I think it's fair to say that the cable has lost its function as a transmission medium for vocal performances, respectively speech on stage. I remember, for example, that only one band, which performed together with my band DOMAIN at the Magic Circle Festival on the Loreley this year, still transmitted their vocals to the FOH via a cable-supported variant. Before that, a frontman with a cable-supported vocal mic had been conspicuous by his absence on stage for years; in fact, I can't remember seeing a lead singer consciously holding a cable in his hand in the last decade (have "The Who" played a few shows in recent years...?).
Even though my hall mixer never tires of repeatedly making me aware of the advantages of cable for transmission reasons on pretty much every journey to and from the gig venue on the bus, and I also share his opinion over long distances, the ship has sailed for the copper wire. Flexibility and independence won the battle against stability and resistance years ago and will not relinquish their supremacy.
What is often forgotten, however, is the fact that in addition to singing, the same radio links have become an indispensable tool for communication, especially in event technology. From the stage manager to the runner to the personal assistant, at large events with corresponding spatial distances, the transmission of voice is also in focus.
A special feature in this context is the transmission by means of a headset, which offers both presenters / musical performers as well as active instrumentalists or spatially bound artists such as drummers a possibility to operate instrument and vocals in parallel without having to use the hands to guide the microphone.
With the WS 1000 BPH2, the manufacturer LD Systems, distributed by Adam Hall GmbH, offers a product that has the double alignment of a radio link and, with two receivers, two transmitters and two headsets each, makes all the necessary components available twice. The system is manufactured in China for wage and social security reasons.
Design
From a transport point of view, LD is right on the money: the entire system is delivered in a sturdy hard case, equipped with foam to secure the components. Unfortunately, the same cutouts have been cut into the foam as in the version with two handheld microphones, which can be purchased in parallel, so that the two headsets have to fit more badly than well into the unsuitable cutouts.
The scope of delivery of the complete system consists of two stereo receivers (bodypack), two stereo transmitters, two antennas, two antenna extensions for rack operation, a power supply for the receiver unit, two headset microphones, a set of 19 inch rack brackets, four batteries for the transmitters and an instruction manual. If you want to operate the receiver unit in stand-alone mode, the case has four small but non-slip feet on the bottom. The housing is made of solid sheet steel and is impeccably finished.
For signal transmission, the WS 1000 BPH2 has 160 switchable frequencies in the 790.850 - 813.800 MHz range in the UHF band. On the front, the two receivers have an identical design, all functions such as antenna display and output level are duplicated. The front displays are very generous and offer good readability of the individual elements even at some distance. In addition to the On/Off switch, an adjustable headphone output has also been placed on the front.
In order to generate the addressability individually when using several systems, the receiver has an infrared sensor in the center, which is programmed via the respective bodypacks. Using the WS100AD Antenna Distributor, which is not included in the scope of delivery, a total of 4 receiver units can be connected together in order to share only one pair of antennas in this case.
On the rear side, there is one balanced XLR output per channel next to the two antenna connectors. If required, both channels can also be connected to a single output, for which a balanced XLR and an unbalanced jack output are available. The threshold of the mute level can be adjusted via two recessed trimmers in case of interfering signals. The connection for the included 12 volt power supply completes the connection field. However, the system digests at voltage supply everything between 12 - 18 volts at 500mA.
The bodypack has the usual dimensions, workmanship, handling of the product and readability of the display are up to today's standard, and there were no failures of any kind.
Practice
As usual nowadays, transmitter and receiver are found within a few seconds. As soon as both products have been activated, the merging of the individual components takes care of itself. The wearing comfort of the headset can be described as good, especially considering the called price. Despite the exceedingly simple construction, I couldn't notice any pressure points on the ears or the back of the head.
In order to be able to evaluate the microphone capsule used, you should always keep in mind that you actually have no dynamic influence on the capsule due to its fixed position to the mouth opening. Only the delivered speech / vocal level decides on the voltage dissipated, dynamic sound shaping by means of distance variations to the microphone, as can be generated with a handheld microphone, for example, fail with the headset design. This means that in the case of a vocal transmission, the singer must have complete control over his dynamics in order not to drown in volume fluctuations.
The first thing to do is to find the optimal position of the microphone capsule, which turns out to be not so easy. If you place the capsule relatively close to the mouth and direct the opening into the oral cavity, you can enjoy the voluminous proximity effect, but at the same time you have to contend with the first distortions during loud passages. If you increase the distance to the oral cavity, this problem decreases, but the microphone also loses its character relatively quickly. Here it is important to find the optimal setting and not to vary it any more if possible. A downstream compressor is an absolute must in order to achieve a balanced sound image.
While the microphone capsule performs satisfactorily during speech transmission, it reaches its limits during vocal transmission. Although I lowered the level several times, especially voluminous passages caused internal distortions, which had a rather unpleasant effect on the sound behavior. A trained singer, who has a corresponding sound pressure, would most likely overstrain the capsule. Also, the capsule, which is just 1 centimeter in size, has a manageable sound character, which cannot adequately capture a vocal voice. To be fair, however, we must once again point out the price, which, despite Chinese manufacturing, sets the limits for the technology somewhere.
Conclusion
With the WS 1000 BPH2 LD Systems brings a product on the market, which has a good price / performance ratio and combines two devices in one housing. Completely equipped, one has all the important components of two radio links, which facilitates handling immensely.
Who primarily deals with voice transmission, will find in the same product a good helper for practice, for vocal transmission you should resort to other microphone capsules, or handheld microphones.
Additional informations:
- LD Systems is a renowned company operating in the audio technology industry. This comprehensive report aims to provide an in-depth overview of LD Systems, including its history, products, market position, and key achievements. LD Systems has made significant contributions to the audio technology sector, establishing itself as a leading brand in the global market.
Company Background: LD Systems was founded in 1975 and has its headquarters in Neu-Anspach, Germany. The company specializes in the design, development, and manufacturing of professional audio equipment, including loudspeakers, wireless microphone systems, mixing consoles, amplifiers, and related accessories. With a strong emphasis on innovation and quality, LD Systems has gained a reputation for delivering cutting-edge audio solutions.
Product Range: LD Systems offers a diverse range of products catering to various audio applications. Their portfolio includes:
Loudspeakers: LD Systems produces a wide array of loudspeakers, including active and passive models. These speakers are designed for professional sound reinforcement in venues such as concert halls, stadiums, clubs, and theaters. LD Systems' loudspeakers are known for their exceptional sound quality, durability, and versatility.
b. Wireless Microphone Systems: The company manufactures wireless microphone systems that provide reliable and interference-free audio transmission. LD Systems' wireless systems are widely used in live performances, conferences, worship services, and other events, offering convenience and flexibility to performers and speakers.
c. Mixing Consoles: LD Systems offers an extensive range of mixing consoles suitable for various applications, from small venues to large-scale productions. These consoles are equipped with advanced features, intuitive controls, and excellent sound processing capabilities, ensuring optimal audio mixing and control.
d. Amplifiers: LD Systems' amplifiers are designed to deliver high-quality audio amplification for professional audio setups. They provide reliable power distribution, low distortion, and efficient performance, contributing to the overall sound reinforcement system's effectiveness.
e. Accessories: LD Systems also provides a range of accessories, including stands, cables, cases, and racks, which complement their audio products and enhance user convenience.
Market Position: LD Systems has established a strong presence in both domestic and international markets. The company's commitment to innovation, product quality, and customer satisfaction has enabled it to compete effectively with other prominent audio technology manufacturers. LD Systems' products are distributed worldwide through a network of authorized dealers and partners, reaching a diverse customer base in the professional audio industry.
Key Achievements: LD Systems' success can be attributed to several notable achievements:
Product Innovation: The company has consistently introduced innovative audio solutions that meet the evolving needs of the industry. LD Systems' products integrate advanced technologies, ensuring high performance and reliability.
b. Industry Recognition: LD Systems has received numerous awards and accolades for its outstanding products. These include recognition for design, innovation, and audio quality, solidifying its reputation as a trusted brand in the audio technology sector.
c. Global Expansion: LD Systems has expanded its market reach through strategic partnerships and collaborations, enabling the company to establish a strong international presence. Its products are widely used by audio professionals and enthusiasts in various countries.
d. Customer Satisfaction: LD Systems places a strong emphasis on customer satisfaction. The company prioritizes delivering excellent pre-sales and post-sales support, fostering long-term relationships with customers and gaining their trust.
Conclusion:
In conclusion, LD Systems is a leading player in the audio technology industry, offering a wide range of high-quality products for professional sound reinforcement. With a rich history, commitment to innovation, and global market presence, LD Systems has solidified its position as a trusted brand. The company's dedication to meeting customer needs and delivering exceptional audio solutions has contributed to its continued success and recognition in the industry.
This comprehensive report provides an in-depth overview of in-ear monitoring (IEM) systems. In recent years, IEM has become a popular and essential tool in the audio industry, revolutionizing the way musicians and performers monitor their sound during live performances. This report delves into the concept of in-ear monitoring, its benefits, technology, and its impact on the music industry.
What is In-Ear Monitoring? In-Ear Monitoring refers to a technology that allows musicians and performers to monitor their audio signals directly in their ears. Unlike traditional stage monitors, which rely on floor wedges or speakers placed around the stage, IEM systems use specially designed earphones or ear molds connected to a wireless receiver, providing individualized sound directly to the performer.
Benefits of In-Ear Monitoring: a. Improved Audio Quality: In-Ear Monitoring systems deliver high-fidelity sound directly to the performer's ears, offering exceptional audio clarity and eliminating issues such as stage noise and feedback. This enables musicians to hear their own performances more accurately, enhancing their overall musical experience.
b. Customization and Control: IEM systems allow performers to control their individual audio mix. Each musician can adjust the volume levels of different instruments or vocals in their mix according to their preferences. This customization provides better control over the sound they hear on stage, resulting in improved performances.
c. Hearing Protection: In-Ear Monitoring systems offer a significant advantage in terms of hearing protection. By eliminating the need for stage monitors and loud wedges, IEM systems reduce overall stage volume. Musicians can set their volume at a comfortable level without the risk of damaging their hearing, as they can hear their own sound clearly without relying on external monitors.
d. Mobility and Stage Freedom: With IEM systems, musicians can move freely on stage without being restricted to a particular area near a stage monitor. This mobility allows for more dynamic performances and interactions with the audience, contributing to an enhanced live experience.
e. Reduced Stage Clutter: In-Ear Monitoring eliminates the need for large stage monitor systems, reducing the clutter on stage. This streamlined setup not only improves the aesthetic appeal but also provides more space for performers and other equipment.
Technology behind In-Ear Monitoring:
a. Wireless Systems: IEM systems primarily rely on wireless technology for signal transmission. High-quality wireless transmitters and receivers ensure a reliable and interference-free audio connection between the sound source (mixing console or monitor engineer) and the performer's earphones.
b. Earphones and Ear Molds: In-Ear Monitoring systems use specially designed earphones or custom ear molds to deliver sound directly to the performer's ears. These devices are engineered to provide excellent sound isolation, comfort, and accurate audio reproduction.
c. Audio Mixers and Personal Monitoring Systems: In-Ear Monitoring systems are integrated with audio mixers or personal monitoring systems, allowing performers to control their individual audio mixes. These systems enable musicians to adjust volume levels, EQ settings, and even add effects to their mix, providing a personalized monitoring experience.
Impact on the Music Industry: In-Ear Monitoring has had a profound impact on the music industry, revolutionizing the way live performances are conducted. It has become a staple technology in concerts, worship services, theater productions, and other live events. The benefits of IEM, such as improved sound quality, hearing protection, and customization, have significantly enhanced the on-stage experience for musicians and performers, resulting in better performances and audience satisfaction.
Conclusion:
In-Ear Monitoring has emerged as a game-changing technology in the audio industry, providing musicians and performers with unparalleled control, audio quality, and mobility on stage. With its ability to offer customized sound, reduce stage clutter, and protect hearing, IEM systems have become an indispensable tool for professionals in the music industry. As technology continues to evolve, we can expect further advancements in in-ear monitoring, reinforcing its role in shaping the future of live performances.
Montag, 5. Juni 2023
TEST: LD Systems WS 1000 BPH2
Freitag, 2. Juni 2023
TEST: LD Systems ICOA Sub 15 A
Inexpensive subwoofers have become a permanent fixture in the PA sector. In particular, the mobile range, which can be scaled if necessary and transported by a single person in an emergency, enjoys great popularity, because you can buy the necessary self-sufficiency in terms of fixed installations with comparatively little effort. Especially in the subwoofer sector, the power-to-weight ratio is a decisive point for transportability, so it's not surprising that the majority of consumer subwoofers are always just at the limit of personal capacity in terms of weight. Another representative of the transportable species is the LD Systems ICOA SUB 15 A, which we have for testing.
The construction of the LD Systems ICOA SUB 15 A
Like the somewhat larger colleague of the LD Systems ICOA SUB 15 A, the 18 A version, which, as expected, comes with an 18-inch speaker, the system is based on an active / 15-inch speaker version, which has been optimized in terms of cabinet design to transfer as much power as possible into the smallest possible and comparatively light housing.
The term "light" may not come easily to one's lips with a weight of 32.5 kg, but in return you also get a power of 400 watts RMS with a peak of 1,600 watts. Depending on the selected program, the frequency curve can be adjusted upwards at 80 Hz, 100 Hz or 120 Hz, downwards the system should reach 36 Hz according to the manufacturer, a value that leaves a good impression for a 15 inch subwoofer.
In order to transport the colossus, a total of 4 handles were embedded in the case. On the one hand, two classic, side-mounted trough handles for 2-person transport and two single, recessed handles on the front of the case. Thanks to regular fitness training, I managed to transport the woofer comparatively well with one hand over short distances, but this method is not recommended as a standard. For products of this size, I always recommend a roller solution anyway, which LD Systems, a brand which is known to be under the umbrella of the Adam Hall Group, have directly thought of. A total of 16 screws, 4 per roller, were already mounted from the factory to choose the appropriate rollers from the Adam Hall range.
The second handle on the front side explains itself then also for the role transport, in order to pull the product for example a ramp out. If you then invest another 44 euros in the water-repellent nylon protective cover ( https://www.thomann.de/de/ld_systems_icoa_sub_15_pc.htm ), you can transport your component comparatively easily to the warehouse, or store it safely. Both components are highly recommended in my opinion.
The (W x H x D): 510 mm x 598 mm x 552 mm large housing of the LD Systems ICOA SUB 15 A in itself is very robustly designed and was made of 18 mm multiplex. A rough structure varnish secures against light external influences, for rough handling, see above mentioned protective cover. For appropriate scaling, the LD Systems ICOA SUB 15 A has 4 stacking recesses, in which several units can be stacked on top of each other if necessary.
To protect the internal speaker against external influences, the box has a very solid metal grille on the front. The amplifier unit on the back is recessed, which protects all connections and the heat sink from lateral forces. As accessories, the system only has a power cable and an eight-language user manual, which is unfortunately printed very small, but contains all the necessary information along with a few useful practical tips. A fact that is anything but normal nowadays, but especially in the PA sector must be evaluated as a basic requirement.
The electronics
The LD Systems ICOA SUB 15 A is designed to be comparatively simple in terms of user-friendliness and can be configured easily even without what is considered to be too much expert knowledge. The system has 2 XLR inputs and outputs plus a volume control, which also leads through the menu via a push function. The display is of simple quality, but can be read well even in difficult lighting conditions and can be configured as needed in terms of brightness, etc. to your own needs. The system has a multi-voltage power supply and the usual protection circuits against overheating, overvoltage and overcurrent, as well as a peak and RMS limiter with the trademarked name DYNX DSP. For trouble-free operation, however, an ambient temperature of 0 - 40 degrees should not be undercut, respectively exceeded.
For mono operation, the system has an internal mono summation, with 2 woofers of this series is practiced normal stereo operation. The wiring is done in standard mode console - woofer - satellites. As crossover frequencies you can choose between 3 frequencies on the system (80 Hz, 100 Hz, 120 Hz). The standard display shows the total volume of the system, the selected crossover preset and the input levels of the two inputs. If the input level is too high, the output level on the console must be reduced accordingly.
The fact that the LD Systems ICOA SUB 15 A was designed for professional use despite its moderate dimensions is shown by the additional setting options of the DSP electronics. On the one hand, the system has a runtime program that allows a delay tower of up to 10 meters and can be configured in very small 10 cm steps, thus allowing for spatially larger installations. Likewise, the phase position of the woofer can be changed when standing waves occur.
Much more important in terms of practicality, however, is the possibility of cordioid operation, that phase cancellation, which improves the signal quality in general and especially makes the life of the stage musician many times easier, but unfortunately still conjures a big question mark on the forehead of a large part of all users. In simple terms, a cordioid circuit ensures that the spherically radiated bass range of a subwoofer is reduced towards the back of the stage by means of phase cancellation and the artists are not tormented with excessive droning. Anyone who, like me, has been partially drowned in bass mud on stage at large open air venues around the globe knows what I'm talking about.
In order to be able to use this coordinated cardioid radiation characteristic specifically, it requires 2 pieces, better yet 3 iStück dental subwoofers, which are set up next to each other and whose delay times are identical. LD Systems describes in the attached manual the handling and advantages of this setup very well, absolutely commendable.
The LD Systems ICOA SUB 15 A in practice
As already mentioned, in terms of handling, you can hardly make it easier for the user. Adjust volume, crossover frequency with satellites and select, done! And the result can be heard. In general, the LD Systems ICOA SUB 15 A has a very soft, almost flattering sound, but fortunately without the sound slipping into the undifferentiated.
As is well known, it is always somewhat difficult to ensure a differentiated sound image in the two-digit Hertz range due to the spherical characteristics, but due to an optimized bass reflex port, the cabinet produces a very adult, slightly compressed bass despite its uncluttered dimensions, but leaves no doubt that everything necessary in the two-digit Hertz range is well brought to the man.
The headroom is very decent, the limiters intervene very musically and the cabinet is massive enough not to let it come to any surge in the low bass range. Even though it's basically a given, it's always nice to come across locking XLR jacks. I don't know how many times recently I've come across the simple plug-in connection even on high-priced equipment. In general, the system leaves a very good impression and will certainly find many friends in the professional as well as semi-professional camp due to its good transportability.
Conclusion
With the LD Systems ICOA SUB 15 A, the Adam Hall subsidiary has a very practical woofer in its portfolio, which can convince both from the processing, as well as the concept. With 3 fixed crossover frequencies, a cordioid circuit and a finely resolved delay concept, the system meets all the requirements for professional operation and that too at a very moderate retail price.
Anyone looking for a subwoofer in this performance class should definitely test the LD Systems ICOA SUB 15 A once.
Additional informations:
LD Systems is a renowned company in the field of professional audio technology, offering a wide range of high-quality audio products and solutions. This comprehensive report aims to provide a detailed analysis of LD Systems, covering its history, product portfolio, technological innovations, market position, and future prospects.
Company Overview:
LD Systems was established in Germany in 2002 and has rapidly grown to become a leading global provider of professional audio equipment. The company was founded on the principles of innovation, reliability, and superior sound quality. With a strong focus on research and development, LD Systems has consistently pushed the boundaries of audio technology, catering to the needs of musicians, audio professionals, and event organizers worldwide.
Product Range:
LD Systems offers a diverse range of audio products designed to meet the requirements of various applications, from live performances and concerts to corporate events and installations. The company's product portfolio includes portable PA systems, active and passive loudspeakers, wireless microphone systems, mixing consoles, in-ear monitoring systems, and accessories.
3.1 Portable PA Systems:
LD Systems' portable PA systems are known for their excellent sound quality, ease of use, and portability. These systems are ideal for small to medium-sized venues, providing powerful and clear sound reinforcement. LD Systems' portable PA systems incorporate advanced features such as built-in mixers, wireless connectivity, and integrated battery-powered options, making them versatile solutions for a wide range of applications.
3.2 Loudspeakers:
LD Systems offers a comprehensive selection of active and passive loudspeakers suitable for various settings, including concerts, clubs, theaters, and houses of worship. The company's loudspeakers are engineered to deliver exceptional sound reproduction, precise dispersion patterns, and robust build quality. LD Systems' loudspeakers are available in different configurations, including line arrays, point source systems, and subwoofers, ensuring flexibility for any audio setup.
3.3 Wireless Microphone Systems:
LD Systems' wireless microphone systems provide reliable and interference-free audio transmission for performers, presenters, and public speakers. The company's wireless systems offer a range of options, including handheld, lavalier, headset, and instrument transmitter systems. LD Systems employs advanced wireless technology to ensure stable connections, excellent audio quality, and ease of use, making them suitable for both professional and educational applications.
3.4 Mixing Consoles:
LD Systems' mixing consoles are designed to meet the demands of audio engineers and sound technicians. These consoles combine intuitive control interfaces with powerful signal processing capabilities. LD Systems offers a range of mixing consoles, from compact models for small-scale applications to full-featured digital consoles for large-scale productions. These consoles provide precise control over audio signals, extensive routing options, and integrated effects, enabling professionals to achieve superior sound quality.
3.5 In-Ear Monitoring Systems:
LD Systems' in-ear monitoring systems offer a personalized and immersive listening experience for musicians and performers on stage. These systems provide clear and accurate audio monitoring, eliminating the need for traditional stage monitors. LD Systems' in-ear monitoring systems include wireless transmitters and receivers, earphones, and accessories, ensuring reliable and high-fidelity audio reproduction during live performances.
Technological Innovations:
LD Systems places a strong emphasis on technological innovation to remain at the forefront of the audio industry. The company invests in research and development to integrate cutting-edge technologies into its products. LD Systems' innovations include advanced digital signal processing, wireless transmission technologies, lightweight and durable materials, and energy-efficient designs. These innovations enhance the overall performance, reliability, and user experience of LD Systems' audio solutions.
Market Position:
LD Systems has established a prominent position in the professional audio market. The company's commitment to quality, reliability, and innovation has earned it a loyal customer base and strong brand recognition. LD Systems' products are distributed worldwide through a network of authorized dealers, ensuring global availability and support. The company's reputation for delivering high-quality audio solutions has made it a preferred choice for professional audio users across various industries.
Customer Support and Satisfaction:
LD Systems places great importance on customer satisfaction and provides comprehensive customer support services. The company offers technical assistance, product training, and warranty services to ensure customer satisfaction throughout the product lifecycle. LD Systems' commitment to customer support has contributed to its positive reputation and long-term customer loyalty.
Future Prospects:
With a solid foundation in the professional audio industry and a focus on technological innovation, LD Systems is well-positioned for future growth. The company's dedication to delivering high-quality audio products, coupled with its ability to adapt to emerging trends and market demands, ensures its continued success. LD Systems' expansion into new markets and continued investment in research and development will drive its future prospects.
Conclusion:
LD Systems' commitment to innovation, superior sound quality, and customer satisfaction has positioned it as a leading player in the professional audio technology industry. The company's extensive product range, technological advancements, and global market presence make it a preferred choice for musicians, audio professionals, and event organizers worldwide. With a focus on continuous improvement and future-oriented strategies, LD Systems is poised for sustained growth and continued success in the dynamic audio technology market.
TEST: LD Systems CURV 500 TS
A generation change has taken place. Whether it's the comparatively good transportability or whether it's more about the improved radiation behavior in the high frequency range, the P.A. columns with partially installed mini line arrays are firmly on the advance. The consistently aesthetically designed column design is just about to overtake the classic in the form of the 15/1 high stand solution or the vintage solution in the form of the 15/3 variant. Thanks to Class D power amplifiers, peak variants in the four-digit wattage range are not uncommon and make it possible for even small bands to provide a clear city festival with sound under their own power. Column pioneer LD Systems could rise with the MAUI series in recent years to the first league and now brings with the LD Systems CURV 500 TS another product in the active P.A. class on the market, which increasingly relies on curves and curves.
The concept of the LD Systems CURV 500 TS
In principle, columns P.A.'s and satellite systems make use of the same principle, which is also used in more and more recording studios. We are talking about the satellite / subwoofer solution, where the power-consuming frequencies below approx. 150 Hz are delivered to the woofer area and the typical stereo triangle is formed exclusively via the satellites. In the studio sector, however, the stereo signal is often combined in the woofer to form a mono signal, while in the live sector an even distribution of the bass is usually aimed for.
The LD Systems CURV 500 TS also follows the satellite solution and divides the signal into a woofer, which works with a 15-inch speaker at a maximum of 700 watts, and up to 4 satellites, which deliver up to 300 watts in an array. Two of these systems to the right and left of the stage thus provide a peak of 2 KW, which allows acoustic illumination beyond small pub gigs. The system itself works monophonic, for stereo operation a second system must be purchased.
The scope of delivery includes a distance rod for the satellites, all the cabling for the components and the powerCON power cable. Praiseworthy that LD Systems has dispensed with the cold device plug in this performance class and has installed the withdrawal-proof variant.
The construction of the LD Systems CURV 500 TS
The LD Systems CURV 500 TS is designed as a pure P.A. component, an internal mixing console, as it is often found in the performance class below, was omitted in this system. In my eyes, this is a perfectly understandable step, since in the 1 KW power class upwards, you almost always have an external console at the start. In addition to an XLR input, there is an XLR out for daisy chain operation, the connection socket for the satellites, mains connection, master volume and a volume control for the woofer volume, done! As a special feature is a pressure regulator on the back to note, which optimizes depending on the number of satellites the radiation pattern selbiger.
To transport the system safely, the manufacturer offers various sleeves, bags and cases, which are worth looking at. Especially the satellite section tends to end up as a cube box, which quickly becomes noticeable in a diminishing look, especially since the surface of the satellites is much more sensitive compared to the subwoofer.
The subwoofer of the LD Systems CURV 500 TS
As always in this performance class, there is always the haptic challenge detached from the sound of the bass range. The woofer, which is made of 18 mm birch plywood and measures 600 mm x 437 mm x 587 mm, leaves a solid impression and defies many an external impact with its polyurea coating, but the weight of 35.5 kg proves to be a real challenge in terms of transportability. A single person quickly comes to the limit in terms of assembly, so I strongly recommend ordering the optionally offered trolley, which can be attached to the woofer, for back reasons.
In terms of workmanship, there is absolutely nothing to criticize about the woofer, all screws, corners and strips are optimally processed, individual parts such as feet, etc. can be easily replaced. For a more voluminous reproduction, a comparatively small, rectangular bass reflex port was placed in each corner, probably to keep the dimensions of the woofer as compact as possible. If you remove the grille, you get a view of the woofer's inner workings, which underpins the above impression. Even a vibration damping sealing tape is used.
The satellites of the LD Systems CURV 500 TS
That the designation "Curv" in the product name was not chosen without ulterior motives becomes apparent at the latest when analyzing the satellite system. A total of up to 4 satellites, 2 single satellites and 2 double satellites each. Double satellites are maneuvered by an adapter piece for the distance rod either into a straight or beveled radiation plane. A single satellite has a 4 inch driver with 3 tweeters of 1 inch each on a vertical rail. The duplex version doubles the number of tweeters accordingly.
For a simple but effective connection, both in mechanical and electrical form, provide the so-called Smart-Link rails, where the individual satellites are slid over each other and snap into place accordingly. The included Smart-Link adapter, which is always positioned first on the spacer bar, then decides the angle of the satellite construction by means of two openings located on the bottom of the adapter. The dimensions of the single satellites are 12 cm in cube, resulting in a maximum array length of 72 cm (2x single, 2x double).
The LD Systems CURV 500 TS in practice
The application possibilities of the LD Systems CURV 500 TS are manifold. Starting with a commercial DJ performance, through the electrical field to the classic band constellation. However, an array system always has the same advantages and disadvantages, from which the LD Systems CURV 500 TS is not completely spared. Let's start with the advantages.
As expected, the woofer with its high power reserves comes with a lot of headroom. The bass is very well defined and doesn't falter even at high volumes. Both in music and speech reproduction, the bass (with high-pass for speech, of course) is well reproduced and provides the necessary pressure.
The flexibility in terms of satellite use also makes itself positively felt. At a trade show presentation or a seminar, 2 satellites are usually enough to bring the speech intelligibility to a good level, especially since the inclination of the lower satellites at full extension only really become noticeable when placed on a "real" stage from about 1 meter upwards. As expected, the system throws in the high frequency range significantly further than a comparable 12/1 or 15/1 construction, which is known to be the parade discipline of the array systems. Especially in terms of speech or vocal intelligibility, the system scores immensely, while the basic sound of the system is comparatively balanced. Why only comparatively?
Well, the disadvantage of the column principle will probably always be the famous low midrange reproduction. No matter how hard you try, without an appropriate midrange driver the frequency gap between the woofer and the tweeter will always be more or less present. Where the woofer can no longer reach and the satellites still can't, a frequency dip is inevitably created, which is more or less noticeable depending on the instruments.
The LD Systems CURV 500 TS also has to face this physical fact, but is undoubtedly one of the representatives that master this fact much better than other competing products. The woofer is flexible enough in the day to be able to set accents in the mid-range and catches the low-mid hole very well. Ultimately, everyone has to find out for themselves whether their music is adequately reproduced on an array system. In any case, there are enough reasons for such a solution.
Conclusion
The LD Systems CURV 500 TS is an excellent small P.A. on array basis on the market. The combination of high performance, flexible concept, very good workmanship and extremely powerful sound convinces all along the line and can be used in a wide variety of areas.
Whether in the DJ, electro and rock/pop area, the system scores with a great flexibility with very compact dimensions and also knows how to master pure voice reproduction such as trade fair use, seminar or forum sound reinforcement without any problems.
Additional informations:
LD Systems is a renowned company in the field of professional audio technology, offering a wide range of high-quality audio products and solutions. This comprehensive report aims to provide a detailed analysis of LD Systems, covering its history, product portfolio, technological innovations, market position, and future prospects.
Company Overview:
LD Systems was established in Germany in 2002 and has rapidly grown to become a leading global provider of professional audio equipment. The company was founded on the principles of innovation, reliability, and superior sound quality. With a strong focus on research and development, LD Systems has consistently pushed the boundaries of audio technology, catering to the needs of musicians, audio professionals, and event organizers worldwide.
Product Range:
LD Systems offers a diverse range of audio products designed to meet the requirements of various applications, from live performances and concerts to corporate events and installations. The company's product portfolio includes portable PA systems, active and passive loudspeakers, wireless microphone systems, mixing consoles, in-ear monitoring systems, and accessories.
3.1 Portable PA Systems:
LD Systems' portable PA systems are known for their excellent sound quality, ease of use, and portability. These systems are ideal for small to medium-sized venues, providing powerful and clear sound reinforcement. LD Systems' portable PA systems incorporate advanced features such as built-in mixers, wireless connectivity, and integrated battery-powered options, making them versatile solutions for a wide range of applications.
3.2 Loudspeakers:
LD Systems offers a comprehensive selection of active and passive loudspeakers suitable for various settings, including concerts, clubs, theaters, and houses of worship. The company's loudspeakers are engineered to deliver exceptional sound reproduction, precise dispersion patterns, and robust build quality. LD Systems' loudspeakers are available in different configurations, including line arrays, point source systems, and subwoofers, ensuring flexibility for any audio setup.
3.3 Wireless Microphone Systems:
LD Systems' wireless microphone systems provide reliable and interference-free audio transmission for performers, presenters, and public speakers. The company's wireless systems offer a range of options, including handheld, lavalier, headset, and instrument transmitter systems. LD Systems employs advanced wireless technology to ensure stable connections, excellent audio quality, and ease of use, making them suitable for both professional and educational applications.
3.4 Mixing Consoles:
LD Systems' mixing consoles are designed to meet the demands of audio engineers and sound technicians. These consoles combine intuitive control interfaces with powerful signal processing capabilities. LD Systems offers a range of mixing consoles, from compact models for small-scale applications to full-featured digital consoles for large-scale productions. These consoles provide precise control over audio signals, extensive routing options, and integrated effects, enabling professionals to achieve superior sound quality.
3.5 In-Ear Monitoring Systems:
LD Systems' in-ear monitoring systems offer a personalized and immersive listening experience for musicians and performers on stage. These systems provide clear and accurate audio monitoring, eliminating the need for traditional stage monitors. LD Systems' in-ear monitoring systems include wireless transmitters and receivers, earphones, and accessories, ensuring reliable and high-fidelity audio reproduction during live performances.
Technological Innovations:
LD Systems places a strong emphasis on technological innovation to remain at the forefront of the audio industry. The company invests in research and development to integrate cutting-edge technologies into its products. LD Systems' innovations include advanced digital signal processing, wireless transmission technologies, lightweight and durable materials, and energy-efficient designs. These innovations enhance the overall performance, reliability, and user experience of LD Systems' audio solutions.
Market Position:
LD Systems has established a prominent position in the professional audio market. The company's commitment to quality, reliability, and innovation has earned it a loyal customer base and strong brand recognition. LD Systems' products are distributed worldwide through a network of authorized dealers, ensuring global availability and support. The company's reputation for delivering high-quality audio solutions has made it a preferred choice for professional audio users across various industries.
Customer Support and Satisfaction:
LD Systems places great importance on customer satisfaction and provides comprehensive customer support services. The company offers technical assistance, product training, and warranty services to ensure customer satisfaction throughout the product lifecycle. LD Systems' commitment to customer support has contributed to its positive reputation and long-term customer loyalty.
Future Prospects:
With a solid foundation in the professional audio industry and a focus on technological innovation, LD Systems is well-positioned for future growth. The company's dedication to delivering high-quality audio products, coupled with its ability to adapt to emerging trends and market demands, ensures its continued success. LD Systems' expansion into new markets and continued investment in research and development will drive its future prospects.
Conclusion:
LD Systems' commitment to innovation, superior sound quality, and customer satisfaction has positioned it as a leading player in the professional audio technology industry. The company's extensive product range, technological advancements, and global market presence make it a preferred choice for musicians, audio professionals, and event organizers worldwide. With a focus on continuous improvement and future-oriented strategies, LD Systems is poised for sustained growth and continued success in the dynamic audio technology market.
TEST: Lake People G109 - HPA RS 02
If you take a look at the current high-end league of the headphone amplifier sector, you will quickly notice that, in contrast to the elements to be amplified, the headphones, there is a comparatively very manageable market of suppliers. Besides the top dog SPL, which takes the pole position with its Phonitor series, the name Violectric appears again and again on the following places. As many users already know, this is the line of the Lake People team around mastermind Fried Reim, which is designed for the hi-fi / consumer area and primarily covers the pro area with the Lake People products. In the price segment around the 500 € then appear several products from the LP stable. From the portfolio, we now have the amplifiers Lake People G109-P and Lake People HPA RS 02 for testing, which could already earn several very good reviews on the net.
The concept behind the Lake People headphone amplifiers
Lake People's headquarters are located in Constance on Lake Constance, which easily reveals the background of the company's name. As one of a few manufacturers, Lake People not only produce their products entirely in Germany, but also try to stay in the German territory in the area of suppliers, if possible even buy regionally. Along with this, the concept of "high quality, high selling price" once again runs through the manufacturer's catalog. In this respect, any price discussion is obsolete, either one is prepared to pay a corresponding price for corresponding quality or not. The customer has the choice. In return, the customer naturally expects an extra in workmanship and sound, which has to be proven in the course of the test.
The construction of the Lake People headphone amplifiers
With the G-series, Lake People has long had a firm foothold in the headphone field, product names such as G93, G95, G97 or G100 have left their scent marks both in the HiFi, as well as in the Pro area. As a further development, the G109-P (Pro) is now available, which is also available in an "S" version (standard). Differences arise only in the input section on the back of the housing, whereby the P version has a pair of XLR jacks in addition to 2 RCA inputs. However, the RCA inputs have priority, meaning that if the RCA input is busy, the XLR jacks are switched off. While we are on the back, cold device plug, additional grounding point, done. Simple, clear, well-arranged.
The Lake People HPA RS 02, on the other hand, has only one RCA input, but is capable of looping the incoming signal through via a pair of RCA outputs. There is the possibility of three different operating modes, which can be configured internally in the housing via jumpers:
1.) Passive loop-through (factory setting) - The signal from the inputs is present at the jacks and can be routed from the inputs to another device. This is done passively, the device does not need power, the Lake People HPA RS 02 does not need to be switched on.
2.) Active loop-through (without volume control) - The actively buffered input signal is present at the output jacks at the same volume and can be routed through cables several meters long. However, the Lake People HPA RS 02 must be switched on for this.
3.) Active cut-through (with volume control) - The output signal at the sockets is influenced in its level by the loudspeaker control of the device. This is very helpful in combination with active monitors.
In contrast to the stainless steel cabinets with silver fronts used in the past, both the Lake People G109-P and the Lake People HPA RS 02 use two aluminum half-shells along with front and rear panels, which have also been anodized black. The almost 900 gram heavy cabinets also appear visually very discreet and can be easily integrated into any studio, or living room. In addition to a large, gridded knob, both protagonists have 2 headphone outputs, which, however, can only be adjusted together in the volume. The volume controls come from ALPS, are also made of aluminum and leave a very high-quality impression.
There is also a small difference in the foot area of the two amplifiers. While the Lake People G109-P with inconspicuous, black rubber feet generates very good adhesion even on smooth surfaces, the Lake People HPA RS 02 provides a clear consumer touch with its 4 foam feet under plastic plates in hi-fi style.
The eternal problem of headphone impedance
Every professional headphone user knows the problem and everyone has an opinion about it. We're talking about the tiresome topic of headphone impedance, and I'll be careful not to stir up the trench warfare again, especially since the Lake People products have a very pleasant solution for the different ohm numbers at the start. The solution is hidden inside the Lake People G109-P by means of jumpers, while the Lake People HPA RS 02 has it in the form of mini switches on the back of the housing.
Both products have the possibility of adjusting the volume of the headphones, which partly have an ohm number of 8 - 2000 ohms and efficiencies of 85 - 115 dB/mW, accordingly via corresponding pre-gain switches. Thereby one can choose between 3 different values (-12 dB, 0 dB, +6 dB) with the Lake People G109-P, with the Lake People HPA RS 02 even between 5 different values (-12 dB, -6 dB, 0 dB, +6 dB, +12 dB), whereby the external accessibility with the Lake People HPA RS 02 offers a clearly higher comfort.
The Lake People headphone amplifiers in practice
First of all, it was necessary to create a reference setup that reproduced various monitoring situations in the studio. As reference headphones I again used my Beyerdynamics T1 2nd Generation (600 Ohm), which has already done an excellent job for many years and to which I have become accustomed. As a second pair of headphones I used a Live Pro 4 system adapted by Inear with new Cerumen filters, which I have also been using for years.
In order to have a direct comparison to another headphone amplifier, the two amplifiers had to compete against an SPL Phonitor Mini (switched off matrix, headphone impedance 0.18 ohms), which is only slightly above the Lake People products in terms of retail price and thus represented an adequate competitor. Various recorded instruments such as drums, guitars (clean and high gain), funk loops, several classical piano concerts and some current rock / pop productions via Spotify Premium in HD quality were used as sound material. All amplifiers were set to 0 dB from the input impedance.
In a direct A/B comparison with each other, one could make out almost no sonic difference between the Lake People HPA RS 02 and the Lake People G109-P. If you screw the very fine fuse into your ear, you can describe the sound of the Lake People G109-P as a bit finer in resolution, with a subtly stronger compression, while the Lake People HPA RS 02 is a bit rougher to work with. However, both resolve very well and reproduce the entire frequency spectrum very well. The two volume controls work evenly, no jumps in the control path were noticeable. Switching the products on and off also worked flawlessly, the corresponding protection circuits did not cause any crackling or pop noises.
In direct comparison to the SPL Phonitor Mini, however, both Lake People products drew the short straw. Whether this is due to the 120 V technology of the Phonitor, I may not judge, but the fact is that the Phonitor reproduces the sound image much more open and dynamic. Especially strong dynamic jumps can be absorbed by the Phonitor with an increased headroom, while the Lake People products compress a bit more.
However, one must keep in mind that these are only very minor differences and the Lake People amplifiers by no means suffer a sonic defeat. On the contrary, both products convince with a neutral sound that can acoustically reproduce all music genres equally well. However, if you take into account the fact that you get the legendary Matrix circuit on top for just under 10% extra cost with SPL, the Phonitor seems to be the better choice economically.
Conclusion
With the products Lake People HPA RS 02 and Lake People G109-P, the Constance-based company has two very good headphone amplifiers of the upper class at the start. Both products convince with a very good sound, excellent workmanship and the best components. Almost identical in terms of sound, everyone has to set their priorities individually, to what extent the connection periphery or the accessibility of the preamplification parameters seem more important.
Additional informations:
Lake People Audio is a prominent and innovative company in the field of audio technology. Since its establishment, the company has garnered a reputation for delivering high-quality audio equipment and solutions. This report aims to provide an in-depth analysis of Lake People Audio, covering various aspects such as its history, products, technological advancements, market position, and future prospects.
Company Overview: Lake People Audio was founded in Germany in 1986 by Fried Reim, an experienced audio engineer and entrepreneur. The company started as a small-scale operation but quickly gained recognition for its commitment to precision and audio fidelity. Today, Lake People Audio has become a well-established brand, catering to professional audio engineers, musicians, and discerning audiophiles worldwide.
Product Range: The product range offered by Lake People Audio is diverse and caters to different audio needs. The company specializes in the design and manufacture of audio amplifiers, headphone amplifiers, digital-to-analog converters (DACs), and audio interfaces. Lake People Audio's products are known for their exceptional sound quality, reliability, and attention to detail.
3.1 Amplifiers: Lake People Audio's amplifiers are renowned for their transparency and accuracy. The company offers a variety of amplifiers, including headphone amplifiers, power amplifiers, and preamplifiers. These amplifiers are designed to deliver clean and uncolored audio reproduction, making them suitable for both studio use and high-end home audio setups.
3.2 Headphone Amplifiers: Lake People Audio is highly regarded for its headphone amplifiers, which are widely considered among the best in the industry. Their headphone amplifiers are designed to drive a wide range of headphones, from low-impedance models to demanding high-impedance headphones, with exceptional clarity and power.
3.3 Digital-to-Analog Converters (DACs): Lake People Audio's DACs are designed to convert digital audio signals into high-fidelity analog signals. The company's DACs incorporate advanced circuitry and components to ensure accurate conversion and minimal signal degradation. These DACs support various input formats, including USB, SPDIF, and AES/EBU, making them versatile solutions for audio enthusiasts and professionals.
3.4 Audio Interfaces: Lake People Audio also manufactures audio interfaces that facilitate the seamless integration of audio equipment with computers and digital audio workstations (DAWs). Their interfaces offer low-latency audio processing, multiple input/output options, and high-resolution audio capabilities, catering to the needs of recording studios, home studios, and live sound applications.
Technological Advancements:
Lake People Audio continuously invests in research and development to stay at the forefront of audio technology. The company incorporates state-of-the-art components, advanced circuitry, and innovative designs into its products. Lake People Audio's commitment to technological advancements ensures that their products consistently deliver exceptional audio quality and performance.
Market Position:
Lake People Audio has established a strong presence in the professional audio industry. Their products are highly regarded by audio professionals, recording studios, and musicians worldwide. The company's reputation for uncompromising audio quality and attention to detail has earned them a loyal customer base. Lake People Audio's products are distributed globally through authorized dealers, online platforms, and direct sales channels.
Customer Support and Satisfaction:
Lake People Audio places great emphasis on customer satisfaction. The company provides excellent customer support, offering technical assistance, product information, and warranty services. Their commitment to customer satisfaction has contributed to a positive brand image and customer loyalty.
Future Prospects:
As the audio industry continues to evolve, Lake People Audio is well-positioned to capitalize on emerging trends and technologies. The company's dedication to innovation and commitment to audio quality will likely drive future product development. With a solid reputation and a loyal customer base, Lake People Audio is poised for sustained growth and continued success.
Conclusion:
Lake People Audio's commitment to delivering exceptional audio solutions, coupled with its technological advancements and market position, makes it a leading player in the audio industry. The company's amplifiers, headphone amplifiers, DACs, and audio interfaces are highly regarded for their sound quality, reliability, and precision. Lake People Audio's dedication to customer satisfaction and its focus on innovation position the company for a promising future in the ever-evolving audio technology landscape.
TEST: Lake People G111
The headphone amplifier market is booming like never before. While a few years ago it was common practice in home recording to use the built-in headphone amplifier of the mixing console or interface for occasional sessions after 10 p.m. in the rented apartment for the monitoring area, the status that a high-quality headphone is ultimately useless without the qualitatively suitable headphone amplifier has also established itself in the budget range. Better headroom, lower clipping and a general relaxedness of sound allow for a much better impression of the material being monitored and guarantee better results for additionally longer sessions without fatigue. One of the strongest names in this segment for years is Lake People, based at Lake Constance, who have launched an amplifier in the highly competitive 500 Euro league with their Lake People G111, which is also their most expensive model to date.
The concept behind Lake People headphone amplifiers
As one of a few manufacturers, Lake People not only make their products entirely in Germany, but they also try to stay in the German territory in the area of suppliers, if possible even buying regionally. Along with this, the concept of "high quality, high selling price" once again runs through the manufacturer's catalog.
Even though the Lake People G111 is still comparatively moderate compared to the top dogs, for example SPL, some people might flinch a bit at a sales price of 488 Euros. In return, however, you should always keep in mind that the company consistently pursues its value chain within Germany and you always strengthen the domestic economy with the purchase of a Lake People product, an immensely important factor in my eyes.
The construction of the Lake People G111
With the G-series, Lake People has long had a firm foothold in the headphone field, product names such as G93, G95, G97 or G100 have left their scent marks both in the HiFi, as well as in the Pro area. With the Lake People G111, the company continues its path consistently, both in the positive, and in my eyes with partly "unusual" detail solutions.
The first impression after I peeled the product out of the packaging is excellent. The product is made of aluminum and is visually in the same league as MacBook and co. The case rests on four excellent rubber feet, the mixture of which enables perfect adhesion on smooth surfaces. Even on the glass top of my desk, the amplifier stood as if firmly glued! Excellent.
The case itself consists of a total of 4 elements, a top, a bottom and a front panel plus rear, both of which are screwed to the top and bottom with four Allen screws each. Easy and quick access to the inner workings of the Lake People G111 will later prove to be an important part of practical operation. The amplifier is rated for 230 volts line voltage, though Lake People points out that the product itself should work fine in a range of 190 - 240 volts. If one wishes to operate the product on a different continent, it is possible to operate the product at a mains voltage of 115 volts through internal re-soldering.
The front of the Lake People G111 is very spartan. Besides the On / Off switch, there are two parallel headphone jacks and an Alps RK 27 potentiometer as a volume control on the panel. The well-established potentiometer once again leaves an excellent impression with its heavy-duty detent and ensures a smooth regulation. Also pleasant is the placement of the On / Off switch on the front of the cabinet, so you escape the dislocated fumbling around on the back, provided you have the amplifier tightly integrated into your studio setup.
On the rear panel, the Lake People G111 shows its compatibility with the consumer sector by including two unbalanced RCA jacks in addition to two lockable balanced XLR jacks. The respective input is selected with a small push switch. The amplifier is completely channel separated to eliminate crosstalk of any kind.
The eternal problem of headphone impedance
Now we come to a special feature of the Lake People G111. Every professional headphone user knows the problem and everyone has an opinion about it. We are talking about the tiresome topic of headphone impedances, although the trench warfare of recent years has largely died down, if only because various manufacturers such as Beyerdynamic deliver their reference product T1 with different impedance values. I don't want to go into the advantages and disadvantages of the different concepts here, but the fact is that a professional headphone amplifier is always faced with the problem of being able to feed all products as evenly as possible with the necessary volume.
Here Lake People has a solution ready, which can be seen both positive and negative. First the positive. To counter the problem of varying headphone impedances, the Lake People G111 has a so-called Pre-Gain, which makes it possible to adjust the amplification power to the respective headphones. The input signal is attenuated, respectively amplified in 6 dB steps in 5 stages (-12 dB, -6 dB, 0 dB, +6 dB, +12 dB) and thus allows a selection in advance, so that the volume control of the amplifier does not have to be operated constantly in the stop range left or right in case of extreme impedance values.
On the other hand, if you are now looking for the respective switches, for example in the form of DIP switches on the housing, you will unfortunately be disappointed and have to deal with the negative part of the pre-gain circuit. The corresponding pre-gain switching can only be done inside the case by moving a jumper, where five different settings are available. Once you have opened the case, you can also directly consider whether you want to deactivate the ground lift, which is also accomplished by moving a jumper and incidentally reveals the very clean processing in addition to the voluminous and low-radiation toroidal transformer.
To open the case, you need a TORX T10 or a 2.5 mm Allen key, which was not included with the product. P. S. Actually self-explanatory, but here again for safety, before the housing is opened, UNCONDITIONALLY disconnect the power cord, there is DANGER OF LIFE!
With all comprehensibility towards mechanical safety and various engineering considerations, opening the case for the purpose of changing the headphone impedance will certainly make one or the other user shy away from the purchase. Even if you don't change your reference headphones every day, you can assume that one or the other co-producer might bring along his own favorite for the purpose of listening, or you might change between different headphones yourself. There is certainly a solid reason why technically perfect engineers, as they undoubtedly work at Lake People, have decided on such a solution, but a user-friendly solution, such as one could implement with push buttons or DIP switches, looks different.
For the technophiles, here are a few measurements of the product:
Frequency response: 0 Hz - 150 kHz (-3 dB)
Input sensitivity: +6 dBu
Input sensitivity: 10 kOhm
Max. Output level: 600 Ohm - 600 mW - 18.9 V / 300 Ohm - 1050 mW - 17.8 V / 100 Ohm - 1760 mW - 13.2 V / 32 Ohm - 1400 mW - 6.7 V
Dynamic range (SNR): > 129 dBA
THD+N (@ -1 dBFs): < -102 dB
Crosstalk: < -110 dB
The Lake People G111 in practice
First of all, it was necessary to create a reference setup that reproduced various monitoring situations in the studio. The reference headphones were again my Beyerdynamics T1 2nd Generation (600 ohms), which has done an excellent job for many years and to which I have become accustomed. The second pair of headphones I used was an Inear Live Pro 4 system with new Cerumen filters, which I have also been using for years. The third headphone was the AKG K-240, a very simple headphone from the consumer sector.
In order to have a direct comparison to another headphone amplifier, the Lake People G111 had to hold its own against an SPL Phonitor Mini (switched off matrix), which is no longer in the manufacturer's portfolio, but was in the same league in terms of retail price at the time and thus represented an adequate competitor. Various instruments such as drums, guitars (clean and high gain), funk loops, several classical piano concerts and some current rock/pop productions via Spotify Premium in HD quality were used as sound material.
The Lake People G111 sounds quite excellent on its own right from the first notes. The reproduction is very dynamic, very dry and decidedly "crisp". The basic sound is very balanced, a touch nicely coloring, but still neutral enough to pass as a real reference. Strong dynamic jumps are compensated by the amplifier with a very large headroom, so that it never came to a "pressed" playback.
In direct comparison to the SPL Phonitor Mini, as expected, only very small differences emerged, not really a surprise for 2 devices of this quality level. Sonically, the two products are very close to each other, whereby the SPL reproduces the high mids a bit stronger. Whether one or the other reproduction is more appealing is purely a matter of taste, there is no sonic advantage or disadvantage in this regard.
Conclusion
With the Lake People G111, the Constance-based company has an excellent headphone amplifier in its portfolio, both in terms of sound and workmanship. If you don't mind the complex pre-gain adjustment and are looking for a high-quality headphone amplifier, you should definitely test the product.
Additional informations:
Lake People Audio is a prominent and innovative company in the field of audio technology. Since its establishment, the company has garnered a reputation for delivering high-quality audio equipment and solutions. This report aims to provide an in-depth analysis of Lake People Audio, covering various aspects such as its history, products, technological advancements, market position, and future prospects.
Company Overview: Lake People Audio was founded in Germany in 1986 by Fried Reim, an experienced audio engineer and entrepreneur. The company started as a small-scale operation but quickly gained recognition for its commitment to precision and audio fidelity. Today, Lake People Audio has become a well-established brand, catering to professional audio engineers, musicians, and discerning audiophiles worldwide.
Product Range: The product range offered by Lake People Audio is diverse and caters to different audio needs. The company specializes in the design and manufacture of audio amplifiers, headphone amplifiers, digital-to-analog converters (DACs), and audio interfaces. Lake People Audio's products are known for their exceptional sound quality, reliability, and attention to detail.
3.1 Amplifiers: Lake People Audio's amplifiers are renowned for their transparency and accuracy. The company offers a variety of amplifiers, including headphone amplifiers, power amplifiers, and preamplifiers. These amplifiers are designed to deliver clean and uncolored audio reproduction, making them suitable for both studio use and high-end home audio setups.
3.2 Headphone Amplifiers: Lake People Audio is highly regarded for its headphone amplifiers, which are widely considered among the best in the industry. Their headphone amplifiers are designed to drive a wide range of headphones, from low-impedance models to demanding high-impedance headphones, with exceptional clarity and power.
3.3 Digital-to-Analog Converters (DACs): Lake People Audio's DACs are designed to convert digital audio signals into high-fidelity analog signals. The company's DACs incorporate advanced circuitry and components to ensure accurate conversion and minimal signal degradation. These DACs support various input formats, including USB, SPDIF, and AES/EBU, making them versatile solutions for audio enthusiasts and professionals.
3.4 Audio Interfaces: Lake People Audio also manufactures audio interfaces that facilitate the seamless integration of audio equipment with computers and digital audio workstations (DAWs). Their interfaces offer low-latency audio processing, multiple input/output options, and high-resolution audio capabilities, catering to the needs of recording studios, home studios, and live sound applications.
Technological Advancements:
Lake People Audio continuously invests in research and development to stay at the forefront of audio technology. The company incorporates state-of-the-art components, advanced circuitry, and innovative designs into its products. Lake People Audio's commitment to technological advancements ensures that their products consistently deliver exceptional audio quality and performance.
Market Position:
Lake People Audio has established a strong presence in the professional audio industry. Their products are highly regarded by audio professionals, recording studios, and musicians worldwide. The company's reputation for uncompromising audio quality and attention to detail has earned them a loyal customer base. Lake People Audio's products are distributed globally through authorized dealers, online platforms, and direct sales channels.
Customer Support and Satisfaction:
Lake People Audio places great emphasis on customer satisfaction. The company provides excellent customer support, offering technical assistance, product information, and warranty services. Their commitment to customer satisfaction has contributed to a positive brand image and customer loyalty.
Future Prospects:
As the audio industry continues to evolve, Lake People Audio is well-positioned to capitalize on emerging trends and technologies. The company's dedication to innovation and commitment to audio quality will likely drive future product development. With a solid reputation and a loyal customer base, Lake People Audio is poised for sustained growth and continued success.
Conclusion:
Lake People Audio's commitment to delivering exceptional audio solutions, coupled with its technological advancements and market position, makes it a leading player in the audio industry. The company's amplifiers, headphone amplifiers, DACs, and audio interfaces are highly regarded for their sound quality, reliability, and precision. Lake People Audio's dedication to customer satisfaction and its focus on innovation position the company for a promising future in the ever-evolving audio technology landscape.
TEST: Lake People G105 MKII
The manufacturer Lake People, based on Lake Constance, has been producing high-quality microphone, headphone and phono amplifiers as well as A/D and D/A converters for decades, which are handcrafted in Germany. German components are used in the production of the devices and the label "Made in Germany" is thus taken seriously in every respect. In this article, we will introduce the Lake People G105 MKII studio headphone amplifier. As expected, the G105 MKII is the successor of the successful G105. In this review, we will try to uncover important information on whether it is worth upgrading to the G105 MKII. But this article should also contain helpful information for anyone who is generally thinking about buying a new headphone amplifier.
The scope of delivery of the Lake People G105 MKII
The scope of delivery of the Lake People G105 MKII headphone amplifier is clearly arranged, but nevertheless carefully put together. The device is delivered in a sturdy folding box, which is lined with nubby foam to ensure safe transportation. Also included is a matching power cable, so the amplifier is ready to go right out of the box. A detailed user manual in two languages is also included. This contains easy-to-understand instructions on all the functions of the product and beyond, as well as detailed explanations of all the controls and an overview of the technical specifications of the device.
The case of the Lake People G105 MKII
The housing of the Lake People G105 MKII headphone amplifier consists of a matte black anodized aluminum construction, including the front and rear panels. The bottom of the unit is equipped with four very good non-slip rubber feet to ensure stable and secure placement on any surface. Compared to its predecessor, the new version of the G105 MKII has an impressive length of about 19 cm, which is an increase of 4.5 cm. The controls are located on the front of the device. On the left, the volume and balance controls are positioned, both equipped with high-quality aluminum caps of 25 mm in diameter. The enlarged caps compared to the MKI version allow for more precise fine-tuning of the controls. In the center is a toggle switch that selects between three modes of operation, "Mono", "Stereo" and "Phase". The Lake People G105 MKII has two 6.35 mm stereo jack sockets, for which a split function can be activated via a pushbutton switch.
The rear panel of the Lake People G105 MKII offers two RCA jacks for connecting unbalanced stereo channels. However, feeding with balanced signals is also possible using two XLR inputs. By simply switching between the pairs of jacks, switching between input sources is effortless. It should be noted that all inputs are tuned to line level and each provides a ground screw for safe operation. Power is provided by a standard IEC socket, which is removable for quick and easy access to the fuse behind it.
Technology and technical values
Looking at the inner workings of the Lake People G105 MKII, it quickly becomes clear that some technical changes have been made to the MKI version. In contrast to the previous version, which still relied on two smaller transformers, a single large transformer is now used, which provides the internal operating voltage in contrast to the usual +/- 15V with +/- 25V. This voltage boost is said to allow potentially higher amplitudes and generate greater headroom.
Particularly noteworthy about the Lake People G105 MKII is its pregain function, which allows for optimal adjustment of the internal preamplification to the varying impedance of the connected headphones. For this purpose, only some connectors inside the amplifier need to be reconnected, allowing better use of the volume control's travel. In doing so, it is possible to adjust the pregain of the two headphone outputs independently for each of the two stereo outputs.
The new version of the device also offers even greater versatility in the selectable gain levels. While the pregain of the previous model was adjustable in three steps at -4 dB, +8 dB and +14 dB, the MKII now offers five steps between -6 dB, 0 dB, +6 dB, +12 dB and +18 dB. According to the manufacturer, the G105 MKII reaches up to 100 kHz in terms of playback range, well above what is still within the perceptible range.
The Lake People G105 MKII in practice
The precise placement of the really very good rubber feet on the Lake People G105 MKII guarantees a stable grip on smooth surfaces such as a glass plate. This makes it a breeze to connect plugs or press buttons without the device slipping uncontrollably. A clear mechanical click is heard when the amplifiers are switched on, which underlines the excellent quality of the components. The haptic feedback of the push button switch further reinforces this impression. The retention fuses of the XLR sockets on the back of the unit are also a sign of the thoughtful and careful design. These precautions ensure that the connected cables are securely and reliably fixed at all times and cannot be pulled out unintentionally.
Settings inside on the circuit board
If you want to optimally adapt the G105 MKII to the load impedance of the selected headphones, you have to deal with setting the pre-amplification. To do this, the top two case screws must be removed from the front and rear of the amplifier, which may be a bit awkward due to the necessary use of Torx and Allen screw driver profiles. On higher-end headphone amplifiers, small slide switches on the rear panel are common instead of internal jumpers, which is more flexible but also results in a higher cost to the buyer. Once the case is opened, however, rearranging the connectors is very easy, helped by the detailed instruction manual. These adjustments are also required for the internal jumpering of the Ground Lift feature.
When pre-gain and ground lift are set correctly, the control travel and resulting resolution of the volume control can be better utilized, and hum loops are also avoided. The control runs continuously and with smooth resistance, while the balance control is conveniently gridded. The toggle switch for selecting the operating mode also clicks into place with high quality, and the engagement of the jack plugs of the headphone feed lines is particularly rich and strong. Handling is consistently high-quality and pleasant, although the front panel is quite sensitive and therefore scratches and unsightly deposits can easily occur during handling.
When switching from stereo to mono mode, it is positively noticeable that Lake People takes care of the necessary level balancing instead of simply adding both levels. When the G105 MKII's familiar split feature is enabled, the two outputs each output the left and right channels, allowing two channels to be amplified separately in the studio. When the split feature is used in conjunction with mono mode, the balance control can be used to adjust the individual output volumes of the two headphone jacks.
Most notably, the Lake People G105 MKII features a Phase mode that causes the polarity of the right channel to be reversed. This feature can be used as an excellent phase check. If instruments in the mix are particularly weak or possibly even inaudible, checking the phase of the instrument in question can remedy the situation. Thus, the Lake People G103 MKII act not only as a headphone amplifier, but also as an excellent mixing tool.
In stereo mode, the product presents itself from its best side. The stereo width of the signal is remarkable, the sonic depth gradation very good. The basses are reproduced cleanly, detailed and differentiated, the signal appears overall structured, factual and without any colorations that could alienate the signal. Even at high gain levels and strong impulses, the signal remains free of distortions. The output signal is always clear and defined depending on the headphones and the selected preamplification. Even when using headphones with comparatively low impedance, there was no inherent noise in the sound. The entire sonic performance of the headphone amplifier continues the high-quality general impression, which already started with the very good manufacturing quality, the manifold features and the general handling.
Conclusion
The Lake People G105 MKII headphone amplifier proves to be an excellent workhorse for audiophile users. The model scores with a to-the-point scope of delivery and a design of matte-black metal housing, which gives the device an aura of value and robustness. The professional feel of the controls underscores the serious appearance of the headphone amp. The low-noise, finely resolved and objective sound image puts the crown on the whole thing.
The high-quality controls and the various modes (stereo, phase and mono) with level adjustment make the model a recommendable headphone amp for professional studio users. In addition, it serves as a useful mixing and editing tool. With the Lake People G105 MKII, demanding users have a headphone amplifier at their disposal, which offers individual adjustment to the respective headphones and at the same time has an excellent sound quality.
Additional informations:
Lake People Audio is a prominent and innovative company in the field of audio technology. Since its establishment, the company has garnered a reputation for delivering high-quality audio equipment and solutions. This report aims to provide an in-depth analysis of Lake People Audio, covering various aspects such as its history, products, technological advancements, market position, and future prospects.
Company Overview: Lake People Audio was founded in Germany in 1986 by Fried Reim, an experienced audio engineer and entrepreneur. The company started as a small-scale operation but quickly gained recognition for its commitment to precision and audio fidelity. Today, Lake People Audio has become a well-established brand, catering to professional audio engineers, musicians, and discerning audiophiles worldwide.
Product Range: The product range offered by Lake People Audio is diverse and caters to different audio needs. The company specializes in the design and manufacture of audio amplifiers, headphone amplifiers, digital-to-analog converters (DACs), and audio interfaces. Lake People Audio's products are known for their exceptional sound quality, reliability, and attention to detail.
3.1 Amplifiers: Lake People Audio's amplifiers are renowned for their transparency and accuracy. The company offers a variety of amplifiers, including headphone amplifiers, power amplifiers, and preamplifiers. These amplifiers are designed to deliver clean and uncolored audio reproduction, making them suitable for both studio use and high-end home audio setups.
3.2 Headphone Amplifiers: Lake People Audio is highly regarded for its headphone amplifiers, which are widely considered among the best in the industry. Their headphone amplifiers are designed to drive a wide range of headphones, from low-impedance models to demanding high-impedance headphones, with exceptional clarity and power.
3.3 Digital-to-Analog Converters (DACs): Lake People Audio's DACs are designed to convert digital audio signals into high-fidelity analog signals. The company's DACs incorporate advanced circuitry and components to ensure accurate conversion and minimal signal degradation. These DACs support various input formats, including USB, SPDIF, and AES/EBU, making them versatile solutions for audio enthusiasts and professionals.
3.4 Audio Interfaces: Lake People Audio also manufactures audio interfaces that facilitate the seamless integration of audio equipment with computers and digital audio workstations (DAWs). Their interfaces offer low-latency audio processing, multiple input/output options, and high-resolution audio capabilities, catering to the needs of recording studios, home studios, and live sound applications.
Technological Advancements:
Lake People Audio continuously invests in research and development to stay at the forefront of audio technology. The company incorporates state-of-the-art components, advanced circuitry, and innovative designs into its products. Lake People Audio's commitment to technological advancements ensures that their products consistently deliver exceptional audio quality and performance.
Market Position:
Lake People Audio has established a strong presence in the professional audio industry. Their products are highly regarded by audio professionals, recording studios, and musicians worldwide. The company's reputation for uncompromising audio quality and attention to detail has earned them a loyal customer base. Lake People Audio's products are distributed globally through authorized dealers, online platforms, and direct sales channels.
Customer Support and Satisfaction:
Lake People Audio places great emphasis on customer satisfaction. The company provides excellent customer support, offering technical assistance, product information, and warranty services. Their commitment to customer satisfaction has contributed to a positive brand image and customer loyalty.
Future Prospects:
As the audio industry continues to evolve, Lake People Audio is well-positioned to capitalize on emerging trends and technologies. The company's dedication to innovation and commitment to audio quality will likely drive future product development. With a solid reputation and a loyal customer base, Lake People Audio is poised for sustained growth and continued success.
Conclusion:
Lake People Audio's commitment to delivering exceptional audio solutions, coupled with its technological advancements and market position, makes it a leading player in the audio industry. The company's amplifiers, headphone amplifiers, DACs, and audio interfaces are highly regarded for their sound quality, reliability, and precision. Lake People Audio's dedication to customer satisfaction and its focus on innovation position the company for a promising future in the ever-evolving audio technology landscape.
Donnerstag, 1. Juni 2023
TEST: Kustom 72 Coupe
Let's be honest, who can really completely absolve themselves of the fact that they would rather disregard a product, no matter how outstanding it is in terms of its audiophile capabilities, presented in a trivial, perhaps even soporific packaging, than in a correspondingly "gaudy" visual appearance.
Especially since we are dealing here with the vast realm of the guitar empire, which, as we all know, from the slender guitar neck to the imposing fullstack, reveals itself as a pure all-rounder in terms of phallic symbols. Where do you think the expression "guitar jizz" comes from? ;-)) Aren't some guitarists live more like playing with themselves anyway......... let's leave that better.
When it came to converting the rather purpose-bound and sometimes drearily standing in the corner and "rehearsal room-muffle" amplifier into a spacy eye-catcher with visually high entertainment value, there was only one official name in the sixties: KUSTOM!
The company, founded in 1966 by Bud Ross, used whole truckloads of Naugahyde, a kind of artificial leather borrowed from hot-rod vehicle construction, which, lined with foam, was used both as a seat in the tuning car sector and as all-round chassis cladding for the Kustom amps.
It was a joy to see the amps shining from the main stage in the most upbeat fruit jelly colors of the season, red, blue or silver, all in metallic paint of course. Space cowboys of all countries unite, Gary Glitter in pure culture!
Incidentally, Bud Ross is said to have been a real bon vivant and also a passionate gambler. Legend has it that he lost his company in a poker game.....
The Kustom 72 Coupe Combo that I have for testing partly picks up the optical highlights mentioned above, but in the same breath has undergone some changes with regard to the technology used.
If in the mid-sixties solid-state was still the weapon for the modern sound, Kustom anno 2008 comes up with solid valve technology in its top product line.
Construction:
The 72 Coupe is a "fullsize" all-tube combo (686 mm wide - 495 mm high - 270 mm deep) with an official weight of 28.5 kg. It has an output volume of 72 watts, which can really hold its own within any band, with a power consumption of 300 watts. Those are efficiencies, huh ;-)) Like an internal combustion engine.
The amp is driven by a combination of 4 pcs. 12AX7 vials in the preamp and 4 pcs. 6L6GC vials as power tubes.
Visually, Kustom has scaled back the exalted appearance of 40 years ago by a few calibers, so from the opulent all-around glam rock faction only a dignified leatherette front strip in black remains, which is still unparalleled.
Included is an elaborately crafted footswitch, which accesses the channel selection, a volume boost function for the two channels and the FX section, and the matching stereo jack cable.
Kustom installs two Eminence-made 12-inchers in the combo, which are rated at 8 ohms and feature an aluminum dome tweeter. Wired in series, the factory impedance of the two speakers is 16 ohms.
The amp is dual-channel, with each channel capable of two volume levels. Both channels have an identically designed control assignment in terms of volume, respectively master, whereby the volume controls work as push / pull pots and have a bright switch for treble boost.
Both channels share a standard three-band tone control consisting of bass, mids and treble. This is followed by the control option for the built-in Accutronics reverb spiral, which is adjustable both in intensity and Kustom-typical in timbre.
In terms of FX, the Kustom 72 has, in addition to the old-school reverb, two more nice vintage effects, their sign tremolo and vibrato, adjustable in speed and intensity.
Finally, flush right on the top of the combo you will find the all-tube-typical toggle switches On/Off, or Standby and a powerful purple light, which provides information about the operating status of the device.
On the rear side, there are two speaker outs and an impedance selector switch, which allows the total resistance to be switched to 4, 8, or 16 ohms.
From left to right we find the following controls, sockets and switches: a mini-switch, which controls the use of the footswitch regarding the FX-section (vibrato/tremolo or reverb), the footswitch socket, a speaker-emulated direct out as XLR-plug together with ground lift and its own volume control, the volume control of the boost effect (located behind the FX-loop) and the send and return socket of the tube-buffered FX-loop.
Practice:
Anyone who has ever carried an all-tube "2x12" combo knows what's coming next. Should you buy a combo amp for reduced weight reasons compared to a head/cabinet, you are completely out of place here. The almost 30 kg, which tug at only one hand, want to be stemmed, especially since the combo has no wheels, but this will again have a positive effect on the life of the power tubes.
Twice rolled the combo over cobblestones, possibly in warm operating condition, best still with a few small things like cable case and guitar case stacked on top for convenience, means the final end of the power tubes due to the "vibration factor".
All roadies and stagehands have always wondered why my amp flight cases, despite being heavy, all have no wheels. This is the answer.
Well, let's start with the clean channel of the Kustom, called "Rhythm" from the factory. What we get here, even with a neutral tone orientation, is truly one of the best clean sounds I've heard in a long time!
Very clear and a "pearliness" of the sound additionally supported by the treble emphasis of the aluminum domes makes this channel an absolute highlight, really outstanding. Deep, warm and refined with the softness of the 6L6 quartet.
The tube buffered FX path also leaves an excellent impression. The tremolo / vibrato unit produces a very condensed sound that clearly scores in terms of character and originality.
The Accutronics reverb also reveals the typical coil spring sound, which can be additionally tamed very nicely in its in-house harshness in the decay if required by the Tone control.
In the Lead channel, on the other hand, the 72 Coupe moves diametrically to its counterpart from the rhythm department in terms of sound. The complete basic characteristic of the channel can be described as "vintage low treble", sometimes even the adjective "musty" flashes briefly.
In terms of old-school crunch sound, this channel with its "bristly", sometimes "scratchy" interpretation is the right contact, but modern leads and cutting riff attacks are looked for in vain in this lead channel.
Conclusion:
Despite great history and unique optics, Kustom has not yet been able to land the really big hit, which may have been due on the one hand to the "American-overbred" look of the sixties and the then brand new, but today rather "second-row" transistor technology.
With the Coupe series, this could change, but the 72 has a clean sound, which, although sonically differently conceived, in its value can certainly hold a candle to the clean superfather Fender.
Visually still independent, albeit in a slightly more discreet form, the Kustom also scores with a very good workmanship, a tasteful layout and the amplifier is also not only as today generally designed in the U.S., but also built there.
An independent amp with character!
Additional informations:
- Kustom Amplifiers is a renowned company specializing in the design, manufacturing, and distribution of guitar amplifiers and related equipment. With a rich history spanning several decades, the company has established itself as a prominent player in the musical instrument industry. This report provides a detailed overview of Kustom Amplifiers, covering various aspects such as history, product range, technologies, reputation, and future prospects.
History and Background Kustom Amplifiers was founded in 1965 by Bud Ross, a visionary entrepreneur with a passion for music and electronics. Ross aimed to create amplifiers that offered guitarists a distinct sound and unique aesthetics. The company quickly gained popularity and became a symbol of the emerging counterculture music scene of the 1960s. Over the years, Kustom Amplifiers expanded its product line and gained a loyal following among professional musicians and enthusiasts alike.
Product Range Kustom Amplifiers offers a comprehensive range of guitar amplifiers and related equipment to cater to the diverse needs of guitarists. Their product line includes amplifiers for various purposes, including practice amps, stage amps, and high-performance tube amps. Additionally, Kustom Amplifiers manufactures a wide range of speaker cabinets, effects pedals, and other accessories to complement their amplifiers. Their products are known for their robust construction, reliability, and versatility, making them suitable for different genres and playing styles.
Technologies and Innovation Kustom Amplifiers has always been at the forefront of technological innovation in the guitar amplifier industry. They have consistently incorporated cutting-edge technologies and features into their products to enhance sound quality and user experience. Over the years, the company has introduced advancements such as solid-state circuitry, hybrid amplifier designs, and digital effects integration. Kustom Amplifiers continues to push boundaries by integrating modern digital modeling technology, Bluetooth connectivity, and USB recording capabilities into their amplifiers.
Reputation and Industry Recognition Kustom Amplifiers has built a strong reputation for delivering high-quality amplifiers that meet the demands of professional guitarists. Their products are known for their distinctive sound characteristics, reliability, and affordability. Kustom Amplifiers has received industry recognition through numerous awards and endorsements from renowned musicians. The brand's iconic aesthetics, including the signature "tuck and roll" vinyl coverings, have become synonymous with their amplifiers and contribute to their distinctive appeal.
Customer Support and Warranty Kustom Amplifiers prioritizes customer satisfaction and offers comprehensive support services. They provide technical assistance, user manuals, and online resources to help customers optimize their amplifier settings and troubleshoot any issues. Additionally, the company offers warranty coverage on their products, ensuring that customers can rely on their equipment for years to come.
Future Outlook With a legacy spanning several decades, Kustom Amplifiers has firmly established itself as a reputable brand in the guitar amplifier market. The company's commitment to innovation and adapting to evolving industry trends positions them well for future success. Kustom Amplifiers continues to expand its product range, incorporating emerging technologies and addressing the evolving needs of guitarists. With a dedicated customer base and a strong presence in both professional and amateur music communities, Kustom Amplifiers is poised for continued growth and relevance in the industry.
Conclusion
Kustom Amplifiers has been a significant player in the guitar amplifier market, renowned for their unique sound, innovative designs, and commitment to customer satisfaction. With a rich history, diverse product range, technological advancements, and a solid reputation, Kustom Amplifiers remains a trusted choice for guitarists seeking reliable and high-quality amplification solutions. As the company continues to innovate and adapt, it is poised to shape the future of guitar amplification and maintain its position as a leader in the industry.
- Combo guitar amplifiers are a popular choice among guitarists due to their convenience, portability, and versatility. These amplifiers combine the amplifier head and speaker cabinet into a single unit, making them a compact and all-in-one solution for amplifying electric guitars. This report provides a detailed overview of combo guitar amplifiers, covering various aspects such as their design, features, advantages, popular models, and considerations for choosing the right combo amplifier.
Design and Features Combo guitar amplifiers typically consist of two main components: the amplifier head and the speaker cabinet. The amplifier head contains the preamp, power amp, and control knobs, allowing guitarists to adjust settings such as volume, gain, tone, and effects. The speaker cabinet houses one or more speakers, which play a crucial role in projecting the amplified sound.
Combo amplifiers come in various sizes and power ratings to suit different needs. They range from small practice amps with low wattage suitable for home use or intimate performances to larger, higher wattage models designed for stage performances. Combo amplifiers may also feature built-in effects such as reverb, delay, and modulation, eliminating the need for additional effects pedals.
Advantages of Combo Amplifiers Combo guitar amplifiers offer several advantages that make them popular among guitarists:
Portability: The all-in-one design of combo amplifiers makes them easy to transport, making them ideal for musicians who frequently travel or perform at different venues.
Convenience: With the amplifier head and speaker cabinet combined, combo amplifiers eliminate the need for separate components and cables, simplifying the setup process.
Affordability: Combo amplifiers often provide a cost-effective option compared to purchasing separate amplifier heads and speaker cabinets.
Versatility: Combo amplifiers are available in various sizes and power ratings, allowing guitarists to find a model that suits their playing style, venue size, and desired sound.
Popular Combo Amplifier Models The market offers a wide range of combo guitar amplifiers from various manufacturers, each with its own unique characteristics and features. Some popular models include:
Fender Hot Rod Deluxe: Known for its warm tone and versatility, this 40-watt combo amp has become a staple in many guitarists' arsenals.
Vox AC30C2: This iconic amplifier offers the classic British sound, with its distinctive chime and overdrive capabilities. It is favored by many rock and indie guitarists.
Marshall DSL40CR: A versatile 40-watt combo amp from the renowned Marshall brand, known for its powerful tone and wide range of overdrive options.
Roland JC-40 Jazz Chorus: This solid-state combo amp is highly regarded for its clean and shimmering tone, particularly popular among jazz and pop guitarists.
Considerations for Choosing a Combo Amplifier When selecting a combo guitar amplifier, several factors should be taken into account:
Wattage: Consider the power requirements based on your playing environment, whether it's for home practice, small gigs, or larger venues.
Sound and Tone: Each combo amplifier has a unique sonic character. Try different models to find one that suits your playing style and desired sound.
Effects and Features: Determine whether you need built-in effects or specific features such as a headphone output, line inputs, or an effects loop.
Speaker Configuration: Consider the number and size of speakers in the combo amplifier.
Different configurations produce different tonal characteristics and projection.
Budget: Set a budget and explore options within that range, considering both the quality and features of the combo amplifier.
Conclusion
Combo guitar amplifiers provide a convenient and versatile solution for amplifying electric guitars. With their compact design, portability, and various features, they have become a popular choice among guitarists of all skill levels. Understanding the design, advantages, popular models, and considerations for choosing the right combo amplifier will help guitarists make informed decisions when selecting the best amplifier to meet their needs. Whether for practice, recording, or live performances, combo guitar amplifiers offer a reliable and all-in-one solution for amplifying the rich and diverse tones of electric guitars.