TEST: MÄAG PREQ2

 There are products that immediately remind you of a manufacturer due to their appearance or color scheme, which is what happened to me with the MÄAG PREQ2 that I was testing, which immediately reminded me of earlier Midas products with its "Villa Kunterbunt" color scheme. Red, yellow, green, blue and black on a two-tone blue background revive the seventies. To what extent the two-channel preamp with EQ, which is manufactured with 1 U in the USA and is suitable for recording and mixing functions, justifies its ambitious retail price of 3,399, - €, this test will show.

The concept of the MÄAG PREQ2

Mäag Audio may well be a household name to specialists in the genre, but for most, the company launched by Cliff Mäag will likely represent uncharted territory. The unique selling point for Mäag Audio is once again the very popular Air Band Shelving Equalizer, which was first introduced in 1993 with the NTI EQ3 and is also built into the MÄAG PREQ2. The MÄAG PREQ2 is largely based on the Stereo Mastering EQ4M, also from Mäag Audio, which enjoys an excellent reputation in the scene, with its range of functions, specifications and performance features.

The PREQ2's two matched channels handle either line or mic signal levels, with separate line-level input and mic XLR connectors on the rear panel. The rear panel also features XLR output connectors for each channel and an IEC on/off/fuse power switch. A look inside the solid steel chassis, which due to its construction still manages to weigh 4 kg, reveals plenty of Wima capacitors, two large Mäag Audio MA02 transformers with nickel cores and a flat toroidal transformer. The construction is very neatly arranged on a single PCB, using mainly surface mount devices. There are THAT Corp. line-input receivers and line drivers (op amps), and three regulators with three connections each, one for 48-volt phantom power and two for the 18-volt ± rails, all fitted with suitable heat sinks.

The MÄAG PREQ2 microphone preamplifier section delivers up to 71 dB of total gain through a discrete Class-A (FET) transistor preamplifier, which operates with +27 dBu of headroom and a noise floor of -128 dB. Two optimized gain ranges are selectable on the front panel, +20 dB to +42 dB and +42 to +71 dB, with the +25 dB gain switch on the front panel. The maximum microphone input level without using the 20 dB attenuator is +8 dB. The microphone input section also features front-panel switches for +48-volt phantom power, -20-dB attenuator pad, +25-dB gain, a green signal LED, +26-dBu peak LEDs, and a phase switch. Microphone gain is continuously adjustable with a single, large red gain control.

The line switch on the front panel switches the XLR line input connectors on the rear panel instead of the mic preamp. It is possible to keep both mic and line level sources connected to the PREQ2 at all times and switch each channel separately. This allows you to use one channel as a mic preamp and the other as a line level amp to record another instrument at the same time.

Also in the mic input section are 1/4-inch TS jacks for high-impedance instrument inputs, with a 1/4-inch instrument mic thru jack. The Thru jack simultaneously provides an isolated, buffered output of the channel's instrument input signal or XLR mic input with a set gain of +34 dB. This is an unbalanced signal for running a long line out to a guitar amp in the studio for live reamping, for example, or for using a stomp pedal effect with the PREQ2. When the Instrument Input TS jack is connected, the MÄAG PREQ2 automatically detects the circuit to route the unbalanced 1/4-inch input signal to the microphone input transformer. This circuit also prevents the 48 volt phantom power from reaching the 1/4 inch or XLR line input even if it is already switched on.

The EQ section

The Mäag Audio PREQ2 has a triple filter section whose layout and controls are identical for both channels. After the microphone input section, the first control is a high-pass filter with 12 dB/octave. Here you can select the frequency range from 20 Hz to 200 Hz via a very fine grid. The MÄAG PREQ2 has only one classic bass control, which works only as a booster with 6 dB / octave and processes as a bandpass the frequencies 10 Hz (called SUB), 40 Hz, 65 Hz, 100 Hz, 125 Hz and 165 Hz. To what extent one can still speak of bandpass at 10 Hz is another matter. The maximum boost is +10 dB.

The treble range is covered by the legendary AIR BAND, which also allows a boost function of up to +10 dB as a shelving filter and is divided into the ranges 2.5 kHz, 5 kHz, 10 kHz, 15 kHz, 20 kHz and 40 kHz.


The MÄAG PREQ2 in practice

Before I go into the sound of the MÄAG PREQ2, one should first consider the special feature of the product, which is undoubtedly to be found in the use of the signal branching from the first to the second channel. Here, especially reamping for guitar recordings and the integration of pedal effects, for example, for vocal recordings can be integrated by parallel operation of the two channels. The special feature is not only the adoption of the otherwise usual D.I. box functions, but also the fact that the second channel has a complete tone control if required. The combination of the two channels offers a very large variation possibility of the different sounds, especially later in the mix.

By the way, the best distorted FX sounds for vocals are still made by an analog guitar amp or its colleagues from the pedal front, which you should gladly check once in an A/B comparison with the corresponding plugins. What is very interesting especially when using FX pedals on the vocals for the later live area, if you record effects, whatever kind, in pedal form, you can easily take these effects later on a pedalboard with you to the show and use the sound there again. What singer doesn't know the problem of being completely dependent on the FOH, hoping to reproduce the FX sound created in the studio as authentically as possible at the right time.

As always with reamping, it is important to keep an eye on the output level, especially with extensive active signal processing as is the case here. The inputs of a guitar amp are designed for the very low-level signals of an electric guitar, which means that unconsciously "blowing" the amp may generate an increase in voluminosity at first glance, but on closer listening it also raises the ambient noise and massively impairs the transparency of the sound. From there, eyes away from the LED chain and trust only on the ears.

 What might be worth considering for stationary use would be an additional / alternative possibility to move the jack sockets to the back of the MÄAG PREQ2 and to integrate them into the internal cabling via a patchbay. Especially with high-quality cables, a mostly massive jack plug is always part of the scope of supply, which in combination with the corresponding cable generates quite a mess on the front panel, depending on the rack setup.

Now then, what (doesn't) catch my eye during commissioning is a status LED. Unfortunately, the only way to tell if the MÄAG PREQ2 is powered or not is to activate a push button switch. What is hidden behind this layout is unfortunately not clear to me, I would have liked to see a corresponding display. However, if you apply the first signals, you immediately hear why Mäag Audio enjoys such a good reputation among specialists.

First of all, the preamp sounds completely neutral over the entire control range in the best sense. In addition, even large dynamic jumps or massive bass load do not cause it to sweat at any time, the very large headroom cushions all currents almost calmly and does not drive into any form of saturation at any time. It is interesting that the MÄAG PREQ2 extends its function as a microphone preamplifier by a very wide range of applications, despite its only two-band tone control. Of course, the sound shaping possibilities cannot be compared with a multi-band EQ, but these are also not the tasks of the product.

Both in reamp mode as well as in the classic catch-up amplifier function, the two bands convince with an absolutely non-coloring approach, whereby the AIR band indeed offers a very finely resolving treble range when required, which has both assertive mids as well as finely purring highs on offer, depending on the frequency range. An all-around convincing preamp, which also scores with an excellent sound.


Conclusion

With the MÄAG PREQ2 Dual-Channel Strip, the American manufacturer has a top-class recording / mixing channel in its portfolio. In its reamp function it can indeed be described as unrivaled, especially since it is also convincing in classic two-channel operation.

Definitely test it once.

Additional Informations:

Company Report: MÄAG Audio
Introduction: MÄAG Audio is a renowned audio equipment manufacturer that specializes in developing high-quality audio processors, equalizers, and preamplifiers. The company has gained a stellar reputation in the professional audio industry for its innovative designs and superior sound quality. This report provides an in-depth analysis of MÄAG Audio, including its history, products, technologies, market position, and future prospects.

History: MÄAG Audio was founded in 2010 by Cliff Maag, a highly experienced audio engineer and designer. Cliff Maag's passion for audio processing led him to establish the company with the vision of creating innovative, high-performance audio gear. With his extensive industry knowledge and dedication to excellence, MÄAG Audio quickly gained recognition and carved out a niche for itself in the market.

Products and Technologies: MÄAG Audio offers a wide range of cutting-edge audio equipment designed to meet the needs of professional recording studios, live sound engineers, and musicians. The company is best known for its signature product, the MÄAG EQ4, a 500 Series equalizer module that combines vintage tone with modern precision. The EQ4 features the renowned Air Band® technology, which enhances the high-frequency spectrum, resulting in a unique and open sound.

In addition to the EQ4, MÄAG Audio has expanded its product line to include other notable offerings such as the MÄAG EQ2, PREQ4, and MAGNUM-K. These products exemplify the company's commitment to delivering exceptional sound quality, intuitive user interfaces, and robust build quality. MÄAG Audio's innovative designs and meticulous attention to detail have made their gear highly sought after by audio professionals worldwide.

Market Position: MÄAG Audio has established a strong presence in the professional audio market, positioning itself as a leader in the field of equalization and audio processing. The company's products are widely acclaimed for their transparency, musicality, and versatility, making them suitable for a diverse range of applications, including music production, broadcasting, post-production, and live sound reinforcement.

MÄAG Audio has successfully built strategic partnerships with renowned recording studios, live sound venues, and audio professionals. Their client list includes Grammy-winning engineers, top-tier music producers, and influential artists who rely on MÄAG Audio's gear to achieve exceptional sound quality in their work. This extensive network of satisfied customers has contributed to the company's growth and solidified its position as a trusted industry leader.

Innovation and Research: MÄAG Audio places a strong emphasis on research and development to stay at the forefront of audio technology. The company's team of experienced engineers continuously explores new concepts, designs, and manufacturing techniques to push the boundaries of audio processing. By leveraging the latest advancements in circuitry and digital signal processing, MÄAG Audio consistently introduces innovative products that meet the evolving needs of the audio industry.

MÄAG Audio's commitment to innovation is further exemplified by its involvement in industry conferences, trade shows, and collaborations with other audio professionals and manufacturers. By actively engaging with the audio community, the company remains responsive to market trends and customer feedback, ensuring that its products remain relevant and competitive.
Future Prospects: Looking ahead, MÄAG Audio is poised for continued success and growth in the professional audio industry. The company's unwavering commitment to delivering exceptional sound quality and innovative designs positions it favorably in an increasingly competitive market. With the rapid advancements in audio technology and the growing demand for high-quality audio gear, MÄAG Audio is well-positioned to capitalize on these opportunities and expand its product offerings.

Furthermore, MÄAG Audio's dedication to customer satisfaction, evidenced by its responsive customer support and commitment to product reliability, will contribute to the company's ongoing success. By fostering strong relationships with its customers and maintaining a reputation for excellence, MÄAG Audio can expect to maintain its market leadership and continue to be a go-to choice for audio professionals worldwide.

Conclusion: MÄAG Audio has firmly established itself as a prominent player in the professional audio industry, renowned for its innovative designs, superior sound quality, and commitment to customer satisfaction. With a strong product lineup, strategic partnerships, and a forward-thinking approach to technology, MÄAG Audio is well-positioned to thrive in the ever-evolving audio market. As the company continues to push the boundaries of audio processing, we can expect MÄAG Audio to maintain its status as a leader in the field and contribute to the advancement of audio technology as a whole.

TEST: M-Audio M3-8

 How many speakers does a nearfield monitor have? Well, given the overwhelming number of protagonists, the number two will probably cross most readers' lips. The reasons are manifold, size, weight, price and phase fidelity are only a few arguments that move the typical studio owner to this choice. On the other hand, there has been an increasing countermovement in recent times that pays homage to the original 3-way hi-fi speaker and wants to capture the crossover frequencies with an additional midrange driver, which are sometimes lost in the crossover of a 2-way system. In addition, a lower load is applied to the individual drivers, since their efficiency extends to a narrower frequency range.

With the M-Audio M3-8, the American company is preparing to put a foot in the comparatively narrow occupied terrain. The objective is to compensate for the above-mentioned disadvantages, while focusing on the design-related strengths.  The target group is once again the ambitious budget studio owner, who is looking for the next higher performance class in the near-field monitor range, due to the low retail price of less than 300, - € due to the Chinese production.


Construction

Let's first take a look at the external values of the monitor. With its almost 13 kilogram combat weight and dimensions of 268 mm x 434 mm x 285 mm, wall mounting is strongly discouraged. In addition to a decent downward torque, you would also inevitably be confronted with corresponding booming frequencies in the bass range due to the bass reflex port on the back. A stand mounting is preferable in any case, whereby in my opinion a distance of more than 1.50 meters between the speaker and the ear cup can be aimed for.

At first glance, the M-Audio M3-8 appears to be a 2-way solution, but on closer inspection, the upper speaker section turns out to be a coaxial construction of a 5-inch Kevlar midrange driver along with a 1-inch tweeter silk dome, which were arranged on top of each other in their axis. In principle, this system not only saves space, but also has the advantage of minimizing the differences in running times between the individual speakers. A Kevlar version of 8 inches is also used as the bass speaker. The crossover frequencies of the 3 ranges are specified with 450, respectively 3900 Hertz, whereby the individual speakers with 150 watts (RMS) in the bass range and 35 watts (RMS) each in the midrange and treble range have sufficiently dimensioned power outputs in Class A/B technology.

Optically one decided in the house M-Audio in contrast to the generally popular "black-as-black-can" variant of the competition for a front panel in the alemannisch coined "oak rustic in mahogany stained", whereby the result comes off clearly better than it the smug remark suggests. To avoid edge reflections, all four front panel corners were discreetly beveled towards the back. The rest of the case was made of the ever-popular medium-density fiberboard (MDF) and covered with black plastic. Four small rubber feet were glued underneath the case, which don't decouple the case from the base, but protect the underside from scratches. The workmanship of the case is impeccable in every respect.

On the rear, the M-Audio M3-8 pleasantly surprises with a diverse selection of filters to adapt the sound result to the given room parameters as practically as possible. In addition to a volume control, the 100 Hz, 1 kHz and 10 kHz ranges have a separate level control, each of which allows for a boost or cut of 6 dB in the frequency range used. All potentiometers are gridded, which facilitates a uniform adjustment in stereo operation immensely. In addition, a high-pass filter can be activated at 60 or 80 Hertz, which, however, is more suitable for an additional subwoofer operation than for resonance control. All equalizers can be switched off via a summing switch if necessary.

In terms of connection options, the M-Audio M3-8 also covers the three important areas of XLR balanced, TSR balanced and RCA unbalanced, ensuring access to almost any analog source. As expected, to prevent the sensitive components from being accidentally sent skyward in the heat of the moment, the most important protection circuits have been installed on the M-Audio M3-8, which include an infrasonic filter, overheating protection and a limiter. Good thing!


Practice

After we have placed the monitors in a proper stereo triangle at a distance of about 1.70 meters from the ear, the actual test can begin. In order to get an unbiased impression, we start with completely deactivated filters. The first impression turns out to be an expandable basic framework, even though my subjective preferences were not directly hit, as expected. Thus, the bass range convinces with a strong stroke due to the large power amp potential, but at the same time it is comparatively coarse in terms of fine detail. The Kevlar coating will have a certain share, which ensures high power handling due to its increased stiffness, but at the same time is also responsible for the above-mentioned effect.

The midrange driver in coaxial interaction with the tweeter is somewhat different from the woofer in terms of depth staggering due to its design and initially requires the listener to listen around a bit in terms of spatial resolution. However, once you get used to the sound impression, the two components, which are rather discreet overall, are very pleasant.

In the second part, we now access the filters to adjust the frequency response of the monitor to our personal habits. Personally, I was most convinced by a discreet lowering of the basses, while at the same time raising the mids and trebles. The high-pass filter, on the other hand, was not activated due to the subwoofer-less mode. Lo and behold, the initially unspectacular basic sound of the system changed after a discreet filter adjustment to a clearly more intensive sound reproduction, whereby even difficult material in the form of classical recordings did not experience any deformations due to the filter application.

As expected, the coaxial midrange/tweeter solution results in a very good low frequency response, even though the stereo triangle is much more limited in its lateral expansion than with comparable standard solutions. Everyone has to find out for themselves to what extent these advantages and disadvantages affect their personal workflow.

For my part, I very often work with guitar-heavy productions, which tend to lose some of their presence in the crossover cut with 2-way solutions. In this case, one tends to overemphasize the high-mid range, which in the end runs the risk of drifting too much into the "saw" range. This is where the M-Audio M3-8 is particularly convincing, since especially in the dreaded "midrange board" between 1 - 3 kHz no crossover frequency can register a dip.


Conclusion

With the M-Audio M3-8, the American manufacturer has a coaxial 3-way system in the program, which knows how to convince. Visually appealing and with a high maximum level, the near field monitor plays out its strengths due to the 2 crossover points, especially with midrange-oriented music. Due to comprehensive filter technology, it is also possible to optimize the preferred listening habits over three frequency ranges, if required.

A good all-rounder, which knows how to shine with extensive features.

Additional informations:

Audio Interfaces: Unlocking the World of Professional Audio Recording

Introduction:
Audio interfaces have revolutionized the landscape of professional audio recording, enabling musicians, producers, and audio engineers to capture high-quality sound and bring their creative visions to life. This comprehensive report delves into the world of audio interfaces, exploring their purpose, functionality, key features, types, connectivity options, and their significance in modern music production.

    Purpose and Functionality:
    An audio interface serves as the bridge between analog and digital audio worlds. It converts analog audio signals, such as those from microphones and instruments, into digital data that can be processed and recorded by a computer or digital audio workstation (DAW). Conversely, it converts digital audio data back into analog signals for playback through speakers or headphones. Audio interfaces ensure accurate signal conversion, low-latency performance, and provide essential features like preamps, phantom power, and monitor control.

    Key Features of Audio Interfaces:
    a. Preamps: Audio interfaces often include preamplifiers (preamps) that amplify weak analog signals from microphones or instruments, bringing them to line level for optimal recording quality.
    b. Phantom Power: Many interfaces provide phantom power (+48V) to power condenser microphones, which require it for proper operation.
    c. Input and Output Options: Audio interfaces offer a variety of input and output options, including XLR, 1/4" TRS, and RCA connectors, allowing users to connect microphones, instruments, headphones, and studio monitors.
    d. Sample Rate and Bit Depth: Interfaces support different sample rates (e.g., 44.1kHz, 48kHz, 96kHz) and bit depths (e.g., 16-bit, 24-bit), determining the resolution and fidelity of the recorded audio.
    e. Direct Monitoring: This feature allows users to monitor audio signals with near-zero latency directly from the interface, bypassing the computer's processing.

    Types of Audio Interfaces:
    a. USB Audio Interfaces: These interfaces connect to the computer via USB, making them widely compatible and convenient for home studios and portable setups.
    b. Thunderbolt Interfaces: Thunderbolt interfaces offer high-speed connectivity for low-latency recording and playback, ideal for professional studios and demanding applications.
    c. PCIe Interfaces: These interfaces connect directly to a computer's motherboard via a PCIe slot, providing extremely low-latency performance and high channel counts for professional studios.
    d. FireWire Interfaces: Although less common now, FireWire interfaces offer reliable connectivity and low-latency performance, especially for older systems.

    Connectivity Options:
    Audio interfaces provide a range of connectivity options to accommodate different recording setups and needs. They may include multiple inputs and outputs, MIDI ports for connecting external devices, digital connections like ADAT or S/PDIF, and headphone outputs with individual volume control. Some advanced interfaces offer network audio connectivity, such as Dante or AVB, for seamless integration with larger audio networks.

    Significance in Modern Music Production:
    Audio interfaces play a crucial role in modern music production, enabling musicians and producers to capture professional-grade recordings in their home studios. With the availability of affordable and high-quality interfaces, the barrier to entry for recording and producing music has significantly lowered. Audio interfaces empower artists to take control of their creative process, capturing their performances with precision, and achieving studio-quality sound in their productions.

    Considerations When Choosing an Audio Interface:
    When selecting an audio interface, several factors should be considered:
    a. Input and Output Requirements: Determine the number of simultaneous inputs and outputs required for your recording setup.
    b. Preamp Quality: Consider the quality and transparency of the preamps, as they significantly impact the recorded sound.
    c. Compatibility: Ensure compatibility with your computer's operating system and connection ports.
    d. Latency Performance: Look for interfaces with low-latency performance to minimize delays during recording and monitoring.
    e. Budget: Set a budget and consider the features and quality that align with your recording needs.

Conclusion:
Audio interfaces have become indispensable tools for musicians, producers, and audio engineers, unlocking the potential of professional audio recording in both home and professional studio environments. With their ability to convert analog signals into pristine digital audio, provide essential features, and facilitate seamless connectivity, audio interfaces have democratized music production and empowered countless artists to create high-quality recordings. As technology advances, audio interfaces continue to evolve, delivering improved performance, expanded connectivity options, and innovative features, further shaping the future of audio recording and production.

TEST: M-Audio M-Track Quad

 In order to make a mark in today's jungle of audio interfaces, it takes quite a bit of attention, be it visual or technical. With the M-Audio M-Track Quad, the American company founded in 1990 now tries to get both attributes under one hat by providing the flagship of the M-Track series with an extra portion of interfaces and input/output jacks, all packed into a massive housing.

Design

It's not at all easy to create a sensible desktop unit in the audio interface realm that transcends the realm of simple stereo signal routing. After all, a proper case takes up quite a bit of desktop space, and you're faced with the problem of routing cables, since nearly all interfaces use both the back and front for signal flow.

The M-Audio M-Track Quad has to face the same problem. The four-channel product is housed in a very massive case, which promises optimal protection for the electronic inner workings, but with dimensions of 333 mm x 89 mm x 156 mm (WxDxH) also takes up quite a bit of space in the personal work area. Unfortunately, there is no 19 inch frame for the product, but the interface stands on four very good rubber feet, which give the product enough stability even on very smooth surfaces due to their very good adhesive mixture. Do the test and plug an XLR or jack plug into a socket of your desktop interface without holding it with the other hand. Most of the time, you immediately feel reminded of your childhood, where you pushed the wooden locomotive through the entire living room. You are spared this with the M-Audio M-Track Quad and that with a contact pressure of only 1.9 kilograms in weight.

Visually, the Chinese-made product is quite appealing. In keeping with the Apple look, which still dominates technology, only the colors black, gray and silver are used, although the black steel housing leaves fingerprints at least as quickly as the display of an iPhone. The modern sound engineer of today therefore always has a microfiber cloth in his grab drawer. In terms of transportability, you are of course already dependent on a corresponding transport case with these dimensions, but in terms of stability, there will be no problems with this massive construction.

As already mentioned, the M-Audio M-Track Quad has four inputs, which are located on the front of the housing and were all designed as XLR / TRS combo jacks. Locked sockets would have been nice, but have probably fallen victim to the red pencil at a retail price of 249, - euros. Each channel has a pleasantly heavy input control and an individual Mic / Line - Instrument switch, where you can choose between a low-impedance studio signal and a high-impedance instrument signal. Two separate toggle switches can be used to apply 48 V phantom power to the XLR jacks if required.

Below the toggle switches is a 6.3 millimeter headphone output with separate volume control. It's nice that they didn't opt for the poor 3.5 millimeter variant, but why please put the jack's hole almost on contact right next to the volume control? A natural turning movement with the fingers is thus no longer possible, since one bumps against the headphone plug while adjusting the volume. The action becomes a fiddly job, a completely unnecessary restriction. In general, the inner PCB assembly seems to have dictated the layout of the front. In the center of the front panel it is very tight with switches and knobs, you can hardly operate a knob without running the risk of moving a switch, while on the right of the panel several square inches have been left unused.

However, the routing of the headphones is very good. Via a toggle switch, you can choose to listen to channels 1/2, 3/4 or all channels at the same time. In addition, you can select pre or post via the sum output using a rotary control, or rather direct or USB. Speaking of the summing output, the M-Audio M-Track Quad has four outputs on the rear panel, of which outputs 1 and 2 can be adjusted in output level via a knob on the front panel. The monitor can be monitored mono or stereo.

On the back, the M-Audio M-Track Quad shines with several features that are rather unusual in this price range. On the one hand, the product has a built-in 3-way USB hub to replace the hogged USB port on the computer, or to expand it by 200%. A very helpful feature, which is especially convincing for computers of the penultimate generation. In addition, the M-Audio M-Track Quad also has a MIDI In/Out connection, via which the usual 16 channels can be sent along with MIDI clock.

The four separate inserts (one per channel) must be described as very successful. If you always complained about not being able to place your favorite outboard equipment correctly in the signal flow, you now have the possibility to insert compressors, equalizers or even entire channel strips via Y-connectors on TRS basis, in order to give the signal a personal touch even before conversion. Four separate outputs can also be used to connect various monitor constellations. An On/Off switch, the connection socket for the included power supply and the USB port for the computer complete the connection periphery on the back.

Practice

The internal values of the M-Audio M-Track Quad correspond with max. 24-bit word width and 96 kHz sample rate to the meanwhile usual values. The scope of delivery also includes Avid Pro Tools Express and Ignite software, which are established standards in many project studios and make the price of the overall package a real bargain. The product also comes with an iLok USB key, which allows the software to be unlocked at different workstations and also costs about $50 if purchased separately.

In order to ensure a problem-free operation, one should not get the idea that one could still use Snow Leopard or XP to capture one's creative outpourings on hard disk. OSX 10.7, better 10.8 for Mac or Windows 7 or higher is required, with a minimum of 4GB RAM. The official specification of 2GB RAM can be smoked in the pipe, too much RAM is simply swapped to the HD and slows down the work process massively.

The interface leaves a good impression in terms of sound. The basic sound is balanced, crisp and reproduces the signal plastically. The almost zero latency has to be rated as very pleasant, which can show its full strength especially when recording vocals with headphones.

Conclusion

With the M-Audio M-Track Quad, the American manufacturer convinces with an impressive number of detailed solutions. A solid packaging, a balanced sound and the use of channel-based inserts along with its own USB hub make the audio/MIDI interface a very good converter center in the home project studio.

In addition, the product must be seen as a real offer in the price/performance range, especially due to the included software/hardware in the form of Pro Tools Express, Ignite and the iLok USB Key.

Additional informations:

- M-Audio is a renowned company specializing in the development and manufacturing of professional audio equipment and software solutions. With a commitment to innovation and high-quality products, M-Audio has established itself as a leading brand in the music production and audio technology industry. This comprehensive report explores the history of M-Audio, its product range, technological advancements, and its impact on the music industry.

Company History and Background: M-Audio was founded in 1988 by Tim Ryan and Steve Goldberg in California, USA. Originally known as Midiman, the company initially focused on creating MIDI interfaces for electronic musical instruments. Recognizing the growing demand for affordable audio solutions, Midiman expanded its product line to include audio interfaces, controllers, studio monitors, and software.

Product Range and Innovation: M-Audio offers a diverse range of products catering to the needs of musicians, producers, and audio enthusiasts. Their product lineup includes audio interfaces, MIDI controllers, studio monitors, keyboards, drum machines, and DJ equipment. One of their notable innovations is the Oxygen series MIDI controllers, which have become popular choices for musicians and producers due to their intuitive design and extensive functionality.

Audio Interfaces and Recording Solutions: M-Audio has made significant contributions to the field of audio interfaces, providing musicians and producers with reliable and high-quality recording solutions. Their interfaces offer a wide range of connectivity options, low-latency performance, and pristine audio quality. M-Audio's interfaces, such as the M-Track series and the acclaimed M-Box series, have become industry standards for home studios and professional recording environments alike.

MIDI Controllers and Keyboard Solutions: MIDI controllers play a crucial role in modern music production, and M-Audio has been at the forefront of providing musicians with powerful and versatile options. Their MIDI controller range includes compact keyboards like the Keystation series, feature-packed controllers like the Code series, and the innovative Hammer 88, an 88-key weighted keyboard. M-Audio's controllers are known for their seamless integration with popular digital audio workstations (DAWs) and comprehensive control capabilities.

Software and Virtual Instruments: In addition to hardware solutions, M-Audio has developed software and virtual instruments that enhance the creative workflow of musicians and producers. Their software offerings include the acclaimed Pro Tools | M-Powered, a version of Avid's industry-standard DAW tailored for M-Audio interfaces. M-Audio also offers virtual instruments such as the AIR Music Technology suite, providing users with a wide range of sounds and synthesis capabilities.

Impact on the Music Industry: M-Audio's commitment to delivering affordable and high-quality audio equipment has democratized music production, making it accessible to a wider audience. Their products have been instrumental in empowering musicians, producers, and engineers to create professional-grade recordings and performances in home studios and professional settings. M-Audio's contributions to the music industry have been recognized with numerous awards and accolades.

Continued Innovation and Future Prospects: M-Audio remains at the forefront of audio technology, continuously innovating and developing new products to meet the evolving needs of musicians and audio professionals. With advancements in connectivity, software integration, and virtual instrument technology, M-Audio is well-positioned to shape the future of music production and audio technology.

Conclusion: M-Audio's dedication to innovation, high-quality products, and affordability has made it a trusted brand among musicians, producers, and audio enthusiasts. From its humble beginnings as Midiman to its current standing as a leading audio technology company, M-Audio has left an indelible mark on the music industry. With a diverse product range and a commitment to advancing audio technology, M-Audio continues to empower and inspire music creators around the world.

- Audio Interfaces: Unlocking the World of Professional Audio Recording
Introduction: Audio interfaces have revolutionized the landscape of professional audio recording, enabling musicians, producers, and audio engineers to capture high-quality sound and bring their creative visions to life. This comprehensive report delves into the world of audio interfaces, exploring their purpose, functionality, key features, types, connectivity options, and their significance in modern music production.

Purpose and Functionality: An audio interface serves as the bridge between analog and digital audio worlds. It converts analog audio signals, such as those from microphones and instruments, into digital data that can be processed and recorded by a computer or digital audio workstation (DAW). Conversely, it converts digital audio data back into analog signals for playback through speakers or headphones. Audio interfaces ensure accurate signal conversion, low-latency performance, and provide essential features like preamps, phantom power, and monitor control.
Key Features of Audio Interfaces: a. Preamps: Audio interfaces often include preamplifiers (preamps) that amplify weak analog signals from microphones or instruments, bringing them to line level for optimal recording quality. b. Phantom Power: Many interfaces provide phantom power (+48V) to power condenser microphones, which require it for proper operation. c. Input and Output Options: Audio interfaces offer a variety of input and output options, including XLR, 1/4" TRS, and RCA connectors, allowing users to connect microphones, instruments, headphones, and studio monitors. d. Sample Rate and Bit Depth: Interfaces support different sample rates (e.g., 44.1kHz, 48kHz, 96kHz) and bit depths (e.g., 16-bit, 24-bit), determining the resolution and fidelity of the recorded audio. e. Direct Monitoring: This feature allows users to monitor audio signals with near-zero latency directly from the interface, bypassing the computer's processing.

Types of Audio Interfaces: a. USB Audio Interfaces: These interfaces connect to the computer via USB, making them widely compatible and convenient for home studios and portable setups. b. Thunderbolt Interfaces: Thunderbolt interfaces offer high-speed connectivity for low-latency recording and playback, ideal for professional studios and demanding applications. c. PCIe Interfaces: These interfaces connect directly to a computer's motherboard via a PCIe slot, providing extremely low-latency performance and high channel counts for professional studios. d. FireWire Interfaces: Although less common now, FireWire interfaces offer reliable connectivity and low-latency performance, especially for older systems.

Connectivity Options: Audio interfaces provide a range of connectivity options to accommodate different recording setups and needs. They may include multiple inputs and outputs, MIDI ports for connecting external devices, digital connections like ADAT or S/PDIF, and headphone outputs with individual volume control. Some advanced interfaces offer network audio connectivity, such as Dante or AVB, for seamless integration with larger audio networks.

Significance in Modern Music Production: Audio interfaces play a crucial role in modern music production, enabling musicians and producers to capture professional-grade recordings in their home studios. With the availability of affordable and high-quality interfaces, the barrier to entry for recording and producing music has significantly lowered. Audio interfaces empower artists to take control of their creative process, capturing their performances with precision, and achieving studio-quality sound in their productions.

Considerations When Choosing an Audio Interface: When selecting an audio interface, several factors should be considered: a. Input and Output Requirements: Determine the number of simultaneous inputs and outputs required for your recording setup. b. Preamp Quality: Consider the quality and transparency of the preamps, as they significantly impact the recorded sound. c. Compatibility: Ensure compatibility with your computer's operating system and connection ports. d. Latency Performance: Look for interfaces with low-latency performance to minimize delays during recording and monitoring. e. Budget: Set a budget and consider the features and quality that align with your recording needs.

Conclusion: Audio interfaces have become indispensable tools for musicians, producers, and audio engineers, unlocking the potential of professional audio recording in both home and professional studio environments. With their ability to convert analog signals into pristine digital audio, provide essential features, and facilitate seamless connectivity, audio interfaces have democratized music production and empowered countless artists to create high-quality recordings. As technology advances, audio interfaces continue to evolve, delivering improved performance, expanded connectivity options, and innovative features, further shaping the future of audio recording and production.

TEST: LTD MK-600 BLKS

 Where it says Kreator, there's metal inside. Hardly any German band, which was founded under the name "Tyrant" in 1982, can be credited with such a constant rise in popularity throughout its career as the Essen institution in the field of thrash metal. Singer, guitarist, songwriter and boss of the "democratic dictatorship", according to his own statement, is Miland "Mille" Petrozza, whose popularity in terms of metal and vegan lifestyle has long since left the domestic realms and taken on a worldwide notoriety. To adequately put his riff attacks into action, Mille collaborated with LTD, which belongs to the Japanese manufacturer ESP, and developed his signature model LTD MK 600 BLKS. As then, the chromatic saddled, the preamp to 10 and off for it.

The construction of the LTD MK 600 BLKS

Rarely is a body shape so closely associated with a musical style as the Flying V is with metal. Although the shape has also been used in rock styles and with Albert King even an icon of blues had declared the shape his favorite, the general tonal orientation of this type is still called high gain. However, the LTD MK 600 BLKS, which is to be considered a variation of the in-house Arrow series, is not a copy of the model introduced by Gibson in 1958, but a variation modified in several points. To what extent the spicing up of the original version or the avoidance of lawyer's letters from the lawsuit-happy Americans is responsible for this can only be guessed.

Fact is, however, that the general styling comes along clearly more aggressively than the original, which quite accommodates the sonic orientation. In general, you should show a proper attitude, because the instrument is not a cute cuddly cat in terms of haptics and weight. The included case already goes more in the direction of a doubleneck due to the protruding tips of the instrument and the weight of the instrument of about 3.7 kilograms also contributes its part.

Nevertheless, despite some parallels, the body shape bears independent traits and can by no means be called a copy, even though every musician will probably forever refer to the shape as the Flying V. Besides the semicircular cutout behind the vibrato system and the shaping at the edges of the body, it is especially the asymmetrical embouchure, where the body wings were glued to the continuous neck. To ensure better playability in the uppermost positions, the lower half of the body grips much higher up, actually allowing for easy handling up to the 24th fret. A bit confusing is the finish transition from the black satin finish body to the natural finish neck, where a visually obtuse angle on the back of the neck represents different finish transitions.

The neck

As mentioned earlier, the construction of the LTD MK 600 BLKS is based on a continuous neck, a fact that is still comparatively rarely encountered. Nobody wants to deny that a broken neck is much easier to replace in bolted form and that this was quite a veritable argument in Leo Fender's heyday, but compared to the vibration technical data of a continuous neck, the vast majority of bolted or even glued necks can hardly keep up.

For the fingerboard, we used what is often referred to as "Bolivian rosewood", Pau Ferro, which has similar vibration characteristics to regular rosewood, which is heavily regulated by CITES regulations, only the color is slightly lighter. The fingerboard features 24 jumbo frets and small dot inlays at the relevant frets.

The headstock of the Korean-made instrument was also milled from the 3-piece neck and has the famous "knob" below the nut to stabilize the transition point weakened by the trussrod milling. The tuners are from Grover and are mounted on a reversed headstock.

The LTD MK 600 BLKS also has a Floyd Rose 1000 vibrato system, which is set free floating. Very nice also the back of the vibrato system, where you can readjust the screws of the sheet metal bracket to which the springs of the vibrato system are attached, without removing the cover plate. Of course, the system also has a corresponding clamp saddle and a string hold-down.

Since the LTD MK 600 BLKS does not have any cutaways, the front strap holder was mounted in the upper quarter of the body above the 21st fret. The rear strap holder was placed comparatively low in the upper "horn" so that the strap is relatively close to the body. LTD also shines with the detailed solution of placing the output jack on the upper horn right next to the strap pin. Anyone who has ever seen how horrible the cable routing looks with an output jack on the lower horn with a strap pin on the upper horn, knows what I'm talking about.

The pickups of the LTD MK 600 BLKS

Once again, the Fishman Fluence pickups have made it onto an instrument that was designed without exception for the high gain range. The principle of 2 different, for personal taste adjustable sounds in a pickup meets with great popularity among musicians and has grown in the field of active pickups next to top dog EMG to a fixed size.

Here, the Fishman Fluence Modern Humbucker Alnico is used as the neck pickup and the Fishman Fluence Modern Humbucker Ceramic as the bridge pickup. Both can be selected by a mini switch in their characteristics between "Modern Active" and "Modern Passive Attack". Since Mille never makes use of a tone control anyway, it was consequently omitted. As a further switching option, only a 3-way switch was installed.


The LTD MK 600 BLKS in practice

OK, let's start with the seating position. Huh? Playing a V-shaped guitar while sitting down? Yes, it's possible, as long as you're not too shy to put the guitar between your legs in the best beginner style. Once again, the cable routing of the output jack stands out. Of course, this instrument is primarily designed for "standing operation", which can be implemented without any problems, although a slight top-heaviness cannot be avoided due to the construction.

Still without a connected amplifier, you can already hear the sound culture of the continuous neck in dry operation. It is always amazing how unbelievably balanced a through neck sounds and how immensely the sustain behavior gains with this construction. Even the Floyd Rose vibrato system, which is often called a sustain killer, does not change the excellent vibration behavior of the instrument. I could not find a single dead spot on the entire fingerboard. Every note resonates cleanly in and out, no self-resonance causes the tone to die off prematurely.

Otherwise, "You Get What You See" applies to the LTD MK 600 BLKS. Probably no one will get the idea to use the instrument in a dance musician's paradise or at Grandpa Willies old men's blues shed, although this use would probably bring a lot of momentum. The different varieties of rock can undoubtedly be celebrated with the LTD MK 600 BLKS, but the focus is clearly on metal.

As is known, 2 sonic aspects are very important in metal. On the one hand, the instrument must generate a transparent sound image even at maximum gain and must not get bogged down in a flabby sound mush and it must succeed, a clean playing style and excellent palm muting presupposed, to achieve a clean string separation. Remember, the higher the degree of distortion, the more energy you spend on which strings should NOT vibrate.

Again, the instrument delivers quite excellently. The sound remains transparent even at maximum gain and provides a good carpet for sophisticated riffing. That a free floating vibrato system in the soloist area brings some limitations of intonation in the area of double bends with it, is well known and must be incorporated into the personal playing style and is not to be chalked up to the instrument. In return, however, there is then also a Dive Bomb without tuning problems when needed.

Conclusion

With the LTD MK 600 BLKS, the ESP subsidiary shines with a very ambitious instrument in all areas of the Hard'N'Heavy sound spectrum. The instrument, designed for Kreator guitarist Mille Petrozza, convinces with a transparent sound, very good workmanship and outstanding sustain.

If you don't mind a discreet top-heaviness and want to plow through the hardest styles of metal on a high level, you should definitely give the instrument a try. The look and sound of the instrument can only be described as very authentic and deserve appropriate attention.

Additional informations:

Kreator is a German thrash metal band that has solidified its status as one of the most influential and enduring acts in the genre. Formed in 1982 in Essen, Germany, by guitarist and vocalist Miland "Mille" Petrozza, Kreator has consistently pushed the boundaries of thrash metal with their aggressive sound, politically charged lyrics, and dynamic live performances. This comprehensive report delves into the band's history, musical style, discography, impact on the metal scene, and their enduring legacy.

Early Years and Formation: Kreator emerged during the flourishing thrash metal movement of the 1980s. Inspired by bands like Venom and Slayer, Mille Petrozza and his school friend Rob Fioretti (also known as Rob "Ventor") started jamming together, eventually recruiting bassist Rob Fioretti and guitarist Jürgen Reil. They initially went by the name Tormentor, but soon changed it to Kreator, reflecting their desire to create a more aggressive and forceful sound.

Rise to Prominence: In 1985, Kreator released their debut album, "Endless Pain," which showcased their raw and frenetic style, combining breakneck speed, intense guitar riffs, and venomous vocals. The album received critical acclaim and established Kreator as a force to be reckoned with in the thrash metal scene. They followed up with "Pleasure to Kill" in 1986, an album that further cemented their reputation and is often regarded as a landmark thrash metal release.

Musical Style and Evolution: Kreator's music is characterized by its high-speed aggression, intricate guitar work, and socially conscious lyrics. They embraced a more melodic approach on albums like "Terrible Certainty" (1987) and "Extreme Aggression" (1989), which showcased their ability to craft memorable hooks while still maintaining a relentless intensity. In the early '90s, Kreator incorporated industrial and experimental elements into their sound, as seen on albums such as "Renewal" (1992) and "Cause for Conflict" (1995).

Conceptual and Political Themes: One of the hallmarks of Kreator's songwriting is their focus on political and social issues. Their lyrics often tackle topics such as war, corruption, religious fanaticism, and personal freedom. Songs like "Betrayer," "Flag of Hate," and "People of the Lie" demonstrate their ability to merge aggressive music with thought-provoking and incisive lyrics, making a powerful statement that resonates with their audience.

Discography and Key Albums: Kreator's discography is extensive and showcases their evolution over the years. Some key albums include "Coma of Souls" (1990), which featured a more progressive and complex sound; "Violent Revolution" (2001), marking a return to their thrash metal roots; and "Enemy of God" (2005), hailed as a modern thrash metal masterpiece. Their latest release, "Gods of Violence" (2017), further solidified their reputation as masters of the genre.
Live Performances and Impact: Kreator's live performances are known for their raw energy and unrelenting power. The band has toured extensively, headlining major festivals and sharing the stage with icons like Metallica, Slayer, and Iron Maiden. Their influence can be seen in the work of countless bands, as they helped define the thrash metal sound and inspired generations of musicians.

Legacy and Recognition: Kreator's contributions to the metal genre have not gone unnoticed. They have received numerous awards and accolades, including multiple wins at the Metal Hammer Awards and being inducted into the German Rock and Pop Hall of Fame. Their influence extends beyond their native Germany, with fans worldwide recognizing their impact on the thrash metal scene.

Conclusion: Kreator's unwavering commitment to pushing the boundaries of thrash metal, combined with their lyrical depth and powerful live performances, have solidified their place in metal history. With a career spanning over four decades, they have consistently delivered albums that showcase their evolution and maintain their relevance. Kreator's enduring legacy as one of the pioneers of thrash metal continues to inspire and influence the metal community, making them a band that will be remembered for generations to come.

TEST: LTD MH 1001

 Whether Steve Vai is the inventor of the Powerstrat may be doubted by some, but the fact is that his use of a chisel and soldering iron, which later led to an intensive collaboration with Ibanez, gave rise to a special guitar species almost 40 years ago, which can be seen as a kind of "Strat on steroids" and which still represents a very successful subgroup in the electric guitar sector. In addition to the classic big names of the eighties, such as Jackson, Charvel, Kramer, Schecter, Ibanez and many more, the Japanese company ESP has also left its scent mark of its time and offers with its subsidiary LTD the LTD MH 1001 a classic Powerstrat feil.

ESP or LTD?

Whether it's Fender and Squier, Gibson and Epiphone, or as in this case ESP and LTD, the principle is always the same. A potent and respected corporation, usually located in a high-wage country, develops / buys a subsidiary that manufactures in a low-wage country, but should get as much marketing from the big name. The low-cost brand must be good, but it must not have the same features as the big name, as in the case of VW/Seat, for example, otherwise the extra price would not be justified. The art of marketing therefore always lies in getting a razor-thin line between the two brands, but still presenting a direct link to the outside world.

This is sometimes quite difficult, especially since ESP and LTD do not even manage a clean separation in the product designation. Sometimes it's "ESP/LTD", sometimes "LTD by ESP", sometimes "LTD, designed by ESP". Of course, the sometimes spasmodic mentioning of the parent company is quite understandable from a marketing point of view, if, yes, if the LTD instruments would have needed this, whereby we have arrived at the actual sticking point. The average manufacturing quality of LTD instruments has increased so much in recent times that ESP has to pull out all the stops with "Made In Japan" in order to top it with "Made In Indonesia" in terms of quality and features. But everything in order.

The construction of the LTD MH 1001

Strictly speaking, the LTD MH 1001 is a second generation Powerstrat. Many classic Powerstrat components have remained, but a few have been taken away or designed differently. Let's start with the remaining components. First of all, of course, the most ingenious body shape ever (design a mainstream body shape that has nothing of a Strat ...) is present, which is oriented in terms of basic shape and shaping to the great classic. However, only in the design, because already here LTD sets in terms of construction one on top. The basic concept is a continuous maple neck, which is filled with side parts of mahogany and for optical reasons is covered with a thin curly maple top. The same has the "See Thru Black" color scheme and blends very nicely with the otherwise opaque black lacquered areas.

The instrument offers the long scale length of 648 mm, has 24 jumbo frets and features a bound ebony fingerboard. The radius of the neck is specified as 350 mm, while the nut width is 42 mm. As fingerboard markings, there are small dot inlays on the side of the fingerboard, as well as in the top view of the fingerboard. In general, some features were built in, which lead the classic Powerstrat swashbuckler over into a somewhat "nobler" variant. Besides the maple top, the instrument is completely covered with up to seven-ply binding, which is much less "plasikeresque" than some of its competitors. In fairness, however, it must be mentioned that the LTD MH 1001 with a retail price of 975 euros is in a higher price segment than what one is generally used to from Indonesian manufacturing.

In return, however, you get a lot, such as locking mechanics from in-house production and a set of 2 active EMG pickups (81 bridge / 85 neck), which come from the BBC series and each have a brushed chrome cap. Both pickups are switched via a three-way switch, single coil options are not offered. Les Paul rules! By the way, all the hardware is black nickel plated and matches the pickup caps very well, also very nice. But wasn't there something else that every Powersrat must have? Right, a vibrato system! Same one looks for the LTD MH 1001 in vain, instead the Indonesians with a Tonepros Locking TOM bridge and strings, which are led through the body in combination with the continuous neck, set on a maximum sustain development. Not entirely new, the concept, but always a refreshing variation to the umpteenth Floyd Rose equipment.

The LTD MH 1001 in practice

Once again, the very simple principle of "You Get What You See" applies. Hardly anyone would have expected a twang-heavy country or a mellow 335 jazz sound from the appearance and specs of this instrument. Even if the shape of a Powerstrat still seems very moderate to an outsider, this instrument is designed for the harder pace, but less in the "Whammy - As - Whammy - Can" attitude, but more in the classic LP with strong finger vibrato style. Nothing against the Steva Vai "How To Use A Whammy Bar In Electric Guitar" playing technique, but with this instrument there is nothing to hide behind.

The sound files were created with an Engl Savage II / Marshall Cabinet 412 / Celestion G75T / 2x SM57 combination, which immediately brought to light the strengths and, if you want to call it that, the weaknesses of the instrument. Like almost all instruments equipped with the very popular EMG 85 / 81 combination, ultra-clean sounds are not the prime example of the instrument, at least when using a classic amp and not playing directly into the console with a compressor. Not because the pickups would not sound good in the clean range, but rather due to the fact that the output level of the pickups at full stop especially tube preamps like to drive into saturation. Here the experienced EMG user helps himself with the old trick of taking the volume control back a bit, with the effect that the sound does not change, but the preamp of the amp remains clean.

Still, the clean sound seems satisfying at best, lacking some character, which is also due to the comparatively high compression of the pickups. This changes strikingly with increasing distortion levels. This is where the EMG's are at home and once again manage to generate a transparent yet dynamic sound with their incredibly linear frequency response even at the highest high gain. Even light crunch has a very powerful effect due to the frequency spectrum, so you can generally always use a tad less gain than with passive pickups without losing steam.

At the latest in the lead department, the instrument has reached its target audience and convinces with a strong rhythm and solo tone. The sustain is really convincing due to the continuous neck and manages to make the instrument sound more expensive than it ultimately is. The feel is good, the response as well. Nobody will expect a standard Tele to convince a heavy rocker of its sound characteristics, likewise you will look for the pop or country touch in vain with the LTD MH 1001.

For the classic cover band with a latent rock bias, a highly recommended instrument, although the pickup choice always puts you on the verge of hard rock territory. No matter how much you rein in the amp or even the pedal choice, the basic sound of the EMG's is always present and will once again put fans of these pickups in rapture. The appearance, on the other hand, does not polarize and will not scare anyone in the audience, from there the LTD MH 1001 is universally usable in terms of external presentation.

Conclusion

With the LTD MH 1001, the Japanese manufacturer with Indonesian manufacturing offers a real bargain in its portfolio. The instrument, which is offered at under €1,000 retail price, offers a very good vibration behavior combined with high-quality components, such as active EMG pickups and a Tonepro bridge.

If you're looking for a Les Paul feel with a powerstrat look for official heavy rock, you should definitely give this instrument a try.

Additional informations:

LTD Guitars is a renowned guitar manufacturing company known for producing high-quality electric guitars and basses. With a history spanning several decades, LTD Guitars has built a solid reputation for its craftsmanship, innovation, and dedication to meeting the needs of musicians across various genres. This comprehensive report delves into the company's background, product range, manufacturing processes, marketing strategies, and its impact on the music industry.

Background LTD Guitars was established in the 1990s as a subsidiary of the renowned guitar brand, ESP Guitars. The aim of creating LTD Guitars was to cater to the needs of musicians who sought high-quality instruments at more affordable price points. Over the years, LTD Guitars has evolved into an independent brand while still benefiting from ESP's expertise, craftsmanship, and design philosophy.

Product Range LTD Guitars offers a diverse range of electric guitars and basses that cater to musicians of all skill levels and musical preferences. The company's product lineup includes signature models, traditional shapes, modern designs, and extended-range instruments. LTD Guitars is particularly known for its expertise in crafting guitars suited for heavy metal and hard rock genres, with many notable artists endorsing and using their instruments.

Manufacturing Processes LTD Guitars places a strong emphasis on maintaining high manufacturing standards to ensure the delivery of instruments with exceptional playability, tone, and durability. The company employs a combination of traditional craftsmanship techniques and modern manufacturing technologies to create its guitars. Highly skilled luthiers and technicians meticulously assemble each instrument, paying attention to every detail, from the selection of tonewoods to the application of finishes and the installation of high-quality hardware and electronics.

Quality Control To maintain consistency and ensure the highest level of quality, LTD Guitars has implemented rigorous quality control measures throughout the manufacturing process. Each instrument undergoes thorough inspections, including testing of electronics, playability assessments, and tonal evaluations. This stringent quality control process guarantees that every LTD guitar that reaches customers meets the company's exacting standards.

Innovation and Technology LTD Guitars constantly strives to incorporate new technologies and innovations into its instruments. The company collaborates with renowned pickup manufacturers, such as EMG and Seymour Duncan, to offer a wide range of tonal options. Additionally, LTD Guitars has introduced innovative features like multi-scale (or fanned-fret) necks, ergonomic body contours, and extended-range instruments to cater to the evolving needs of modern musicians.
Marketing Strategies LTD Guitars employs a multifaceted marketing approach to promote its products. The company engages in various marketing activities, including artist endorsements, participation in industry trade shows and exhibitions, strategic partnerships, and online marketing campaigns. By aligning with influential musicians and showcasing their instruments in high-profile events, LTD Guitars enhances brand visibility and credibility among its target audience.
Impact on the Music Industry LTD Guitars has had a significant impact on the music industry by providing musicians with affordable yet high-quality instruments. The brand has successfully bridged the gap between beginner-level instruments and professional-grade guitars, making exceptional playability and craftsmanship accessible to a wider range of musicians. Many aspiring artists, as well as established professionals, have found their voice and inspiration through the instruments crafted by LTD Guitars.

Conclusion In conclusion, LTD Guitars has firmly established itself as a leading guitar manufacturer, known for its commitment to quality, innovation, and affordability. With a wide range of instruments catering to various musical genres and skill levels, the company continues to make a significant impact on the music industry. Through its meticulous manufacturing processes, cutting-edge technologies, and effective marketing strategies, LTD Guitars has gained the trust and admiration of musicians worldwide, solidifying its position as a go-to brand for electric guitars and basses.

TEST: LTD 351 NT

 I'm just thinking, who started this again? I think it was Fender about 40 years ago with their sister company Squier "Made By Fender".... Started with what? Well, once again I hopped into the time machine and thought about who finally established the production in Asian regions with the help of the nationally known company's own trademarks.

Whether it is Squier made by Fender, Epiphone made by Gibson or as in this case LTD made by ESP, the principle is always quite similar. One takes the in-house back catalog, saves a large part of manufacturing costs through foreign production and cost-intensive details and presents the end customer with a valuable instrument, which initially conjures up a skeptical look on the face of some customers in terms of selling price.

In the past, you could see the cost-cutting measures on the instrument at the second glance at the latest, but nowadays this is made much more difficult. The optically rather dull looking copies of the "original from Amiland" of yesteryear are history, especially when you take the LTD H 351 NT out of the case / bag / case for the first time.




Construction

One can't get rid of the impression that LTD wanted to show it to the eternal doubters in the matter of optics, since the instrument, which is manufactured in Indonesia, clearly sets with a whole series of decorative work on a high recognition value, which is otherwise only known from instruments beyond the 2,000 € mark. Stylistically, the instrument is clearly in the now resurgent market of powerstrats, which means a body shaping in the wide scatter radius of the Stratocaster, but with heavily pimped hardware and pickup assembly.

Body-wise, the construction is clearly in love with the classic Les Paul concept in terms of wood and hardware. Mahogany body plus maple top and fixed bridge speak a clear language, while a really extremely light mahogany wood was used. Rarely have I held such a light guitar in my hands with this choice of wood, the density of the wood used must have been rather moderate. The bridge sits in 2 guide sleeves made of metal, is therefore not directly embedded in the wood.

In terms of neck, the counterpart on maple base with rosewood fingerboard (24 frets) in glued-in form comes more to bear, form-technically as a strong round "D" executed. To get maximum sustain out of the construction, the strings are fed through the body and anchored with the ballends on the back of the body. The pickup used is the ever-popular EMG combination 81/85 (bridge / neck), which has already established itself as a standard configuration in the heavy range. Power is supplied via a 9V block, which is mounted in its own recess with direct access on the back of the instrument. Both pickups are switched via a 3-way switch.

The feel of this instrument is, as expected, like a wild boar, be it the rounded top guide, the beer belly milling on the back or the lower cutaway milling, wherever possible, as little as possible wooden resistance is put against the human body parts. Even the potentiometer knobs have been discreetly recessed into the top. The complete abalone binding of the entire body, the fingerboard and even the headstock is also striking. You can see, a lot of optical effort, all handcrafted flawlessly and cleanly executed.

How strongly the company ESP is involved in the production process at LTD, you can already see the ESP sticker on the wood reinforcement of the wood to the headstock and the fact that the tuners used come directly from ESP. Finally, the entire shaping of the ESP Horizon was taken over 1:1. Color-wise, LTD has applied a transparent black that allows the grain of the wood to subtly shine through.



Practice:

From the very first grip, the instrument feels very familiar, at least if you've held a Powerstrat in your hands before. The neck is nice and grippy, optimally balanced between the necessary mass for a decent grip and the appropriate slenderness for corresponding fretboard acrobatics. The body also plays its advantages to the full through the tasteful shaping and nestles comfortably against the body.

Despite the very light wood, the instrument has good sustain due to the overall construction. No note dies and also the playability is beyond all doubt up to the 24th fret. The H-351 can handle powerful rhythm playing just as well as delicate soloing, which is easy and relaxed due to the expected jumbo frets.

Even in dry mode, one can recognize the sound construction of the instrument. The sound responds quickly, seems percussive and fits tastefully into a tonally fitting overall picture. If you switch the amplifier to it, you get exactly the sound that you could expect based on the components. Played clean, the trebles bubble out of the speaker in a beautifully discreet and well-defined manner, just as one is used to from EMG pickups. Crystal clear with high assertiveness and free of any kind of vintage sound!

However, the main field of activity of this instrument will undoubtedly be the distortion department. Starting with decent crunch up to extreme high gain, all sounds from this league are reproduced by the LTD without any problems. When handled appropriately, the Artifical Harmonics make for very easy playback, the overtone response is aggressive yet appropriate without drowning in scratchy highs.



Conclusion:

"You get what you see" would be a fitting slogan for the LTD H 351 NT. Optics, appearance and sound form a healthy fusion of all the features that make up a true powerstrat. Due to the Indonesian manufacturing, you get detail specifications that are otherwise only found in higher price regions, along with good workmanship and attention to detail. For a street price below 700,- € you get a good working instrument, which also knows how to spoil the eyes of the spectator by tasteful pimping.

The guitar is also available with a full-length neck and a Floyd Rose vibrato system for the ambitious dive-bomb user. A very neat instrument, which should find its clientele!


Additional informations:

LTD Guitars is a renowned guitar manufacturing company known for producing high-quality electric guitars and basses. With a history spanning several decades, LTD Guitars has built a solid reputation for its craftsmanship, innovation, and dedication to meeting the needs of musicians across various genres. This comprehensive report delves into the company's background, product range, manufacturing processes, marketing strategies, and its impact on the music industry.

Background
LTD Guitars was established in the 1990s as a subsidiary of the renowned guitar brand, ESP Guitars. The aim of creating LTD Guitars was to cater to the needs of musicians who sought high-quality instruments at more affordable price points. Over the years, LTD Guitars has evolved into an independent brand while still benefiting from ESP's expertise, craftsmanship, and design philosophy.

Product Range
LTD Guitars offers a diverse range of electric guitars and basses that cater to musicians of all skill levels and musical preferences. The company's product lineup includes signature models, traditional shapes, modern designs, and extended-range instruments. LTD Guitars is particularly known for its expertise in crafting guitars suited for heavy metal and hard rock genres, with many notable artists endorsing and using their instruments.

Manufacturing Processes
LTD Guitars places a strong emphasis on maintaining high manufacturing standards to ensure the delivery of instruments with exceptional playability, tone, and durability. The company employs a combination of traditional craftsmanship techniques and modern manufacturing technologies to create its guitars. Highly skilled luthiers and technicians meticulously assemble each instrument, paying attention to every detail, from the selection of tonewoods to the application of finishes and the installation of high-quality hardware and electronics.

Quality Control
To maintain consistency and ensure the highest level of quality, LTD Guitars has implemented rigorous quality control measures throughout the manufacturing process. Each instrument undergoes thorough inspections, including testing of electronics, playability assessments, and tonal evaluations. This stringent quality control process guarantees that every LTD guitar that reaches customers meets the company's exacting standards.

Innovation and Technology
LTD Guitars constantly strives to incorporate new technologies and innovations into its instruments. The company collaborates with renowned pickup manufacturers, such as EMG and Seymour Duncan, to offer a wide range of tonal options. Additionally, LTD Guitars has introduced innovative features like multi-scale (or fanned-fret) necks, ergonomic body contours, and extended-range instruments to cater to the evolving needs of modern musicians.

Marketing Strategies
LTD Guitars employs a multifaceted marketing approach to promote its products. The company engages in various marketing activities, including artist endorsements, participation in industry trade shows and exhibitions, strategic partnerships, and online marketing campaigns. By aligning with influential musicians and showcasing their instruments in high-profile events, LTD Guitars enhances brand visibility and credibility among its target audience.

Impact on the Music Industry
LTD Guitars has had a significant impact on the music industry by providing musicians with affordable yet high-quality instruments. The brand has successfully bridged the gap between beginner-level instruments and professional-grade guitars, making exceptional playability and craftsmanship accessible to a wider range of musicians. Many aspiring artists, as well as established professionals, have found their voice and inspiration through the instruments crafted by LTD Guitars.

Conclusion
In conclusion, LTD Guitars has firmly established itself as a leading guitar manufacturer, known for its commitment to quality, innovation, and affordability. With a wide range of instruments catering to various musical genres and skill levels, the company continues to make a significant impact on the music industry. Through its meticulous manufacturing processes, cutting-edge technologies, and effective marketing strategies, LTD Guitars has gained the trust and admiration of musicians worldwide, solidifying its position as a go-to brand for electric guitars and basses.

ESP Guitars is a highly acclaimed guitar manufacturing company known for its exceptional craftsmanship, innovative designs, and commitment to producing high-quality instruments. This comprehensive report delves into the background of ESP Guitars, its product range, manufacturing processes, marketing strategies, and its impact on the music industry.
Background ESP Guitars was founded in 1975 by Hisatake Shibuya in Tokyo, Japan. Initially, the company focused on creating high-quality replacement parts and custom guitars. Over time, ESP Guitars gained recognition for its craftsmanship and attention to detail, attracting the attention of professional musicians seeking instruments that could withstand the rigors of the stage.

Product Range ESP Guitars offers a wide range of electric guitars and basses designed to cater to musicians of all genres and skill levels. The company's product lineup includes signature models, traditional shapes, and innovative designs. ESP Guitars is particularly renowned for its expertise in crafting instruments suited for heavy metal and hard rock genres, with many notable artists endorsing and using their guitars.

Manufacturing Processes ESP Guitars maintains a strong commitment to producing instruments of the highest quality. The company combines traditional craftsmanship techniques with modern manufacturing technologies to create guitars that offer exceptional playability, tone, and durability. Skilled luthiers and technicians meticulously craft each instrument, paying meticulous attention to every detail, from the selection of tonewoods to the application of finishes and the installation of high-quality hardware and electronics.
Quality Control To ensure consistent quality, ESP Guitars implements rigorous quality control measures throughout the manufacturing process. Each instrument undergoes thorough inspections, including testing of electronics, playability assessments, and tonal evaluations. This stringent quality control process guarantees that every ESP guitar that reaches customers meets the company's exacting standards.

Innovation and Technology ESP Guitars continuously strives to incorporate new technologies and innovations into its instruments. The company collaborates with renowned pickup manufacturers, such as EMG and Seymour Duncan, to offer a wide range of tonal options. Additionally, ESP Guitars has introduced innovative features like multi-scale (or fanned-fret) necks, ergonomic body contours, and extended-range instruments to cater to the evolving needs of modern musicians.

Marketing Strategies ESP Guitars employs a comprehensive marketing approach to promote its products. The company engages in various marketing activities, including artist endorsements, participation in industry trade shows and exhibitions, strategic partnerships, and online marketing campaigns. By aligning with influential musicians and showcasing their instruments in high-profile events, ESP Guitars enhances brand visibility and credibility among its target audience.

Impact on the Music Industry ESP Guitars has had a significant impact on the music industry, particularly within the realm of heavy metal and hard rock genres. The company's dedication to producing instruments capable of handling aggressive playing styles and delivering powerful tones has made ESP guitars a go-to choice for countless professional musicians. The instruments have played a pivotal role in shaping the sound and aesthetic of many iconic bands and artists.

Conclusion In conclusion, ESP Guitars has established itself as a leading guitar manufacturer, renowned for its craftsmanship, innovation, and commitment to quality. With a diverse range of instruments catering to various musical genres and playing styles, the company continues to make a significant impact on the music industry. Through its meticulous manufacturing processes, cutting-edge technologies, and effective marketing strategies, ESP Guitars has solidified its position as a trusted and respected brand among musicians worldwide.

TEST: LTD SC-20

 Sometimes it is a bit more difficult to approach a test instrument without bias, especially if it is not the instrument itself. The ESP LTD SC-20 3-Tone Burst available for testing arouses namely already during the unpacking of the instrument a very good impression, however, the namesake of the signature instrument, Deftones guitarist Stephen Carpenter but creates some headaches with me, the same guitarist in recent times but by the denial of Corona, a statement that vaccination would be a fraud and as a crowning with the firm conviction that the earth is a disc (No joke!). To what extent LTD holds on to Mr. Carpenter as an advertising medium after such statements, the decision makers have to know themselves, of course, but since it is by no means my task to judge the absurd statements of this gentleman, I now turn to the actual instrument and try to put the signature character ad acta. The instrument deserves it!

The construction of the ESP LTD SC-20 3-Tone Burst

Once again, ESP has a signature model manufactured in Korea under the trademark of its subsidiary LTD, which again leads to the still slightly confusing designation ESP / LTD on paper, but with a clear "LTD" on the headstock, but not without referring to the stronger "Designed by ESP" on the back of the headstock. Under the marketing aspect absolutely understandable, although I am of the opinion that LTD due to the predominantly very good manufacturing quality in recent years would actually no longer need this course of action.

The ESP LTD SC-20 3-Tone Burst is another variation of the beloved "Powerstrat", which takes a rough Stratocaster shape and provides the actual instrument with much more "thrust" than the classic original. In this case, LTD has decided on the good choice of a continuous, three-piece neck made of maple, which, according to the description, has the shaping of a "Thin U", which indeed describes the shape well. As fingerboard wood, ESP LTD SC-20 3-Tone Burst Macassar uses ebony with a medium-dark color scheme, which harmonizes very nicely with the color spectrum of the Burst finish. To provide the instrument with the necessary body, alder wing parts were used. The guitar is painted opaque black on the back and a 3-tone burst on the front, where the transition from black to red is truly only very subtly hinted at, but still clearly different from the 2-tone burst. Once again, LTD's finish is very clean and executed without any flaws.

As with most Powerstrat, great importance was placed on the comfortable playability of the ESP LTD SC-20 3-Tone Burst, which already starts with the weight of the instrument. At just under 3.4 kg, even longer playing times can be completed without difficulty by musicians with back problems, especially since the classic back shaping in the upper area and an even flattening of the outer sides on the front of the instrument also increase playing comfort. At 649 mm, the instrument has a classic long-scale scale and should suit most powerstrat players with 24 jumbo frets, a nut width of 42 mm and a fingerboard radius of 350 mm.

The hardware of the ESP LTD SC-20 3-Tone Burst

Unlike many other powerstrats, the ESP LTD SC-20 3-Tone Burst does not have a vibrato system. Instead, the strings are fed through the body via a Tonepros Locking TOM bridge to generate maximum sustain yield. Once again, Asian manufacturing shows off good detailing by using a metal end ring to minimize the kink at the string guide into the body. A small detail, but a big step in reducing string breakage at the approximately 70 degree bend in the strings. The instrument is set to a 010 - 046 set from the factory.

The chrome colored locking tuners bear an LTD imprint, but appear to be an OEM product from one of the big names in tuners. In any case, the tuners do their job smoothly in the truest sense of the word. Strap locks are not included with the instrument, but it goes without saying that a corresponding system from LOXX, Schaller or similar should be installed on the instrument first.

The pickups

LTD goes with the ESP LTD SC-20 3-Tone Burst in the field of pickups in several respects a very unique way. Not only that on this instrument the very rare HHS pickup arrangement is made, no one has also additionally decided for different pickup manufacturers and a slanted neck pickup. I think the last time I saw a slanted single coil pickup beyond the bridge position was on Steve Morse's signature instrument, especially in this orientation, one tends to take back the bass range on the neck and thicken the treble range. Perhaps this orientation is simply for ergonomic reasons, as it allows you to get a better grip on the treble strings in the higher registers without bumping into the pickup.

Due to the 24 frets of the fingerboard, there is anyway a latent "pressing narrowness" between the pickups between the end of the fingerboard and the bridge. Unusual, as already mentioned also the pickup selection, whereby the bridge position is occupied by the JB classic by Seymour Duncan, middle and neck pickups are covered by LTD own developments with the designations ESP Designed LS-120 at the neck and ESP Designed LH-150N in the middle. The pickups are switched via a very high-quality and accurately engaging 5-way pickup selector switch, combined with the typical master volume and master tone control.

The ESP LTD SC-20 3-Tone Burst in practice

When you pick up the ESP LTD SC-20 3-Tone Burst for the first time, you immediately notice how ergonomically advantageous the instrument was designed. The guitar both hangs well on the strap and that it can be played in a relaxed manner while sitting. Neck shaping, fingerboard and string action allow for very relaxed playing and ensure fatigue-free handling. Even in unamplified condition, the instrument sounds very balanced and even, and even in the "difficult" positions, no dead spots or other "perishables" can be detected.

At the amp, the instrument also leaves a good figure, although honestly only 2 of the 3 pickups could really convince me. Certainly, the middle pickup always has a hard time compared to the neck and bridge variants, simply because it gets a more "trivial" vibration arc of the string, but even detached from this fact, the ESP Designed LH-150N both solo, as well as in the intermediate positions 2 and 4 in terms of character and assertiveness could not really put me in rapture. In contrast, the single coil on the neck scores unusually high with me. The sound is clear, pearly and still has enough punch to place itself well even in dense arrangements. About the bridge pickup, there is really nothing more to say than that Jeff Beck's signature pickup once again does a very good job in all areas of distortion, here you simply can not go wrong.

All in all, the ESP LTD SC-20 3-Tone Burst convinces in almost all areas that make up a typical Powerstrat. Due to the continuous neck, even the higher registers with correspondingly small string amplitudes receive very good sustain, so that the instrument develops a very balanced and pleasant sound over the entire frequency range. In addition, the playability in terms of force is very good, since the entire concept of the instrument is designed for minimal resistance. A really very good instrument, which in my eyes / ears has only one weak point.

The sound files were recorded with an ENGL Savage MKII, a Marshall 412 Cabinet with Celestion G12 75T and 2 pieces of Shure SM 57.

Conclusion

With the ESP LTD SC-20 3-Tone Burst, the subsidiary of ESP introduces a very good all-round guitar based on Powerstrat in its portfolio. The instrument is very well made, has very good components throughout and offers an ideal basis for a wide range of sounds, be it clean crunch or high gain.

Those who are not put off by the crude statements of the instrument's namesake should definitely take a look at the instrument.

Additional informations:

LTD Guitars is a renowned guitar manufacturing company known for producing high-quality electric guitars and basses. With a history spanning several decades, LTD Guitars has built a solid reputation for its craftsmanship, innovation, and dedication to meeting the needs of musicians across various genres. This comprehensive report delves into the company's background, product range, manufacturing processes, marketing strategies, and its impact on the music industry.

Background LTD Guitars was established in the 1990s as a subsidiary of the renowned guitar brand, ESP Guitars. The aim of creating LTD Guitars was to cater to the needs of musicians who sought high-quality instruments at more affordable price points. Over the years, LTD Guitars has evolved into an independent brand while still benefiting from ESP's expertise, craftsmanship, and design philosophy.

Product Range LTD Guitars offers a diverse range of electric guitars and basses that cater to musicians of all skill levels and musical preferences. The company's product lineup includes signature models, traditional shapes, modern designs, and extended-range instruments. LTD Guitars is particularly known for its expertise in crafting guitars suited for heavy metal and hard rock genres, with many notable artists endorsing and using their instruments.
Manufacturing Processes LTD Guitars places a strong emphasis on maintaining high manufacturing standards to ensure the delivery of instruments with exceptional playability, tone, and durability. The company employs a combination of traditional craftsmanship techniques and modern manufacturing technologies to create its guitars. Highly skilled luthiers and technicians meticulously assemble each instrument, paying attention to every detail, from the selection of tonewoods to the application of finishes and the installation of high-quality hardware and electronics.

Quality Control To maintain consistency and ensure the highest level of quality, LTD Guitars has implemented rigorous quality control measures throughout the manufacturing process. Each instrument undergoes thorough inspections, including testing of electronics, playability assessments, and tonal evaluations. This stringent quality control process guarantees that every LTD guitar that reaches customers meets the company's exacting standards.

Innovation and Technology LTD Guitars constantly strives to incorporate new technologies and innovations into its instruments. The company collaborates with renowned pickup manufacturers, such as EMG and Seymour Duncan, to offer a wide range of tonal options. Additionally, LTD Guitars has introduced innovative features like multi-scale (or fanned-fret) necks, ergonomic body contours, and extended-range instruments to cater to the evolving needs of modern musicians.
Marketing Strategies LTD Guitars employs a multifaceted marketing approach to promote its products. The company engages in various marketing activities, including artist endorsements, participation in industry trade shows and exhibitions, strategic partnerships, and online marketing campaigns. By aligning with influential musicians and showcasing their instruments in high-profile events, LTD Guitars enhances brand visibility and credibility among its target audience.
Impact on the Music Industry LTD Guitars has had a significant impact on the music industry by providing musicians with affordable yet high-quality instruments. The brand has successfully bridged the gap between beginner-level instruments and professional-grade guitars, making exceptional playability and craftsmanship accessible to a wider range of musicians. Many aspiring artists, as well as established professionals, have found their voice and inspiration through the instruments crafted by LTD Guitars.

Conclusion In conclusion, LTD Guitars has firmly established itself as a leading guitar manufacturer, known for its commitment to quality, innovation, and affordability. With a wide range of instruments catering to various musical genres and skill levels, the company continues to make a significant impact on the music industry. Through its meticulous manufacturing processes, cutting-edge technologies, and effective marketing strategies, LTD Guitars has gained the trust and admiration of musicians worldwide, solidifying its position as a go-to brand for electric guitars and basses.