TEST: QSC KS118

 What do you want from a transportable subwoofer for live use? In addition to an opulent sound pressure level in the low bass range, it should be very well manufactured, robust in every respect and, as the order already mentioned, it must be transportable and, if possible, can be handled by only one person. QSC is launching the QSC KS118 for exactly this purpose, so let's take a look at how it performs in this regard.

The construction of the QSC KS118

No matter how hard you try in the design department of a manufacturer, the tiresome triumvirate of sound - robustness - weight simply cannot be fooled. The fact that, thanks to Class D technology, it is now possible to design active sound reinforcement systems in the kilowatt range with an ease that was undreamed of even years ago would have been unimaginable in the days of passive systems. The power amplifier issue is thus off the table, but the moving air cannot be subjected to any technical trickery.

Thus, among other things, it is the speaker system, but above all the road construction, that still wants to be moved and should also provide the necessary counterweight for a vibration-free reproduction. To say it right up front, QSC has done a great job here. Although a weight of 49 kg is not to be thought of carrying for a 1-man company, QSC has installed 4 high-quality, smooth-running heavy-duty transport rollers on the back of the cabinet, which do a very good job once you have balanced the woofer on the back. Incidentally, the QSC KS118 is the successor to the KW181, which in turn has enjoyed a good reputation in the scene for many years.

Mind you, the woofer first has to be balanced on the back and who doesn't know the problem that the rollers develop a life of their own from an angle of about 45 degrees and if they are not somehow braked, "run away" from the bending point. However, QSC can't do anything about this; unfortunately, it can't be avoided. In general, everything possible has been done with the QSC KS118 to ensure that the product arrives safely at its destination, no matter how it is handled. Especially if you order the very high-quality protective cover right away, which in addition to a pocket for power or signal cables over several Velcro straps not only the cover itself, but also on top of stored products, such as the satellites, to attach knows... Logically, these roles automatically make the QSC KS118 a rolling cart.

The cabinet of the QSC KS118 is constructed of 18 mm birch plywood, which generally enjoys a good reputation, especially since a large part of the world-famous Marshall 4x12" guitar speakers are also made of this material. The cabinet is covered with a resistant textured lacquer, which should withstand at least rudimentary external influences. As additional protection for the speaker opening, the cabinet is closed from the front with a solid grille. With dimensions of 640 mm x 520 mm x 785 mm, you're already dealing with a full-grown subwoofer in the compact range, which can be moved by one person thanks to the heavy-duty casters, as long as you have the appropriate ramps in the loading area. Lifting the product alone is hopeless.

The QSC KS118 has 4 adjustable feet each on the bottom and one side panel, while the opposite side has analog 4 recesses for daisy chain stacking. Well thought out, well executed. If you now think that mentioning such a matter of course is exaggerated, you should take a look at the competition to see what kind of crude solutions are sometimes expected of the user in this regard.

On the top of the case is an M20 threaded flange that works with all common spacer rods. Of course, QSC also has corresponding rods for the in-house tops in their program.

The electronics of the QSC KS118

With 3.6 KW peak power, we are then already in the range where you can not only hear the bass, but also feel it. To get the most out of the system, an 18-inch long-throw driver works inside the cabinet, offering a frequency response of 35 - 111 Hz at a maximum level of 136 dB.

The system is monitored and controlled by an extensive DSP, which, in addition to various safety circuits, also has a few helpful tools on board. A small but easy to read display navigates through a standard menu, which is self-explanatory and requires no study of the manual.

In terms of crossover, you have the choice between 80 and 100 Hz, depending on which crossover point the satellites offer. Depending on the placement of the woofer in the network, you can set a delay of up to 100 ms, which corresponds to a distance of about 34 meters. Depending on the application, various DSP settings can also be saved and recalled accordingly. Interesting and not self-evident in this range is also the Cardioid Radiation mode, which of course requires at least 2 woofers of this type. Finally, you can activate a DEEP mode, a kind of bass boost that boosts the low frequencies even more.

The QSC KS118 has 2 inputs, both of which have appropriately looped outputs for daisy chain operation. Both inputs are controlled in parallel with an input control, which boosts the input signal up to 10 dB if required. The necessary cooling is provided by a speed-controlled fan, which runs quite quietly. Finally, there is also the On / Off switch and the power plug on the back.

The QSC KS118 in practice

In order to be able to evaluate the QSC KS118 in context, I received a complete setup, consisting of 2 QSC KS118 and two corresponding satellites from QSC plus the distance rods, so that I had a total of almost 11 KW of power available. In the context of this setup, the woofer really left an excellent impression. This woofer can really get very, very loud, but cushions the peaks with a very large headroom in an almost relaxed manner.

It was also interesting that when the crossover frequency was changed from 100 Hz to 80 Hz, the low bass range was reproduced a tick stronger. Not striking, more subtle. In general, the QSC KS118 succeeds again and again, despite the almost ostentatious performance specifications, to complete its task very discreetly in the background, just as one would wish from a subwoofer.

The situation is similar in DEEP mode. Here, too, the system is comparatively discreet, but also leaves no doubt that the boost has been activated. It is truly impressive what the system gets out of just one speaker when optimally tuned.

I fed the system with various test tones and reference recordings. As is almost always the case with audio reproduction, as the volume increased, heavily mastered material tipped over into an aggressive mush at a certain point, while a live recorded drum set banged without any processing whatsoever that it was a joy. Not really new, but always worth a mention.

The preset Cordioid preset is also a great relief when it comes to quickly curbing the notorious booming frequencies behind the subwoofers towards the stage via phase cancellation. Stack or position them next to each other, insert the preset, done. Alternatively, you can of course use the delay for a corresponding noise cancellation by placing two woofers one behind the other, which, as is well known, requires corresponding tables and is always only a compromise in terms of frequency cancellation. For an optimal implementation for the QSC KS118 system, however, you need 3 woofers, 2 front-loaded and one rear-loaded with appropriate phase rotation.

Conclusion

The QSC KS118 is a top class product on the active subwoofer market. The system features sophisticated DSP control, exceptionally high headroom, very good build quality, and high practicality.

You need one person to roll it, 2 people to carry it, and in return you get an excellent woofer that delivers just under 22 KW of bass with, for example, a 2-way cardioid arrangement in front-rear-front alignment. This is enough to provide a club with adequate and ambitious sound. QSC once again shows their great experience in the subwoofer field and has created a worthy successor to the KW181 with the QSC KS118.

Additional Informations:

QSC Audio: Revolutionizing Professional Audio Solutions
Introduction:
QSC Audio, established in 1968, is a leading global manufacturer and innovator in the field of professional audio equipment and solutions. Based in Costa Mesa, California, USA, the company has been at the forefront of developing cutting-edge products that have redefined the audio industry. With a commitment to excellence, innovation, and customer satisfaction, QSC Audio has earned a reputation as a trusted partner for professionals in the sound reinforcement, live performance, and entertainment sectors.

Company History and Evolution:
QSC Audio was founded by Patrick Howe Quilter, Barry Andrews, and John Andrews. The name "QSC" stands for Quilter Sound Company, reflecting the founder's vision to provide high-quality sound solutions. The company initially focused on guitar amplifiers and developed a strong presence in the musical instrument industry. However, as technology evolved and market demands shifted, QSC diversified its product line to include power amplifiers, speakers, digital signal processors, and complete sound systems.

Innovative Products and Technologies:
QSC Audio has consistently pushed the boundaries of audio technology, revolutionizing the industry with its innovative products. The company's flagship product lines include:
Power Amplifiers: QSC's power amplifiers are renowned for their robustness, reliability, and efficiency. The PowerLight series, featuring Class D amplification, significantly reduced the weight and power consumption of amplifiers without compromising performance. This breakthrough technology made QSC a pioneer in the realm of lightweight, high-power amplifiers.

Loudspeakers: QSC's loudspeaker offerings cater to various applications, from portable speakers for small venues to line array systems for large-scale events. The K Series and KW Series are notable examples, designed to deliver exceptional audio quality and versatility.

Digital Signal Processors (DSP): QSC's DSP platforms, like the Q-Sys series, provide comprehensive audio processing and system control. The Q-Sys platform is a flexible and scalable solution, enabling users to manage audio in various environments, from conference rooms to complex live events.
TouchMix Series: The TouchMix digital mixers have gained popularity among musicians, sound engineers, and performers due to their user-friendly interface, powerful processing capabilities, and compact design. These mixers strike a balance between advanced features and ease of use.
Cinema Solutions: QSC has also made significant strides in the cinema industry, providing audio solutions for movie theaters worldwide. Their DCP series of cinema processors and amplifiers have become an industry standard, delivering immersive audio experiences to moviegoers.
Global Reach and Customer Base:

QSC Audio's commitment to innovation, reliability, and superior performance has garnered a loyal customer base worldwide. The company's products are widely used in various industries, including:

Live Sound and Touring: Many renowned artists, bands, and production companies rely on QSC's audio systems for their live performances and touring events.
Installed Sound: QSC provides solutions for various fixed installations, such as houses of worship, conference centers, stadiums, and theme parks.

Corporate and Enterprise: QSC's audio solutions are employed in boardrooms, conference rooms, and meeting spaces to facilitate clear communication and seamless collaboration.
Entertainment and Hospitality: The entertainment industry, including theaters, music venues, hotels, and restaurants, benefits from QSC's audio technology to create immersive and memorable experiences for their patrons.

Commitment to Sustainability and Environmental Responsibility:
As a responsible corporate citizen, QSC Audio emphasizes sustainability and environmental consciousness. The company actively pursues eco-friendly practices throughout its operations, from product design to manufacturing and packaging. QSC aims to minimize its environmental impact by reducing energy consumption, using recyclable materials, and promoting responsible waste management.

Conclusion:
QSC Audio has evolved from its humble beginnings as a guitar amplifier manufacturer to a global leader in the professional audio industry. With its unwavering commitment to innovation, quality, and customer satisfaction, QSC has redefined the way audio technology is utilized in various applications. As the company continues to push the boundaries of audio solutions, it remains a reliable partner for professionals seeking cutting-edge, reliable, and environmentally conscious audio equipment.

TEST: PSI Audio A 14-M

 That our alpine neighbors south of our republic can also manufacture high-quality monitors was proven not long ago by the Swiss company PSI with their product PSI Audio Active 17M. Inspired by this success, the company has now set out to make a mark one step smaller in the form of the PSI Audio Active 14M Studio Red, but not without acquiring an optional subwoofer, in our case the PSI Audio Sub A125-M Studio Red, an additional boost in the bass range.

Even if the name PSI Audio should not mean anything to many people, owner and company founder Alain Roux and his Relec Sa group of companies, to which PSI Audio also belongs, are well known to experts. That Switzerland is anything but a low-wage country should be known to everyone, but whoever enters the fray with a retail price of just under 1,100 euros per speaker for a small monitor and 2,495 euros for the matching subwoofer, either has real cojonnes, or his product is sonically above criticism. We are curious.

Special features

As with its bigger brother, the A 17M, PSI Audio brings out the big guns in terms of optimized playback in this version. With the in-house Compensated Phase Response System for a frequency-optimized phase correction and the Adaptive Output Impedance System for an optimization of the transient response of the diaphragms, PSI Audio tries to generate a better depth gradation, higher detail resolution and an optimized impulse response.

Big claims, considering that the tiny speaker with its tweeter driver and its 6 inch bass speaker has only the dimensions 163 mm x 243 mm x 170 mm available to generate a balanced sound image. However, the very small dimensions offer many advantages where space can be at a premium, such as home studios or OB vans.

Construction

The near field monitor is designed as a 2-way monitor and has a 30 watt tweeter along with a 70 watt woofer, which are separated at 3.5 Khz by an active crossover. Colored in burgundy metallic, the box leaves a very noble impression, although one should handle the product with care. The paint doesn't offer real protection against external influences; even lightly pushing it over a surface causes scratches on the bottom of the case. The PSI Audio Active 14M Studio Red is completely manufactured at the company's headquarters in Yverdon / Switzerland. The bass reflex port of the cabinet is oriented to the front, which offers great advantages, especially for placement close to the wall.

Rear

On the rear, things are spartan. Equipped with a stepless volume control and a roll-off control, which allows the reduction below 100 Hz by a maximum of 10 dB, there is only one XLR socket on the back. The placement of the controls naturally offers the possibility to design a visually appealing case front, but has the disadvantage that you have to decide on a setting in advance for a fixed installation close to the wall, unless you want to constantly remove the monitor from its place for a readjustment.

In this context, you should also pay attention to the setting of the roll-off controller, which plays a decisive role when placing the monitor on the wall or in a corner, as well as when using a subwoofer. The lack of other connections such as TRS, RCA or even just a combo jack unmistakably shows that PSI considers all other connections irrelevant, i.e. budget solutions are not the target audience of the PSI Audio Active 14M Studio Red.

Subwoofer

With the PSI Audio Sub A125-M Studio Red, PSI Audio offers a sonically tuned subwoofer, especially regarding the frequency range downwards. As you can see from the frequency diagram, the working range of the subwoofer starts exactly where the PSI Audio Active 14M Studio Red runs out of steam, if you disregard a discreet dent between 50 - 70 Hertz. In return, the PSI Audio Sub A125-M Studio Red delivers a linear coverage of the bass range up to 35 Hertz. Strictly speaking, the subwoofer only reproduces the range between 35 - 50 Hertz linearly, below and also above that, the curve of the woofer equipped with an 8-inch drops sharply.

Visually, the satellites and woofer complement each other perfectly, both have the same look. The aforementioned CPR and AOI systems were also installed in the woofer. However, the subwoofer, which is specified with 150 watts of power, has an impressive weight of over 20 kilograms with average dimensions of 320 mm x 480 mm x 385 mm, so it is recommended to think about the subwoofer's location in advance.

In terms of connection field, the PSI Audio Sub A125-M Studio Red is also quite spartan. 2-way input right / left, plus the forwarding of the signal to the satellites, a volume control - that's it. No variable crossover point, no daisy chain, nothing. Well then.

Sound

Let's start with the PSI Audio Active 14M Studio Red without subwoofer. The first sound impression: neutral, perhaps even unobtrusive in the best sense. While many nearfield monitors draw attention to themselves during initial operation with a typical AHA effect of bass-heavy, harsh highs, squawking mids or even fine highs, soft bass or whatever, the PSI Audio Active 14M Studio Red shines by not attracting attention with any peculiarity at all. Maybe a little sharpness in the high mids just above the crossover frequency, but that is a purely subjective and moreover subtle listening impression.

The speaker reproduces the sound material without any glossing over, but also doesn't make you cringe in the old MS-10 manner in the sense of "there's still a lot to do". Rather, it reveals details that can still be adjusted in the later mix in a discreet manner, as one would wish. Frequency-wise, it goes down quite linearly to about 100 Hertz, below which, as expected, it's closing time with these cabinet dimensions in cooperation with a 6 inch speaker.

However, the PSI Audio Active 14M Studio Red shows its great strengths in the spatial resolution. The depth gradation is exemplary, whereby the phantom center can be located excellently due to a very good stereo imaging. The impulse behavior is also very balanced and reproduces almost all instruments very naturally, regardless of the volume. Here, the neutral character of the monitor comes into its own very well.

Only in guitar-heavy productions does the ear have to be prepared for a slightly sharp basic posture with high-gain guitars. However, once you get used to the discreetly biting character, you will get along very well with the system.

As expected, the sound changes enormously when the subwoofer is added in the low bass range, but in a different way than I would have expected. From 50 Hertz, the woofer now pushes very strongly, but it displaces the sound material with an extremely soft response. The PSI Audio Sub A125-M Studio Red truly makes you feel the frequencies more than hear them. Any form of attack or even impulse sounds soft as if packed in absorbent cotton. Depending on the sound material, the basic orientation of the woofer is a real boon, but also offers the danger of "lulling". To what extent the concept corresponds to one's own listening habits is something everyone has to find out for themselves. Personally, I found the tuning a bit too soft, but this is not to be taken as a judgement.

Conclusion

With the PSI Audio Active 14M Studio Red, the Swiss company fulfills its expectations. As an extension of the product range in the direction of the smallest monitor, the company manages to fulfill the high expectations that the 17M generated. Whether in solo operation or in combination with a subwoofer, the product shines with a precise resolution, a very good depth gradation and a neutral sound image.

Especially in confined spaces, the PSI Audio Active 14M Studio Red can score with its small dimensions and offer a good sound even in spatially difficult workplaces. However, it remains to be seen whether the in my opinion somewhat too ambitious retail price of 4,700 Euros for a subwoofer combination will make interested customers hesitate.

Additional Informations:

PSI Audio: Precision Sound Instruments Redefining Audio Monitoring
Introduction: PSI Audio is a Swiss-based company renowned for its exceptional precision sound instruments, specializing in high-quality studio monitors and professional audio equipment. Founded in 1975 by Roger Roschnik, a visionary audio engineer, PSI Audio has earned a stellar reputation in the industry for its innovative design, meticulous craftsmanship, and unwavering commitment to delivering uncompromising audio quality.
Vision and Mission: PSI Audio's vision is to provide audio professionals with unparalleled precision in monitoring, enabling them to achieve accurate and transparent sound reproduction. The company's mission is to revolutionize audio monitoring technology through research, innovation, and the fusion of cutting-edge components.
Acoustic Design Philosophy: At the core of PSI Audio's success lies its unique acoustic design philosophy. The company firmly believes that true audio precision can only be achieved through an in-depth understanding of acoustic principles. As a result, PSI Audio's engineers and designers meticulously analyze and control acoustic behavior, ensuring that their products deliver transparent and uncolored sound reproduction.
Advanced Technology: PSI Audio's studio monitors are meticulously crafted using state-of-the-art technology, ensuring optimal performance and durability. Key technological aspects include:

Compensated Phase Response (CPR): PSI Audio employs CPR technology, which optimizes the phase response of their monitors. This results in a natural and precise sonic image, facilitating accurate spatial localization of sound sources.
b. AOI Technology (Adaptive Output Impedance): AOI technology allows PSI Audio monitors to adapt to different acoustic environments, compensating for impedance variations and ensuring consistent performance across various setups.
c. Active and Amplified Design: All PSI Audio monitors are actively powered with built-in amplifiers, offering greater control over the drivers and reducing intermodulation distortion.
d. Dual-Feedback System: PSI Audio utilizes a dual-feedback system in their amplifiers to maintain stable and linear performance, even during demanding audio reproduction.
e. Vibration Decoupling: The company implements effective vibration decoupling techniques to minimize resonance and interference, further enhancing the accuracy of sound reproduction.
Product Range: PSI Audio offers a carefully curated range of studio monitors and subwoofers, tailored to suit various audio monitoring applications. Their product lineup includes:

A-Series: The A-Series comprises compact nearfield studio monitors, renowned for their precision and clarity. These monitors are ideal for critical listening and mixing tasks in recording studios, post-production facilities, and mastering studios.

b. AVAA C20: The AVAA C20 is a revolutionary Active Velocity Acoustic Absorber designed to combat low-frequency room modes and improve room acoustics, creating a more accurate monitoring environment.
c. Subwoofers: PSI Audio's subwoofers are engineered to complement their studio monitors, extending the low-frequency response and enhancing the overall listening experience.
Environmentally Conscious Manufacturing: PSI Audio is committed to sustainability and environmentally conscious manufacturing practices. The company strives to minimize its ecological impact by using eco-friendly materials, energy-efficient production processes, and recyclable packaging.

Awards and Recognition: PSI Audio's dedication to precision audio monitoring has earned the company numerous industry accolades and recognition. Their studio monitors have been widely praised by audio professionals and have received accolades for their outstanding performance and design.

Global Reach and Partnerships: With its headquarters in Switzerland, PSI Audio serves customers globally through a network of authorized dealers and distributors. The company's products are used in high-profile recording studios, broadcast facilities, mastering studios, and audiophile setups worldwide. PSI Audio also collaborates with other audio companies, forging partnerships to enhance product development and expand its reach.

Conclusion: PSI Audio's unwavering commitment to precision sound instruments has established it as a leading force in the world of audio monitoring. By combining cutting-edge technology, innovative design, and a profound understanding of acoustics, PSI Audio continues to redefine the standards of audio accuracy and transparency. With a dedicated focus on customer satisfaction, sustainability, and continuous innovation, PSI Audio remains a go-to choice for audio professionals seeking uncompromising quality in their monitoring solutions.

TEST: Proel Session 4

 I admit that I had never heard of the Italian company Proel until now. After all, the company seems to exist since 1991 and has developed with the Proel Session 4 another product for the compact array area, which has emerged in recent years as the sales driver in the mobile sound industry. There is hardly a sound reinforcement manufacturer who has not sought his salvation in recent years in the separation of subwoofers and upright satellites and calls a typical representative of the array class his own.

The advantages of such systems are quickly outlined. The mobile systems should be small, transportable and dismountable, and due to powerful Class D power amplifiers, they should also be able to drive in the KW range. However, one should not be blinded by the array buzzword, because the compact solutions have absolutely nothing in common with a "real" array system. Let's take a look at what Italy has to offer.

Concept and construction of the Proel Session 4

Immediately after unpacking, one can see that Proel has written the adjective flexible very large in its Proel Session 4. Thus, the system can be operated in mono as well as in 2.1 stereo with the appropriate setup. The system, which consists of a subwoofer and two satellites, can be operated either mono with the two satellites on top of each other by interlocking the enclosures via a sliding device, or in typical stereo function with one satellite arranged above the woofer and a second to the left or right of it. In terms of dimensions, the system features an active bandpass subwoofer with 2x 6.5" woofers and 2 array tops with 4 x 2.75 Neodynium full-range speakers each.

For the woofer satellite a double screwable distance rod is included, for the second satellite a separate high stand for the 35 mm flange has to be purchased. Also, only a single Speakon cable is included with the system, which I absolutely cannot understand. A second Speakon cable would only increase the manufacturing costs by a few euros and at least leave a completely usable system. So the first thing you are forced to do is buy another Speakon cable. Clearly saved at the wrong end!

For transport, the two satellites are sunk into two corresponding tubes inside the subwoofer to save space. Very practical, but you should never forget to put the two tweeters in the supplied sleeves with the pull loop upwards beforehand, otherwise you will only get the satellites out of the slots again with great effort and manifold curses. In this case, you have to turn the woofer upside down and heave it upwards due to the millimeter-precise milled openings. You definitely only do that once, after that you remember the procedure. Further mounting points for cables or the spacer rods are unfortunately not available, a separate bag / case must be used here.

The Proel Session 4 is designed by its performance for small bands, moderate Dj or playback use in small locations. With 300 watts for the subwoofer and 100 watts per satellite (all continuous load data according to the manufacturer), you can make an unplugged combo or a moderate playing band audible for about 100 people. Physicality in the form of a punchy kick drum, for example, cannot be realized with this system. It is all the more important that the system draws as finely as possible even at low volumes in order to reproduce details in the sound shaping of a moderately playing band or corresponding playback material. More on this in the practical part of the test.

The operation of the Proel Session 4

Like most systems of this type, the manufacturer of the Proel Session 4 tries to keep the user as completely out of the technical part of the system as possible. What is certainly a blessing for the inexperienced occasional operator, leads on the other hand to the fact that fewer and fewer operators are seriously familiar with sound reinforcement material and above all can no longer actively intervene in the decisive parameters. Preset rules ...

Thus, the Proel Session 4 only has a rudimentary preset management of the usual suspects Music, DJ, Speech and Playback plus a simple 2-band EQ in front of you, with which you can shape the basic sound of the system a bit. Unfortunately, not even a parametric mid EQ has made it into the system, which would have been very helpful depending on the incoming signal. Probably the manufacturer was afraid of the user's incompetence and immediately denied him any capabilities. I know, parametric mids are a big challenge for the untrained ear, but to leave him completely out of the sound control because of that, I think is counterproductive and presumptuous. Further system management such as crossover frequencies, gain control etc. is unfortunately searched for in vain.

On board is still the popular, integrated Bluetooth player, so that the personal smartphone can keep the party going without a cable. Two XLR / TRS combo jacks are available as input sockets, which can also be looped through to other amplifier solutions via daisy chain via corresponding XLR outputs if required.

The Proel Session 4 in practice

The transportability of the Proel Session 4 is very pleasant. Even though the "pull-out-the-loops" solution for transporting the satellites is a bit shy, the speaker reduction to the subwoofer cube is very practical. With a total weight of 25 kilograms, a single person should make sure to only lift from the knees, but the weight can definitely be called moderate for the performance-related equivalent. I still recommend, if possible, to transport the system with 2 people on the two opposite transport handles.

The birch plywood case makes a good impression, the workmanship is impeccable, although the rather coarse textured paint makes the system look coarser than it is. The spacer rods can be connected to each other in a few easy steps, although you can of course only use the upper end. When it comes to adjusting the height of the satellites, the Proel Session 4 really is very flexible.

Already at the first frequencies that sound out of the Proel Session 4, the sonic preference of the system becomes clear. The system seems to drown in the bass range. However, the DJ preset was also activated, which is probably to account for the bass love of many productions. After switching to the Playback preset, the bass transparency improved significantly, but still delivered a very dominant bassiness that was comparatively manageable and didn't drift into an undefined slobber.

The Proel Session 4's weak point, on the other hand, is another. I'm inclined to say that the system lacks another speaker in the form of a high frequency driver. Up to the high midrange, the four tweeters/midrange drivers can maintain a hard but comparatively continuous sound image, but after that it's over. In the true high frequency range from about 6 kHz upwards, the reproduction collapses as if a medium wave radio is being transmitted. The sound is harsh and lacks any fine resolution.

This shortcoming cannot be remedied by the internal EQ either, since it only adds further harshness to the output signal. Possibly an upstream graphic EQ could still bring something in signal quality, but I fear that the internally installed tweeters also come here to their limits and can transmit the signal in its adjusted form only rudimentary.

Driving the system into saturation, once again the sonic design of the system comes into play. While the subwoofer remains surprisingly stable even into saturation, the tweeters/midrange speakers quickly add clippings to the signal due to their rather low power handling, which lowers the sound quality even more. A band playing quietly will never get into the embarrassment of this volume, but a system should nevertheless have enough headroom even at power peaks to absorb the impulse peaks accordingly clean.

Conclusion

With the Proel Session 4, the Italian manufacturer has a small, portable 2.1 speaker system in its range, which is easy to transport and quick to set up. The convincing sound in the bass range is unfortunately diminished by an insufficient treble reproduction, so I think that users should check in advance whether the treble reproduction is sufficient for their personal field of application.


Additional Informations:

Proel Audio: Empowering the World of Sound with Innovation and Excellence
Introduction: Proel Audio is a renowned and dynamic company that has been at the forefront of the professional audio industry for decades. Founded in 1991 in Sant' Omero, Italy, by Fabrizio Sorbi, the company has been dedicated to designing and manufacturing a wide range of high-quality audio equipment and musical accessories. With a strong commitment to innovation, reliability, and customer satisfaction, Proel Audio has emerged as a global leader, serving musicians, sound engineers, installers, and audio enthusiasts worldwide.
Vision and Mission: Proel Audio's vision is to enrich the world of sound through innovation, craftsmanship, and technological excellence. The company's mission is to empower individuals and organizations with cutting-edge audio solutions that enhance creativity, performance, and the overall audio experience.

Product Range: Proel Audio boasts an extensive product portfolio that caters to a diverse array of audio needs. The company's offerings include:

a. Pro Audio Equipment: Proel Audio produces a wide range of professional audio equipment, including power amplifiers, mixers, signal processors, speakers, and microphones. These products are designed to meet the demanding requirements of live performances, studio recording, and installations.

b. Musical Instruments: The company manufactures musical instruments, such as electric and acoustic guitars, bass guitars, keyboards, and electronic drums, ensuring that musicians have access to high-quality instruments to unleash their creativity.

c. Audio Cables and Connectors: Proel Audio is well-regarded for its durable and reliable audio cables and connectors, essential components for maintaining pristine audio signal transmission.

d. Lighting Solutions: In addition to audio equipment, Proel Audio offers innovative lighting solutions, including stage lighting, LED fixtures, and lighting controllers, catering to the needs of event organizers and lighting designers.

e. Accessories: Proel Audio's accessory line includes stands, brackets, flight cases, and other practical solutions that enhance the functionality and portability of audio equipment.
Research and Innovation: Proel Audio's commitment to research and innovation sets it apart as a pioneering force in the audio industry. The company invests heavily in research and development, collaborating with experienced engineers and musicians to create state-of-the-art products. The use of advanced materials, digital signal processing (DSP), and cutting-edge manufacturing techniques ensures that Proel Audio remains at the forefront of technological advancements.
Global Presence: With its headquarters in Italy, Proel Audio has established a strong global presence through a network of authorized distributors and dealers. Its products are available in numerous countries across Europe, Asia, the Americas, and other regions, making it a preferred choice for audio professionals and enthusiasts worldwide.

Customer Support and Training: Proel Audio places a strong emphasis on customer support and training. The company provides comprehensive technical support to assist customers in selecting, using, and troubleshooting their products. Moreover, Proel Audio organizes training sessions and workshops, educating users on best practices for audio equipment setup, maintenance, and optimization.

Environmental Responsibility: Proel Audio is committed to environmental sustainability and takes several measures to reduce its ecological footprint. The company adheres to eco-friendly manufacturing practices, implements energy-efficient processes, and uses recyclable materials in its packaging.

Endorsements and Partnerships: Proel Audio's dedication to quality and innovation has earned it endorsements from prominent musicians, recording studios, and sound professionals. Additionally, the company collaborates with leading audio companies, participating in joint ventures and technology-sharing initiatives.

Awards and Recognition: Proel Audio's relentless pursuit of excellence has been acknowledged through various industry awards and accolades. The company's products have received recognition for their outstanding performance, reliability, and design.

Conclusion: Proel Audio's journey from its humble beginnings to becoming a globally recognized name in the professional audio industry reflects its unwavering commitment to innovation and quality. With a diverse product range, an unyielding dedication to research and development, and a passion for customer satisfaction, Proel Audio continues to elevate the world of sound, empowering musicians, audio professionals, and music enthusiasts alike with cutting-edge audio solutions.

TEST: Prodipe TDC8

 If you're interested in near-field monitors, you might frown a little at a pair of Prodipe TDC 8 monitors. Prodipe? France? I don't know it at all. I felt the same way when I recently received two medium-sized packages. However, a look at the price of just under 400 Euros for two (!) loudspeakers aroused my interest, especially since some specifications don't seem to fit into the aforementioned price segment at first glance.

In addition, the product, which belongs to the French company IPE Music, comes up with an interesting housing format, which allows an alternative installation variant to the classic stand solution. All in all, a debut that makes us want more. Let's see what else we can elicit from the monitor, especially since the competition in the budget league is anything but low. Whoever wants to acquire a firm place in the consumer's favor has to shine with a few independent detail solutions, or else lay out the blueprint for an impressive number of copyists.

Prodipe's TDC group includes the 5, 6 and 8 versions, which are named after the size of the respective woofer. We have the most powerful version with the designation 8 for testing.



Construction

A single TDC 8 box comes with a weight of 10 kilograms and the dimensions (HxWxD): 350 mm x 250 mm x 280 mm, which is easy to handle and place accordingly in practice. If you want to place the speakers in front of you on the work surface, you also have the option of placing the monitor in either a straight or upwardly slanted version by turning the case. This has the advantage that you don't know the sweet spot in the chest area when the work surface is comparatively low, but it actually radiates in the direction of the hearing. In order to be able to operate the speakers close to a monitor, the construction has been magnetically shielded.

In terms of speakers, the Prodipe TDC 8 has a classic setup, meaning it has a two-way solution with a 30-watt 1-inch tweeter and an 8-inch woofer, which has an output of 80 watts, all figures as RMS. According to the manufacturer, the system has a frequency response of 40 Hz - 20 kHz with a 98dB S/N ratio. XLR balanced, 6.3 mm jack balanced/unbalanced and RCA are available as inputs, whereby the high frequency range can be varied by -2dB, -1dB, 0dB, +1dB using a rotary control. Finally, there is the power or IEC IEC connector with fuse and voltage selector switch.

In general, the boxes, which were developed in France and manufactured in China from MDF, are very cleanly finished and leave a solid impression. The entire construction is covered by black foil and shines with flawless implementation and the non-existent smell of the infamous hardware store formaldehyde flair.

In terms of circuitry, the Prodipe TDC 8 is an active solution, which includes the placement of the crossover before the respective power amplifiers. The advantages are mostly a better impulse behavior and the optimized control of the individual speakers. The final volume of the speakers can be adjusted continuously via a non-gridded rotary control. Personally, I prefer a grid on the volume control, as this is the only way to set both speakers to exactly the same output volume.

However, it gets really interesting when placing the speakers, since this is the coaxial principle, where tweeter and woofer radiate the sound from a common point. This can only be implemented by placing the tweeter in the center or, as in this case, in the middle of the woofer (the dome of the bass speaker was removed in favor of the tweeter driver) and is usually reserved for higher priced products. The advantages are, in addition to a higher phase fidelity, mostly a more authentic reproduction of the stereo image, and in addition, one can significantly reduce the cabinet volume in terms of width.

Another advantage of this design is the flexible alignment of the system. Since there is no "top" or "bottom" of the system apart from the arrangement of the bass reflex port, you can turn the monitor as you like, the radiation of the sound is not affected.


Practice

Although the slope of the cabinet invites placement on the work surface, I first position the speakers in my studio on the appropriate stands in the back of the room to better assess the stereo image. As a starting position, we first select the linear setting in the high frequency range without any cut or boost. Already with the first sounds coming out of the speakers, a strong bass presence around 100 Hz becomes apparent, which makes the speaker sound comparatively voluminous, but also very quickly, almost too quickly a feeling of satisfaction in the mix. It is important to keep this in mind during production.

The impulse behavior of the speaker is good, the stereo image is balanced and the phase fidelity is exemplary due to the coaxial principle. The system's depth staggering is fun and conveys a relaxed working feeling. Among other things, the comparatively deformation-resistant plastic material of the woofers, which are responsible for a discreetly hard basic sound, is striking. Especially at low listening volumes, subtleties in the low-mid range become a bit stiff, but this decreases with increasing volume.

By far one of the most difficult reproductions for a speaker system are distorted electric guitars. The conglomeration of a strong midrange presence with countless overtones regularly causes even constellations from the high price range to capitulate and transforms guitars that were just recorded in a high quality into scratchy buzz saws or muddy/muffy wool blanket representatives in no time. Especially the range between 1 - 4 kHz decides about woe and weal of a guitar recording and wants to be considered accordingly. Here the Prodipe TDC 8 does comparatively well, which is due to a slight overpresence at 3 kHz.

On the other hand, the system has a discreet hang between 200 - 800 Hz, which leads to a loss of warmth in the basic sound. If one wants to trim the monitor to linearity, one would be inclined to lower the tweeter by -1dB, which would bring about an equalization of the sound at a crossover frequency of 1.8 kHz, but would also affect the entire high frequency range beyond the 3 kilohertz mark. Ultimately, everyone has to personally find their preferences and adjust their hearing accordingly.

Due to the strong bass presence between 80 and 120 Hz, an optional additional bass reduction would have been very nice in my opinion, so you unfortunately only have the option to intervene in its basic sound via a placement of the monitor. You should therefore make sure that the speakers are placed far enough away from the nearest wall, as otherwise unpleasant overlaps can quickly occur.



Conclusion

With the Prodipe TDC 8 you get a good sounding and very well manufactured monitor, which earns many plus points due to its construction. The basic sound is unobtrusive, the stereo image is good, the price is excellent and the flexibility due to the optional angled positioning, coupled with the coaxial principle, is very good.


Additional Informations:

Prodipe Audio: Revolutionizing the World of Professional Audio Equipment

Introduction: Prodipe Audio is a leading company in the field of professional audio equipment, catering to musicians, sound engineers, and audiophiles worldwide. Founded in 2000 by Ludovic Lanen, a renowned French sound engineer and musician, the company has rapidly established itself as a reliable and innovative brand in the audio industry. Prodipe Audio's commitment to delivering high-quality products at affordable prices has made it a favorite among professionals and amateurs alike.
Vision and Mission: Prodipe Audio's vision is to democratize access to top-notch audio equipment by offering cutting-edge technology at competitive prices. The company's mission is to empower musicians, producers, and sound engineers with the tools they need to achieve their creative visions and elevate the quality of their work.
Product Range: Prodipe Audio boasts an extensive range of products designed to meet the diverse needs of its customers. The company's offerings include:

Studio Monitors: Prodipe Audio's studio monitors are renowned for their accuracy and fidelity, providing precise sound reproduction essential for critical listening and audio mixing.
b. Microphones: The company's microphones are engineered to capture every nuance of sound with exceptional clarity. From condenser mics to dynamic ones, Prodipe Audio's microphone range caters to a wide array of recording applications.
c. Headphones: Prodipe Audio offers professional-grade headphones that deliver a balanced and accurate sound, making them a popular choice among musicians and music producers.
d. Musical Instruments: The company also manufactures musical instruments, such as electronic drum kits and MIDI controllers, that blend cutting-edge technology with ergonomic designs.
e. Wireless Systems: Prodipe Audio's wireless systems enable performers and presenters to move freely while maintaining excellent audio transmission quality.

Innovative Technology: Prodipe Audio places a strong emphasis on research and development to continually innovate and refine their products. The company collaborates with expert sound engineers, musicians, and technicians to ensure that each product undergoes rigorous testing and improvement. Additionally, Prodipe Audio invests in cutting-edge technology to stay at the forefront of audio equipment advancements.
Artist Endorsements: Prodipe Audio's commitment to quality has garnered support from numerous prominent artists and sound professionals. Many musicians and producers, including Ludovic Lanen himself, endorse Prodipe Audio products, serving as a testament to the brand's credibility and performance.
Global Presence: With its headquarters located in France, Prodipe Audio has expanded its presence globally through a network of authorized dealers and distributors. Its products are available in music stores and online retailers across Europe, Asia, the Americas, and other regions.

Community Engagement: Prodipe Audio actively engages with its user community through online forums, social media platforms, and events. The company values customer feedback and incorporates it into product improvements and future developments.
Commitment to Sustainability: Prodipe Audio demonstrates a strong commitment to environmental sustainability by adhering to eco-friendly manufacturing practices, using recyclable materials in packaging, and complying with relevant regulations.
Awards and Recognition: Over the years, Prodipe Audio has received several industry accolades and awards for its exceptional product performance and innovation, further solidifying its position as a market leader.

Conclusion: Prodipe Audio's journey from a modest start-up to an internationally recognized brand has been fueled by its unwavering dedication to delivering high-quality audio equipment at accessible prices. With its relentless pursuit of innovation and customer satisfaction, Prodipe Audio continues to inspire and equip musicians, sound engineers, and audio enthusiasts worldwide, setting new standards for excellence in the professional audio industry.


Nearfield Monitors: Unveiling Precision in Professional Audio Monitoring
Introduction: Nearfield monitors, also known as studio monitors or reference monitors, play a pivotal role in professional audio production, providing accurate and reliable sound reproduction. These specialized speakers are designed for close-range listening, making them an indispensable tool for music producers, sound engineers, and recording studios. This report delves into the fascinating world of nearfield monitors, exploring their history, technology, features, and applications.
Historical Background: The concept of nearfield monitoring dates back to the mid-20th century when the need for accurate audio monitoring arose in recording studios. Early studio monitors were large, far-field systems that were challenging to calibrate and often resulted in inaccuracies due to room reflections. As recording techniques advanced, engineers sought a more precise solution, leading to the development of nearfield monitors. The first commercially available nearfield monitor, the Yamaha NS-10, revolutionized the industry and set the standard for reference monitoring in studios.
Key Features and Technology: Nearfield monitors are meticulously engineered to provide a flat frequency response and an unbiased representation of audio content. Key features and technologies that contribute to their accuracy include:

a. Tweeter and Woofer: Nearfield monitors typically consist of a high-frequency tweeter and a low-frequency woofer, with separate amplification for each driver. This two-way or three-way design allows for better control over the frequency range.

b. Enclosure Design: Nearfield monitors come in various enclosure types, such as ported, sealed, or bass-reflex designs. The choice of enclosure affects the speaker's low-frequency response and bass extension.

c. Crossover Network: The crossover network in nearfield monitors divides the audio signal into appropriate frequency bands and sends them to the corresponding drivers, ensuring seamless integration between tweeter and woofer.

d. Bi-Amping or Tri-Amping: Many high-end nearfield monitors offer bi-amping or tri-amping configurations, where each driver is powered by a dedicated amplifier channel. This setup enhances precision and reduces intermodulation distortion.

e. Room Calibration: Some nearfield monitors feature advanced room calibration technologies, using built-in microphones and DSP processing to compensate for room acoustics and optimize audio performance.

f. Magnetic Shielding: Magnetic shielding is employed to prevent electromagnetic interference, making nearfield monitors suitable for use near sensitive equipment like computer monitors.
Advantages of Nearfield Monitoring: The use of nearfield monitors offers several advantages to audio professionals:

a. Accurate Audio Representation: Nearfield monitors deliver a flat frequency response, allowing producers and engineers to make critical decisions with confidence and accuracy.

b. Reduced Room Interference: Due to their close listening proximity, nearfield monitors minimize the impact of room reflections, resulting in clearer and more precise audio monitoring.

c. Enhanced Stereo Imaging: The focused sound dispersion of nearfield monitors facilitates a detailed stereo image, aiding in the localization of sound sources.

d. Low Listening Fatigue: Nearfield monitors are designed for extended listening sessions with minimal listener fatigue, making them ideal for long studio sessions.

e. Portability and Versatility: Nearfield monitors come in various sizes, making them suitable for different studio setups and even home recording environments.
Applications: Nearfield monitors find extensive applications in various fields of audio production:

a. Music Production: Producers use nearfield monitors to mix and master music tracks, ensuring precise tonal balance and optimal dynamic range.

b. Film and Television Post-Production: Audio post-production professionals rely on nearfield monitors to edit and mix sound for films, television shows, and commercials.

c. Broadcasting: Radio and television broadcasters use nearfield monitors for monitoring audio content during live broadcasts and post-production tasks.

d. Gaming and VR Audio: In gaming and virtual reality environments, nearfield monitors are employed to create immersive soundscapes and realistic spatial audio.
Notable Brands and Models: Several renowned brands dominate the nearfield monitor market, offering a wide range of models tailored to different needs and budgets. Some popular brands include Genelec, KRK Systems, Yamaha, Focal, Neumann, and Adam Audio, each known for its commitment to audio quality and innovation.

Conclusion: Nearfield monitors have become an indispensable tool in the professional audio industry, empowering musicians, sound engineers, and content creators with accurate and reliable sound reproduction. Through advancements in technology and constant innovation, these specialized speakers continue to shape the landscape of audio monitoring, driving creative excellence and setting new standards for precision in audio production.

TEST: Presonus R65

 You really can't complain about a lack of product variety at Presonus. In addition to mixers, interfaces, software and all kinds of detailed solutions, there are also various monitor solutions in the American company's catalogue. With the Presonus R65 made in China, there is now another representative in the retail price class under 300 euros in the program, which can come up with an old familiar in the high-frequency range.

Structure of the Presonus R65

The Presonus R65 is an active 2-way near-field monitor, which is comparatively compact with the dimensions (W x D x H): 203 mm x 261 mm x 328 mm and a weight of 6.4 kilograms. The system features a 6.5-inch woofer made of Kevlar and a ribbon tweeter separated at 2.7 kHz, which is based on the Air Motion Transformer (AMT) principle, as known from the industry leader Adam. The woofer material Kevlar also seems to be developing more and more into a standard in the field of bass loudspeakers, since the low weight and quick response are a popular argument for the woven material.

According to the manufacturer, the Presonus R65 has a frequency range of 45 Hz to 22 kHz (-3dB) and a sound pressure level of 107 dB @ 1 m. The performance data of 100 watts in the bass range and 50 watts in the treble range once again allow for use in a small close control room or in home studio. Even if the performance specifications are convincing, one should never forget the corresponding headroom for impulse peaks, which can occur with hard bass peaks.

The Presonus R65 has a rich arsenal of tonal correction options to counteract the frequently occurring problems with reflecting walls or the (forced) close positioning of the monitors on standing walls or in room corners. In particular, the swinging up in the bass range can lead ad absurdum to any perception that is kept as neutral as possible, which is why Presonus wants to tackle this problem with 2 different filters. More on that later in the connection area.

Visually, the Presonus dares to get used to terrain, although the blue on the front, reminiscent of old turbo sound systems, will definitely find its fans. As the official company color, it is quite understandable, but most users will probably prefer the neutral black, which can be done quickly by exchanging the black front baffle included in the scope of delivery. Only six Allen screws have to be loosened and tightened again. The scope of delivery of the Presonus R65 also includes the appropriate hexagonal wrench as well as a manual and the power cable. Unfortunately, it was not possible to find out whether Presonus is considering offering further Buffels in additional colors for an individual color comparison.

In terms of housing, a lot has been done to counteract the standard problems of the reflection zones. In order to minimize comb filter effects, the front edges of the housing have been angled backwards, and the bass reflex opening has also been moved to the front. In general, in my opinion, near-field monitors that are used in home studios should always have their bass reflex opening facing the front. In small control rooms, who has the opportunity to position their monitors on high stands freely in the room with the appropriate clearance of at least one meter to the rear?

In terms of workmanship, the Presonus R65 has to be attested to have a good picture. The MDF panels covered with black vinyl fit neatly together and do not allow any corners to protrude or unclean foiling to be seen. The scope of delivery also includes a small foam board, from which you can cut four feet for the purpose of decoupling from the ground. Nice, but 4 small stick-on feet would make this step superfluous again.

The back of the Presonus R65

As already mentioned, the Presonus R65 offers extensive filter settings, which are housed in addition to the entire peripheral connection on the back of the housing. On the one hand there is a gain controller with a raster at 0 dB (U). Unfortunately, only this 0 dB range can be firmly defined, but if you consider how many products in this price range have no grid at all, you cannot rate this fixation aid highly enough. The connection options are also really extensive with symmetrical XLR, symmetrical TRS and asymmetrical cinch. Especially in the home studio you should take into account the different signal sources, a high-quality XLR signal routing is not always available.

When it comes to filters, Presonus comes up with a standardized treble and bass filter. The treble filter allows the settings 0 dB, -1.5 dB and -4 dB via a pressure switch, as well as an increase of +1 dB from around 2 kHz. The practical test will show whether an increase in a ribbon tweeter is necessary. In the bass range there is the option of a high-pass filter at 60 Hz, 80 Hz and 100 Hz, or you can also leave the filter on linear.

A special feature is the "Acoustic Space", which performs bass shelving below 250 Hz with 0, -1.5 dB, -3 dB and -6 dB. This should at least rudimentary the o. can get a grip on the tonal problems of an unfavorable positioning. The practice of the user will have to show whether these comparatively ruthless interventions in the sound can be better solved by an optimized positioning of the monitors. Remember, the more capital you invest in optimizing the control room in advance, the less you have to try later to get tonal over- or under-emphasis under control.

The energy-saving mode, which switches the speakers to standby mode after about 30 minutes of inactivity, is also very pleasant. It is activated by holding down the HF Driver and the Acoustic Space button for about 3 seconds.

The Presonus R65 in action

After activating the Presonus R65, the listener is initially offered a comparatively neutral sound, which is immediately noticeable in the ribbon tweeter. However, not in the form of a harsh, rather aggressive high frequency range, as was previously the case with some suppliers, but rather with all its advantages that ATM technology offers. The high-frequency range is comparatively airy and very quick to respond. There is no overemphasis, although the sound of an ATM tweeter requires a certain listening time for some users.

If we go a little deeper into the high mids in terms of frequency, we come across a weak point of the Presonus R65. The sound in this frequency range is comparatively "throaty", possibly also a bit "hollow", which makes the vocal range in particular sound a bit cold. In general, the system sounds comparatively harsh, which is not necessarily a disadvantage. However, you should always listen to it against another reference pair, especially in the mixdown, in order to regularly put your hearing into perspective.

A strength of the Presonus R65 is the mid and low-mid range. E-guitars and e-basses are reproduced quite succinctly and can assert themselves well in terms of sound. The playback is taut and well fanned out, so that many subtleties find their way into the listener's ear. Incidentally, the stereo image of the Presonus R65 is somewhat more focused thanks to the ATM technology, which means the stereo triangle is smaller, but it can also assert itself better in acoustically difficult rooms.

What the Presonus R65 lacks, however, is real bass. I am inclined to claim that everything below 150 Hz is only reproduced acoustically in a rudimentary manner. Unfortunately, this shortcoming cannot be compensated for using appropriate filters, since all sound measures in the bass range were only designed to reduce bass. Although Kevlar woofers are known for their quick response and clean definition, the Presonus R65 woofer seems to me to be clamped in very tightly, or is fixed by a very strong magnet. The tonal definition is very good as a result, but the hub suffers greatly as a result. Only the use of a subwoofer can help here, with Presonus offering a suitable extension with the Tremblor series.

The impulse behavior of the boxes, on the other hand, is very decent, and the spatial resolution is also absolutely convincing in the somewhat smaller stereo triangle.

Conclusion

With the Presonus R65, the American manufacturer has a near-field monitor in its ranks that can shine with a neutral basic sound and convincing high-frequency reproduction. Thanks to extensive filter settings, the system is also impressive in rooms with difficult acoustics.

If the manufacturer could get the somewhat underrepresented high-mid reproduction and the weak low bass under control, the system could definitely establish itself in the first league of the retail price class under 300 euros.


Additional Informations:

Comprehensive Report on PreSonus Audio

1. Introduction:
PreSonus Audio is a leading technology company specializing in audio hardware and software solutions for music recording, production, and live sound applications. Founded in 1995 by Jim Odom and Brian Smith in Baton Rouge, Louisiana, USA, PreSonus has rapidly grown into a prominent player in the pro audio industry. This report provides a comprehensive overview of PreSonus Audio, including its history, product range, technological innovations, market position, and commitment to empowering musicians and audio professionals.

2. Company Background:
PreSonus Audio was established with the vision of providing accessible and user-friendly audio solutions for musicians and recording engineers. The founders, both musicians and audio enthusiasts, sought to bridge the gap between professional audio quality and affordability. Through innovative technologies and product offerings, PreSonus has become synonymous with high-quality audio equipment that empowers creatives across the globe.

3. Product Range:
PreSonus Audio offers an extensive product range that caters to musicians, audio engineers, and content creators. The company's product lineup includes:

a) Audio Interfaces: PreSonus audio interfaces provide high-quality audio input and output for recording and live performances. They are available in various configurations, offering a range of connectivity options.

b) Digital Mixing Consoles: PreSonus digital mixing consoles combine intuitive control surfaces with powerful digital processing, enabling seamless mixing and signal routing in both studio and live sound settings.

c) Studio Monitors: PreSonus studio monitors deliver accurate and transparent audio reproduction, essential for critical listening and professional audio production.

d) Studio One Software: Studio One is PreSonus's flagship digital audio workstation (DAW) software, offering a robust platform for music production, recording, editing, and mixing.

e) Audio Processors: PreSonus offers a range of audio processors, including compressors, equalizers, and channel strips, designed to enhance audio signals and achieve optimal sound quality.

f) StudioLive Series: PreSonus StudioLive series combines digital mixers, recording interfaces, and software integration, providing an all-in-one solution for live sound and recording applications.

g) Notion Software: Notion is PreSonus's notation software, catering to composers and arrangers for music notation and scoring.

4. Technological Innovations:
PreSonus Audio has been a driving force in technological innovations, revolutionizing the audio industry with its products. Some notable technological advancements by PreSonus include:

a) Fat Channel Processing: PreSonus introduced the Fat Channel processing technology, a powerful digital processing engine, incorporated into their mixers and audio interfaces, allowing users to apply studio-quality effects and signal processing in real-time.

b) Integrated Hardware and Software Solutions: PreSonus is known for its seamless integration of hardware and software products, ensuring a cohesive and efficient workflow for audio professionals.

c) Remote Control Software: The company developed remote control software for its digital mixers, enabling users to control mixer functions wirelessly from their smartphones or tablets.

d) Advanced DSP Technology: PreSonus utilizes cutting-edge DSP (Digital Signal Processing) technology in their products, enabling low-latency monitoring, audio effects, and real-time audio processing without taxing the computer's CPU.

5. Market Position and Global Reach:
PreSonus Audio has garnered significant market recognition and has established a strong global presence. Their products are distributed through a network of authorized dealers and retailers, reaching customers in various countries.

6. Empowering Musicians and Audio Professionals:
PreSonus Audio is committed to empowering musicians and audio professionals through accessible and user-friendly technology. Their products are designed with a focus on usability, efficiency, and seamless integration, allowing creatives to focus on their artistry without technical limitations.

7. Awards and Recognition:
PreSonus Audio's dedication to innovation and product excellence has earned the company numerous awards and accolades. These accolades affirm the company's commitment to delivering high-quality audio solutions.

8. Education and Support:
PreSonus Audio provides extensive educational resources, including tutorials, webinars, and online communities, to support musicians and audio professionals in mastering their products and techniques.

9. Conclusion:
In conclusion, PreSonus Audio stands as a leading force in the audio technology industry, providing innovative and user-friendly solutions for musicians, producers, and audio engineers. With a diverse product range, technological advancements, and a commitment to empowering creativity, PreSonus continues to shape the future of audio production, recording, and live sound, solidifying its position as a trusted and influential brand in the pro audio market.

TEST: Presonus FP-10

Nothing works without an interface! This knowledge is not really new, but in times of a flood of products one cannot emphasize enough how decisive the converter is for an ambitious sound. It can certainly be compared to the tires of a motor vehicle, without which nothing of the intended will be implemented and which also decide whether and in what "quality" one achieves one's goal.

Along with this, the cooperation with the internally used preamps is of crucial importance. Even if the converters do a good job in terms of sound, this does not mean that the preamps also deliver a corresponding signal and vice versa. Accordingly, the combination of the two components ultimately decides the weal and woe of each interface.

In recent years, a separate class of upper middle class interfaces has emerged, priced roughly in the 500 euro range. The same devices do not smash the budget of a project studio as quickly as, for example, the 2,000 euros + league does in no time at all, but on the other hand with very good detailed solutions they can definitely help to a successful production.

The Firepod from the American manufacturer Presonus is such an interface, whose special attention was paid to the eight Class A preamps, which should still be worth a comment or two in the course of the test.


construction

The Presonus Firepod is a 1U 19 inch component with an installation depth of just under 15 centimeters. The device is a pure Firewire audio interface (no USB available) with 24-bit / 96 kHz conversion rate. Conceptually it is an 8-in / 8-out interface, which is controlled by the included software (PC and Mac). The minimum system requirement for Mac is a G4 CPU 800 MHz or more with 512 MB RAM (as always, at least 1 GB, otherwise the operating system hardly runs), for PC Vista or XP at 1.2 GHz and 512 MB RAM.

The system is stackable up to three devices, which allows a 24-track input routing. For a balanced studio look, however, it must be remembered that the input signals are on the front and that, with the appropriate wiring, a mass of cables that should not be underestimated is stretched out in front of you.

The device comes with Cubase LE recording software, and the buyer is also offered the Presonus ProPak software suite with over 2 GB of plug-ins, loops and samples as a bonus.


On the input side, the Presonus Firepod has eight analog inputs on the front, which are designed as combo XLR connectors. Two switches can be used to apply 48 volt phantom power to channels 1 - 4 and 5 - 8 respectively. A special feature are channels 1 and 2, which can serve as a symmetrical send / return circuit. External limiters, compressors or similar can be looped in here without occupying an additional channel.

The eight preamps can each be adjusted from - 20 dB to + 20 dB and unfortunately only have a clip LED as a level control. A main controller controls the output to the main monitors, a phones controller controls the internal headphone amplifier. A mixer control can be used to continuously fade between the input signals and the playback level on outputs 1 and 2. The end of the front panel is a two-color LED, which lights up blue if there is correct synchronization between the computer and Firewire interface or S/PDIF interface, otherwise it lights up red.

On the back, next to the power supply connection (power supply is included), there is a strain relief where the thin power cable can be hooked up in floor-FY-pedal style. Not very elegant, but useful. However, the cable should remain there if possible after it has been clamped once, repeated removal and reconnection will wear through the plastic sheathing.

In addition to the two Firewire connections and an S/PDIF In/Out configuration, the Firepod also has MIDI In/Out. In addition to the main control output for the main monitors, there is also a cue mix line output, both in left / right jacks. In contrast to the main control, the volume of which can be adjusted using the volume control on the front, the sum signal is present at the cue mix output without any dynamic control options. A headphone amplifier can be connected here, for example.

The 8 line outputs described at the beginning follow, all designed as balanced jacks. The line inputs for channels 1 and 2 form the end on the right. Devices that do not require preamplification, such as MP3 players or external effects processors, should be connected here. The control panel is completed by the preamp outputs of channels 1 and 2.



Practice

The configuration of the Presonus Firepod is very simple. All drivers for Windows are included with the product, but with the Mac you can really lean back and relax, since the FP10 drivers are already in the Core Audio of the Mac and you only have to select the configuration in the menu window.

Right from the start, the excellent sound of the preamps strikes you. Equipped with above-average dynamic behavior, the preamps impress with their low-noise and detailed resolution, even with quiet and difficult signals.

The converters do their job satisfactorily throughout, but they cannot reproduce the very good signal processing of the preamps at the input with the same quality on the output side. Cascading to 3 devices can “only” be carried out at 44.1 kHz, and you also lose 2 of the 3 S/PDIF interfaces.

What I personally really miss is an at least rudimentary level indicator. The preamps deserve at least a 7-digit LED chain due to their quality, since with a clip LED you really only have the most necessary control over the signal to be processed.

However, if you always keep in mind what the Firepod delivers in terms of sound at this price, various components are already put into perspective. Especially when it comes to preamps, the product converts to a quality level that is otherwise only found in the next higher class.


Conclusion

The Presonus Firepod Interface offers a lot of light and little shadow. Equipped with eight excellent-sounding preamps, which are well above the price, the product knows how to convince in terms of sound in the input area. Minor shadow games such as the lack of level control, the expected cable clutter on the front and the average-sounding converters are compensated for by the very good price/performance ratio.

A very good sounding interface with a few small edges.


Additional Informations:

Comprehensive Report on PreSonus Audio

1. Introduction:
PreSonus Audio is a leading technology company specializing in audio hardware and software solutions for music recording, production, and live sound applications. Founded in 1995 by Jim Odom and Brian Smith in Baton Rouge, Louisiana, USA, PreSonus has rapidly grown into a prominent player in the pro audio industry. This report provides a comprehensive overview of PreSonus Audio, including its history, product range, technological innovations, market position, and commitment to empowering musicians and audio professionals.

2. Company Background:
PreSonus Audio was established with the vision of providing accessible and user-friendly audio solutions for musicians and recording engineers. The founders, both musicians and audio enthusiasts, sought to bridge the gap between professional audio quality and affordability. Through innovative technologies and product offerings, PreSonus has become synonymous with high-quality audio equipment that empowers creatives across the globe.

3. Product Range:
PreSonus Audio offers an extensive product range that caters to musicians, audio engineers, and content creators. The company's product lineup includes:

a) Audio Interfaces: PreSonus audio interfaces provide high-quality audio input and output for recording and live performances. They are available in various configurations, offering a range of connectivity options.

b) Digital Mixing Consoles: PreSonus digital mixing consoles combine intuitive control surfaces with powerful digital processing, enabling seamless mixing and signal routing in both studio and live sound settings.

c) Studio Monitors: PreSonus studio monitors deliver accurate and transparent audio reproduction, essential for critical listening and professional audio production.

d) Studio One Software: Studio One is PreSonus's flagship digital audio workstation (DAW) software, offering a robust platform for music production, recording, editing, and mixing.

e) Audio Processors: PreSonus offers a range of audio processors, including compressors, equalizers, and channel strips, designed to enhance audio signals and achieve optimal sound quality.

f) StudioLive Series: PreSonus StudioLive series combines digital mixers, recording interfaces, and software integration, providing an all-in-one solution for live sound and recording applications.

g) Notion Software: Notion is PreSonus's notation software, catering to composers and arrangers for music notation and scoring.

4. Technological Innovations:
PreSonus Audio has been a driving force in technological innovations, revolutionizing the audio industry with its products. Some notable technological advancements by PreSonus include:

a) Fat Channel Processing: PreSonus introduced the Fat Channel processing technology, a powerful digital processing engine, incorporated into their mixers and audio interfaces, allowing users to apply studio-quality effects and signal processing in real-time.

b) Integrated Hardware and Software Solutions: PreSonus is known for its seamless integration of hardware and software products, ensuring a cohesive and efficient workflow for audio professionals.

c) Remote Control Software: The company developed remote control software for its digital mixers, enabling users to control mixer functions wirelessly from their smartphones or tablets.

d) Advanced DSP Technology: PreSonus utilizes cutting-edge DSP (Digital Signal Processing) technology in their products, enabling low-latency monitoring, audio effects, and real-time audio processing without taxing the computer's CPU.

5. Market Position and Global Reach:
PreSonus Audio has garnered significant market recognition and has established a strong global presence. Their products are distributed through a network of authorized dealers and retailers, reaching customers in various countries.

6. Empowering Musicians and Audio Professionals:
PreSonus Audio is committed to empowering musicians and audio professionals through accessible and user-friendly technology. Their products are designed with a focus on usability, efficiency, and seamless integration, allowing creatives to focus on their artistry without technical limitations.

7. Awards and Recognition:
PreSonus Audio's dedication to innovation and product excellence has earned the company numerous awards and accolades. These accolades affirm the company's commitment to delivering high-quality audio solutions.

8. Education and Support:
PreSonus Audio provides extensive educational resources, including tutorials, webinars, and online communities, to support musicians and audio professionals in mastering their products and techniques.

9. Conclusion:
In conclusion, PreSonus Audio stands as a leading force in the audio technology industry, providing innovative and user-friendly solutions for musicians, producers, and audio engineers. With a diverse product range, technological advancements, and a commitment to empowering creativity, PreSonus continues to shape the future of audio production, recording, and live sound, solidifying its position as a trusted and influential brand in the pro audio market.


- Comprehensive Report on 19-Inch Audio Interfaces

1. Introduction: 19-inch audio interfaces are critical components in professional audio setups, catering to musicians, recording engineers, and content creators. These rack-mountable devices provide high-quality audio input and output capabilities, facilitating seamless audio recording, processing, and playback. This report provides a comprehensive overview of 19-inch audio interfaces, including their features, advantages, applications, and significance in the realm of professional audio production.

2. Features and Specifications: 19-inch audio interfaces are designed to fit into standard 19-inch equipment racks, making them a popular choice for studio installations and live sound setups. Key features and specifications of these interfaces include:
a) Multiple Input and Output Channels: 19-inch audio interfaces offer a wide array of input and output channels, ranging from a few to dozens, allowing users to connect multiple microphones, instruments, and audio sources simultaneously.
b) High-Quality Preamps: Many 19-inch audio interfaces are equipped with high-quality microphone preamps that ensure clean and transparent audio capture, minimizing noise and distortion.
c) Digital Connectivity: These interfaces often provide digital connectivity options such as USB, Thunderbolt, Ethernet, or ADAT, enabling seamless integration with computers, audio networks, and other digital audio equipment.
d) Sample Rate and Bit Depth: 19-inch audio interfaces typically support high sample rates and bit depths, ensuring accurate audio reproduction and recording.
e) Onboard DSP Processing: Some models feature onboard DSP (Digital Signal Processing) for real-time audio effects and low-latency monitoring.
f) Phantom Power: Many 19-inch audio interfaces offer switchable phantom power, essential for powering condenser microphones.

3. Advantages and Benefits: 19-inch audio interfaces offer several advantages that make them an essential component in professional audio setups:
a) Rack-Mountable Design: Their standardized 19-inch rack-mountable form factor allows easy integration into studio setups and live sound rigs, optimizing space and organization.
b) Expandability: With multiple input and output channels, 19-inch audio interfaces can accommodate various audio sources and expand as the needs of the audio setup evolve.
c) Professional Audio Quality: These interfaces are engineered to provide high-fidelity audio performance, making them ideal for critical recording and broadcast applications.
d) Low Latency: High-quality converters and onboard DSP processing contribute to low latency, crucial for real-time monitoring and responsive audio processing.
e) Versatility: 19-inch audio interfaces are versatile tools suitable for a wide range of applications, from multitrack recording to live sound reinforcement.

4. Applications of 19-Inch Audio Interfaces: 19-inch audio interfaces find applications in diverse audio production scenarios:
a) Studio Recording: In recording studios, 19-inch audio interfaces facilitate multitrack recording of vocals, instruments, and other audio sources.
b) Live Sound: In live sound setups, these interfaces serve as the central hub for audio processing and routing during concerts and events.
c) Broadcast and Podcasting: 19-inch audio interfaces are commonly used in radio stations, podcast studios, and broadcasting facilities for audio capture and processing.
d) Film and Post-Production: These interfaces are instrumental in film and post-production environments for recording and editing audio for movies, TV shows, and video projects.

5. Significance in Professional Audio Production: 19-inch audio interfaces play a pivotal role in professional audio production, as they serve as the bridge between analog and digital audio worlds. They ensure seamless integration between microphones, instruments, and computers, enabling musicians and audio engineers to capture and process high-quality audio with ease and efficiency.

6. Conclusion: In conclusion, 19-inch audio interfaces are indispensable tools in the world of professional audio production. Their rack-mountable design, extensive input and output capabilities, high-quality preamps, and low-latency performance make them a preferred choice for musicians, recording engineers, and audio professionals worldwide. Whether in recording studios, live sound setups, broadcasting facilities, or film production environments, 19-inch audio interfaces are key components that enable the creation of exceptional audio content.

TEST: Presonus Eris E8 XT

 As a near-field monitor manufacturer, you have it e.g. Truly not easy at the moment. The market is flooded with suppliers and products, and especially in the budget sector, users are not only dealing with inexpensive special series from established names, but are also confronted with a more than rich selection of small and micro manufacturers, some of which have interesting ones Detail solutions shine. What remains for the manufacturer is to convince the buyer with ever better products, or to give an upgrade to a product that is already doing well, as in this case with the Presonus Eris E8 XT, which represents a continuation of the internal Eris series.

Structure of the Presonus Eris E8 XT

As is usually the case in the near-field area, the Presonus Eris E8 XT is an active 2-way near-field monitor with the dimensions (W x D x H): 247 mm x 292 mm x 406 mm and a weight of 10.4 kilograms is comparatively compact. The system features an 8-inch Kevlar woofer and a silk dome tweeter separated at 2.2 kHz. The Kevlar woofer material, which is dark blue in this model, is often used in the bass speaker area, as the low weight and fast response are a popular argument for the woven material. A special feature is the 100 degree x 60 degree waveguide, which represents one of the further developments compared to the previous model.

Even if the box can still be seen as comparatively handy, placing it on the desk close to the DAW monitor is no longer possible in this size. Speaker stands are definitely in demand here, which need to be placed as optimally as possible. In this case, it is important to keep the greatest possible distance to the next wall in order to avoid corresponding room modes.

The Presonus Eris E8 XT has a wide range of tonal correction options to counteract any problems that may arise with reflective walls or the (possibly forced) positioning of the monitors close to standing walls or in room corners in small control rooms. In particular, the oscillation in the bass range can lead ad absurdum to any perception that is kept as neutral as possible, which is why Presonus wants to tackle this problem with several filter levels. More on that later in the connection area.

In order to minimize comb filter effects, the side edges of the housing have been rounded off. In addition, the bass reflex opening has been moved to the front. In general, in my opinion, near-field monitors that are used in the home studio should always have their bass reflex opening facing the front, which counteracts any drone frequencies that may occur.

According to the manufacturer, the Presonus Eris E8 XT has a frequency response of 35 Hz to 20 kHz and a sound pressure level of 105 dB in continuous operation. The performance data of 75 watts in the bass range and 65 watts in the treble range once again suggest use in a small control room or in a home studio. Even if the performance specifications are convincing, one should never forget the corresponding headroom for impulse peaks, which can occur with hard bass peaks. We will place a special focus on the bass reproduction in the practical area, as this would have been significantly improved according to the manufacturer.

Visually, Presonus plays it safe and uses the popular matt black. In terms of workmanship, the Presonus Eris E8 XT, which is made in China, has to be attested to have an extremely good image. The MDF panels covered with black vinyl fit neatly together and do not allow any corners to protrude or unclean foiling to be seen.


The back of the Presonus Eris E8 XT

As already mentioned, the Presonus Eris E8 XT offers extensive filter settings, which are housed next to the entire connection peripherals on the back of the housing.
On the one hand there is a gain controller with a raster at 0 dB (U). Unfortunately, only this 0 dB range can be firmly defined, but if you consider how many products in this price range have no grid at all, you cannot rate this fixation aid highly enough. The connection options are also really extensive with symmetrical XLR, symmetrical TRS and asymmetrical cinch. In the home studio in particular, you should take the different signal sources into account, as high-quality XLR signal routing is not always available within the studio peripherals.

When it comes to filters, Presonus goes the established way with a shelving filter (+/- 6 dB) in the treble range and an optional bass reduction using low cut at 80 and 100 Hz. In addition, the system offers a so-called acoustic space switch, which can be set with - 2 dB or - 4 dB in the bass range the above Counteract room modes. These switches taper down quite extensively from about 800 Hz, i.e. in the best case you can lower exactly the frequency range that the reflection of the wall swings up disproportionately.

The real specialty, however, is located in the mid-range. While many manufacturers deliberately leave the mid-range linear and thus to the basic sound of the box, Presonus decided to set up a bandpass at 1 kHz, optionally with +/- 6 dB. An interesting variant, especially since there are a lot of frequencies in the vocal and guitar range in this frequency band. It should be briefly mentioned that Presonus does indeed have an extensive filter section at the start for a product in this price range, which is by no means a matter of course in this segment.

There is also an IEC cold device connection, optionally for 120/240 volts, the voltage selector switch and the on/off switch.

The Presonus Eris E8 XT in action

Before I start the hearing test, I always first take a look at the retail price of the product. Why? In order to adapt the sound expectations to the product. It would be grossly unfair to compare a product in the highly competitive 250 class to one in the four figure range. So then.

After activating the Presonus Eris E8 XT, the listener is initially offered a comparatively neutral sound, which is tight and a little "bony". Nevertheless, considering the price, the sound can be described as consistently balanced, including a decent transient image. The high-frequency range is well defined, although it tends to "buzz" a little, that is to say, it reproduces the highs, but it lacks the "pleasing" quality of the next higher price range. The waveguide leaves a very good impression and in fact expands the stereo triangle by a few centimetres, so that the working range is significantly expanded.

In the high-mid range we encounter the crossover point, which, as expected, weakens the definition somewhat, which is primarily at the expense of the vocals and some horns. Once again, the Presonus shows the low mids as a clear plus point in the sound. This is where the box has its strengths, although the sound is a little harsh, but considering the retail price it is a real highlight.

Since I don't know the first Eris series, I can't draw a direct comparison to the upgrade, but the promised bass extension doesn't really work for me. Despite the voluminous 8-inch speaker, there seems to be little movement in the low-frequency range. It may be that the frequencies are shown in the test image, but in terms of sound, the box achieves a maximum rating of "satisfactory" in the bass range, but remains rather unspectacular despite the 8-inch speaker. Here you should use an additional subwoofer for a balanced frequency image and adjust it accordingly to the satellites.

Unfortunately, this shortcoming cannot be compensated for using appropriate filters either, since all sound measures in the bass range were only designed to reduce bass. Although Kevlar woofers are known for their quick response and clean definition, the Presonus Eris E8 XT woofer seems to me to be firmly clamped or is fixed by a strong magnet. The tonal definition is very good, but the hub suffers.

The system handles the usual spatial impressions such as depth gradation and spatial resolution well enough for the retail price. All in all, the Presonus Eris E8 XT can be said to have a “cheap” sound in the best sense of the word, which means that the system is really worth its price.


Conclusion

With the Presonus Eris E8 XT, the American manufacturer has a near-field monitor in its ranks that can shine with a neutral basic sound and convincing low-mid reproduction. The system convinces with extensive connection options and a versatile filter section.

For a retail price of €249 per box, you get a good home recording monitor that also knows how to assert itself in acoustically unfavorable control rooms.


Additional Informations:

Comprehensive Report on PreSonus Audio

1. Introduction: PreSonus Audio is a leading technology company specializing in audio hardware and software solutions for music recording, production, and live sound applications. Founded in 1995 by Jim Odom and Brian Smith in Baton Rouge, Louisiana, USA, PreSonus has rapidly grown into a prominent player in the pro audio industry. This report provides a comprehensive overview of PreSonus Audio, including its history, product range, technological innovations, market position, and commitment to empowering musicians and audio professionals.

2. Company Background: PreSonus Audio was established with the vision of providing accessible and user-friendly audio solutions for musicians and recording engineers. The founders, both musicians and audio enthusiasts, sought to bridge the gap between professional audio quality and affordability. Through innovative technologies and product offerings, PreSonus has become synonymous with high-quality audio equipment that empowers creatives across the globe.

3. Product Range: PreSonus Audio offers an extensive product range that caters to musicians, audio engineers, and content creators. The company's product lineup includes:
a) Audio Interfaces: PreSonus audio interfaces provide high-quality audio input and output for recording and live performances. They are available in various configurations, offering a range of connectivity options.
b) Digital Mixing Consoles: PreSonus digital mixing consoles combine intuitive control surfaces with powerful digital processing, enabling seamless mixing and signal routing in both studio and live sound settings.
c) Studio Monitors: PreSonus studio monitors deliver accurate and transparent audio reproduction, essential for critical listening and professional audio production.
d) Studio One Software: Studio One is PreSonus's flagship digital audio workstation (DAW) software, offering a robust platform for music production, recording, editing, and mixing.
e) Audio Processors: PreSonus offers a range of audio processors, including compressors, equalizers, and channel strips, designed to enhance audio signals and achieve optimal sound quality.
f) StudioLive Series: PreSonus StudioLive series combines digital mixers, recording interfaces, and software integration, providing an all-in-one solution for live sound and recording applications.
g) Notion Software: Notion is PreSonus's notation software, catering to composers and arrangers for music notation and scoring.

4. Technological Innovations: PreSonus Audio has been a driving force in technological innovations, revolutionizing the audio industry with its products. Some notable technological advancements by PreSonus include:
a) Fat Channel Processing: PreSonus introduced the Fat Channel processing technology, a powerful digital processing engine, incorporated into their mixers and audio interfaces, allowing users to apply studio-quality effects and signal processing in real-time.
b) Integrated Hardware and Software Solutions: PreSonus is known for its seamless integration of hardware and software products, ensuring a cohesive and efficient workflow for audio professionals.
c) Remote Control Software: The company developed remote control software for its digital mixers, enabling users to control mixer functions wirelessly from their smartphones or tablets.
d) Advanced DSP Technology: PreSonus utilizes cutting-edge DSP (Digital Signal Processing) technology in their products, enabling low-latency monitoring, audio effects, and real-time audio processing without taxing the computer's CPU.

5. Market Position and Global Reach: PreSonus Audio has garnered significant market recognition and has established a strong global presence. Their products are distributed through a network of authorized dealers and retailers, reaching customers in various countries.

6. Empowering Musicians and Audio Professionals: PreSonus Audio is committed to empowering musicians and audio professionals through accessible and user-friendly technology. Their products are designed with a focus on usability, efficiency, and seamless integration, allowing creatives to focus on their artistry without technical limitations.

7. Awards and Recognition: PreSonus Audio's dedication to innovation and product excellence has earned the company numerous awards and accolades. These accolades affirm the company's commitment to delivering high-quality audio solutions.

8. Education and Support: PreSonus Audio provides extensive educational resources, including tutorials, webinars, and online communities, to support musicians and audio professionals in mastering their products and techniques.

9. Conclusion: In conclusion, PreSonus Audio stands as a leading force in the audio technology industry, providing innovative and user-friendly solutions for musicians, producers, and audio engineers. With a diverse product range, technological advancements, and a commitment to empowering creativity, PreSonus continues to shape the future of audio production, recording, and live sound, solidifying its position as a trusted and influential brand in the pro audio market.