to delivering high-performance instruments. As the company expands its global reach, worldwide manufacturing has allowed for wider availability of Jackson Guitars, making them accessible to a broader audience of musicians.

Conclusion
Jackson Guitars' Made in USA models and instruments manufactured worldwide both have their own merits. American-made guitars are renowned for their craftsmanship, meticulous attention to detail, and premium materials. They cater to musicians who seek the highest levels of quality and are willing to invest in a premium instrument. On the other hand, guitars manufactured outside of the USA offer more accessible price points while still providing players with the brand's signature aesthetics and sound. These instruments have benefited from advancements in technology and more consistent quality control processes.

Ultimately, the choice between Made in USA models and guitars manufactured worldwide depends on individual preferences, budget considerations, and the specific needs of the player. Both options offer a range of instruments that showcase Jackson's commitment to high-performance guitars and cater to the diverse requirements of guitarists worldwide.

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.