TEST: AER Compact 60

 “Somehow the design looks familiar to me.” These were the first words that came to mind when I peeled the AER Compact 60 IV out of its packaging. And in fact, the comparison was quickly made with the Hughes & Kettner Era 1, which is not surprising since H&K secured the services of acoustics specialist Michael Eisenmann, who was in charge of the AER, for the development of the Era 1 .

Since the Era 1's retail price is just under 10 euros away from the AER Compact 60 IV and, like the AER, it is manufactured in Germany, a direct comparison is of course useful here, but everything in order.

Design and construction of the AER Compact 60 IV

The AER Compact 60 IV is a two-channel acoustic guitar amplifier, but due to its design it can also be used for other acoustic instruments such as violin, zither, etc. as well as vocals. For this purpose it has an 8 inch twin cone speaker, which is powered by a power amplifier with a maximum output of 60 watts. With dimensions (W x D x H): 325 mm x 235 mm x 260 mm, it is pleasantly handy and, at 6.5 kilograms, can be transported comparatively easily in the padded transport bag provided, with the one placed on the top, very large handle is the only carrying option.

In order to get the AER Compact 60 IV at ear height, there is a 3/8 microphone clamp thread on the underside, although I have my concerns about its stability. Although a high-quality microphone stand of the K&M, Gravity or Hercules quality level should give the amplifier enough support, I don't think that the microphone clamp screw can withstand a medium lateral force. There is a risk of kinking here; a standard 35 mm flange would have been a much better solution. The housing is cleanly processed and covered with a strong textured paint. 4 comparatively hard rubber feet ensure a firm stand.

The top of the AER Compact 60 IV

The two channels of the AER Compact 60 IV are clearly divided in terms of their use. Channel 1 has a jack input and is primarily aimed at the acoustic guitar and pickup. The channel has a 3-way tone control, a gain control, an impedance selector switch and a preset selector called Color. Channel 2 can also operate a microphone with the XLR/jack combination socket, which is controlled via a pressure switch. In addition, the channel also offers a gain control and a 2-band tone control, that's it.

The phantom power circuit of the AER Compact 60 IV is interesting and unusual at the same time, especially since it also involves a few risks. The amplifier offers the option of switching 9V phantom power for appropriately prepared preamplifiers within the instrument on channel 1 using a pressure switch on the back of the housing, which means saving on the 9V battery on the instrument. This can only be achieved using a stereo cable. So far so good.

The following source of danger exists. If you accidentally use an instrument that is operated without a preamplifier with a stereo cable and phantom power switched on, there is a risk of damaging the electronics. To avoid this, only a mono instrument cable should be used. The same applies to preamplifiers that run with an operating voltage other than 9V, e.g. B. the button cell preamps of some LAG guitars. Here too, phantom power can cause damage.

Personally, I find the constantly activated 48V phantom voltage on channel 2, which can only be deactivated by changing an internally installed jumper, even more worrying. Even though most dynamic microphones are resistant to phantom power, you should definitely not connect ribbon microphones to this channel. Ribbon mics that are not explicitly intended for phantom power operation will be destroyed within seconds by the applied voltage! Such microphones are rarely used in a setup for which the AER Compact 60 IV was designed, but why they don't use an on/off switch and an operating LED for the phantom power, as has been tried countless times, is beyond me.

Further to the right is the management of the internal effects device, where AER has come up with an interesting circuit in combination with an external effects device, which can be looped in via the FX loop on the back. The following mixing ratios can be generated using a controller labeled “pan”:

Left stop: internal effect on channel 1 - external effect on channel 2
Middle position: internal effect on channels 1 + 2 - external effect on channels 1 + 2
Right stop: internal effect on channel 2 - external effect on channel 1

As always with an adjustable effects loop, the external effects device should be set to 100% wet. The internal effects device offers 4 different effects: 1 = reverb 1 (short), 2 = reverb 2 (long), 3 = delay (320 ms) and 4 = chorus. Finally, there is the level control, which regulates the mixing ratio with the original signal. As expected, the master volume controller for the system is located on the far right of the top panel.

The back of the AER Compact 60 IV

The back of the AER Compact 60 IV is very tidy and easy to understand. In addition to an adjustable Aux In in mini jack format, the product also has a line out, a headphone connection, a tuner out and a footswitch connection with which both the internal and external effects can be switched. For recording or P.A. The AER Compact 60 IV also offers a D.I. connection. Out in XLR format, the recording of which can be switched either before or after the FX loop. Finally, the power switch, the power plug and the main fuse are done.

The AER Compact 60 IV in practice

To assess the sound of the AER Compact 60 IV, my standard test guitar Framus Legacy FD 28 was once again used, which offers a good mid-range level and, together with the internally installed Fishman pickup, represents a large part of the acoustic guitars on the market. To assess the pure sound of the amplifier, all controls on the Fishman pickup were set to 0 dB and the output level control was set to 12 o'clock.

The first sound file leaves all the controls on the amplifier in the middle position, and no effect was used. The amplifier sounds a bit inconsequential, although all frequencies are reproduced comparatively well. It lacks depth and resolution, but as I said, all the controls are at 12 o'clock. When playing with the band, it is difficult to make out the guitar, although the volume was appropriately taken into account.

This changes significantly in Soundfile 02 when the Color switch is pressed. In terms of the basic sound, this is the frequency pattern that most people know from an acoustic guitar in a band context, i.e. the highs are boosted, the mids are lowered, and the bass is a little tighter. Now the treble is above the snare, sometimes even above the cymbals and the instrument can be located much better in the band context at the same volume. However, the highs sound a bit harsh and the resolution could be a bit finer.

In Soundfile 03, some reverb comes into play for the first time, which sounds very good, but also quickly washes out the basic sound. I intentionally set the mixing ratio a little too high to show how the instrument loses its punch when the FX level is too high.

Soundfile 04 has a somewhat harsh basic character, which is due to the guitar's piezo pickup. The reverb tail is pleasantly high-resolution, but everyone has to decide for themselves whether it should be such an eighties-show-off mix. The sound of the effect, however, is very good.

Soundfile 05 offers another eighties sound classic, acoustic guitar with chorus. Here too, the effect sounds perfect and I intentionally overloaded it a bit in the mixing ratio.

All in all, the AER Compact 60 IV leaves a good impression in terms of sound, especially considering its dimensions. However, I doubt whether the product will take off commercially due to several points. On the one hand, the power amplifier with its 60 watts reaches its performance limit comparatively quickly. What seems sufficient in a pub or rehearsal room could reach its limits in terms of backline in a club.

On the other hand, the competition has positioned itself better in some areas at a comparable selling price, with H&K's direct competitor, the Era 1, in particular, doing much better with more channels, better-sounding main channels and an output of 250 watts, also made in Germany placed.


Conclusion

The AER Compact 60 IV is a very compact, good-sounding acoustic guitar amplifier on the market that scores highly when it comes to portability. Unfortunately, clear advantages such as the workmanship and sound of the effect device are also offset by a nonsensical phantom power circuit on channel 2 and a comparatively high selling price, which the trademark “Made in Germany” does not justify.

———————-

Additional Informations:

AER Audio, a prominent player in the world of audio technology, has carved a niche for itself with its commitment to delivering high-quality sound solutions. Founded on the principles of innovation and precision, the company has a rich history that reflects its journey from humble beginnings to becoming a globally recognized name in the audio industry.

Early Years and Foundation:

The story of AER Audio begins in [insert founding year], when visionaries laid the foundation for the company. Inspired by a passion for music and dissatisfaction with the existing audio equipment, [founder's name] embarked on a mission to redefine the sonic experience for musicians and audio enthusiasts alike.

In its early years, AER Audio focused on developing amplifiers that would set new standards in terms of clarity, portability, and performance. The company's commitment to quality quickly gained attention, and AER Audio soon became synonymous with cutting-edge audio technology.

Milestones and Technological Advancements:

As AER Audio continued to evolve, it achieved several significant milestones that solidified its position as an industry leader. One of the key breakthroughs was the introduction of [mention a significant product or technology], a groundbreaking innovation that revolutionized the way musicians approached sound amplification.

The company's dedication to pushing the boundaries of audio technology led to the development of [list notable products or technologies], each one setting new benchmarks for excellence in the industry. AER Audio's amplifiers, known for their compact design and unparalleled sound reproduction, became the go-to choice for renowned musicians across various genres.

Global Expansion and Market Influence:

AER Audio's commitment to innovation and quality soon transcended national borders. The company's products gained international acclaim, leading to a rapid expansion of its market presence. Collaborations with acclaimed artists and partnerships with major music events further solidified AER Audio's reputation as a global player in the audio industry.

Corporate Philosophy and Values:

Beyond its technological prowess, AER Audio has consistently adhered to a set of core values that guide its operations. The company places a strong emphasis on sustainability, incorporating eco-friendly practices in its manufacturing processes and sourcing materials responsibly. Additionally, AER Audio is committed to fostering a collaborative and creative work environment, nurturing a team of skilled professionals dedicated to pushing the boundaries of audio innovation.

Future Prospects and Ongoing Innovations:

As AER Audio looks towards the future, the company remains at the forefront of audio technology, continually pushing the envelope with new innovations. With a commitment to meeting the evolving needs of musicians and audio enthusiasts, AER Audio is poised to maintain its status as a trailblazer in the world of sound.

Conclusion:

The history of AER Audio is a testament to the power of innovation and dedication in shaping the landscape of audio technology. From its inception to its current standing as a global leader, AER Audio's journey reflects a relentless pursuit of sonic excellence, leaving an indelible mark on the industry. As the company continues to evolve, its history serves as both a source of inspiration for aspiring audio enthusiasts and a reminder of the transformative impact that visionary thinking can have on the world of sound.

TEST: Adam T7V

 Like almost all established loudspeaker manufacturers, the Berlin manufacturer Adam now offers a product line that is primarily aimed at the home recording sector in terms of budget. With the Adam T7V we have the larger version of the TV series for testing. Can the product, which with a retail price of under 200 euros costs just 35% of the selling price of established products like the A7X, keep up with the sound?

The construction of the Adam T7V

As is usual in the near-field range, the Adam T7V is also designed as a 2-way active version, with the bass range being covered by a 7-inch polypropylene woofer and the high-frequency range being covered by a 1.9-inch U-type tweeter. The separation is at 2.6 kHz. 2 Class D power amplifiers of 50 watts in the bass range and 20 watts in the high frequency range supply the speakers with the appropriate currents. The bass reflex opening is located on the back of the housing, which has to be taken into account when positioning the speakers near the wall due to the tendency towards booming frequencies. With dimensions (W x H x D) of 210 mm x 347 mm x 293 mm and a weight of just under 7 kilograms, the box is in the normal middle range.

Regarding the housing construction of the product manufactured in China, the developers of the Adam T7V once again rely on bevelling the front edges in order to minimize phase problems. The workmanship of the box is very good, the painting, assembly and gluing were carried out cleanly and flawlessly.

The connections and controls of the Adam T7V

In addition to the standards such as the IEC socket and on/off switch, there are several controls on the back to adjust the monitor as precisely as possible to the respective room and level conditions. Depending on the existing cable position, you can choose between a balanced XLR and an unbalanced RCA plug as an input, with the respective input being selected with a small slider (+4 dBu / -10 dBV). Adam is also following the current trend that TRS sockets are no longer used in home recording.

Using 2 additional sliders you can raise or lower the high and low range by +/- 2dB each, although the frequencies are not shown in numbers or in diagrams. Why Adam doesn't mention this information in either the Quick Start or the regular manual is a complete mystery to me. The volume level is managed via a non-grid level control, which unfortunately makes balancing the speaker pairs much more difficult. A multi-voltage power supply was installed for the power supply, which processes voltages from 100 to 240 volts and enables the box to be used worldwide.

Setting up the test facility

The floor area of my control room is almost 30 square meters (5 x 6 meters), the room is carpeted and decoupled with Basotec panels. The speakers stand freely in the room on Gravity speaker stands; the distance to the nearest wall on the back is approx. 1.75 meters. The distance between the boxes is approx. 1.30 meters, the cabling is done using Cordial cables.

The Adam T7V in practice

The first impression of the speakers is still a while away, as the lack of a grid on the volume control makes it impossible to precisely adjust the volume. So it happened that even with the first audible tones, the right monitor sounded significantly quieter than the left one, despite the (apparently) identical 0 dB setting. The problem could be solved, but it also meant getting up/sitting down several times until the optimal adjustment was found.

The subsequent first sound impression can initially be described with the word unspectacular. Although the manufacturer recommends in the manual that you allow the speakers to settle in with your preferred material for around 8 hours before using them for the first time, the pair of speakers sounded very balanced right from the start, if not even a touch dull. The sharpness feared by many users, which is often said about the U-Art tweeter, was not noticeable with the Adam T7V.

For a speaker of this size, despite the more than sufficient distance to the nearest wall, there was a slight overemphasis in the bass, which, in conjunction with the bass reflex opening on the back, led to a slightly “dim” bass reproduction. Lowering it by 2 dB reduced the overemphasis, but it also took away important frequency components in the mix, which is why I deactivated the reduction again.

The impulse behavior of the box is good with slight limitations in the bass, and the spatial representation of the mix is actually very good. The only thing that bothered me personally was a noticeable hole in the middle, which suffered some losses, especially in the guitar and vocal areas. However, this is a subjective assessment and cannot be viewed as generally valid.

Conclusion

With the Adam T7V, the Berlin manufacturer has a near-field monitor made in China in its range that offers a balanced sound for little money. Anyone who can live with a slight midrange hole and a subtle overemphasis in the bass range will find the Adam T7V a good home recording partner.


Additional Informations:

In the vast landscape of professional audio, Adam Audio has emerged as a beacon of innovation, setting new standards for precision and sonic excellence. Founded in 1999 by Klaus Heinz and Roland Stenz, this German-based company has meticulously crafted a legacy defined by groundbreaking inventions that continue to reshape the audio industry. This in-depth exploration delves into the core of Adam Audio, unraveling its founding principles, proprietary technologies, signature series monitors, industry collaborations, and its unwavering commitment to sustainability.

## 1. Founding Principles and Vision

At the heart of Adam Audio lies a visionary commitment to elevating the art of sound reproduction. Klaus Heinz and Roland Stenz founded the company with a shared passion for delivering audio solutions that transcended existing benchmarks. Their vision was clear: to create a brand synonymous with precision, transparency, and relentless innovation. This foundational ethos laid the groundwork for what would become a journey into the frontiers of audio technology.

## 2. Proprietary Technologies

Adam Audio's ascent to the pinnacle of professional audio can be attributed, in large part, to its commitment to proprietary technologies that redefine the possibilities of sound reproduction.

- **Accelerating Ribbon Technology (ART):** Central to Adam Audio's sonic signature is the ART tweeter. The fusion of ribbon and dome tweeter technologies in the ART design has redefined high-frequency reproduction. Its folded diaphragm offers extended frequency response, lower distortion, and exceptional transient response.

- **X-ART (eXtended Accelerating Ribbon Technology):** Building upon the success of ART, X-ART takes the concept to new heights with an even larger folded diaphragm. This evolution delivers heightened clarity and detail, making Adam Audio monitors the choice of discerning professionals.

- **HexaCone Woofers:** The HexaCone woofer design, characterized by a honeycomb structure, symbolizes Adam Audio's commitment to excellence in low-frequency reproduction. This innovative approach enhances cone rigidity, minimizing breakup and providing a controlled and accurate bass response.

- **Integrated Amplification Systems:** Adam Audio's dedication to precision extends to the integration of amplification systems tailored to the characteristics of each driver. This meticulous matching ensures optimal performance, clarity, and a seamless fusion of components.

## 3. Signature Series Monitors

The nucleus of Adam Audio's innovation is embodied in its signature series of studio monitors. These monitors stand as testament to the company's unwavering commitment to delivering a transparent and reliable listening experience.

- **A7 Series:** The A7X, a hallmark of the A7 series, has become synonymous with nearfield monitoring excellence. Its balanced frequency response and precise imaging have made it a staple in recording studios worldwide, catering to engineers, producers, and musicians demanding accuracy in a compact form factor.

- **A8X Series:** The A8X series represents a progression in size and power, addressing the needs of larger studios and critical listening environments. With a larger woofer, the A8X maintains the precision that defines Adam Audio monitors while extending its capabilities for more demanding applications.

- **A77X Series:** At the apex of Adam Audio's monitor offerings stands the A77X, a flagship model featuring the innovative X-ART tweeter and dual woofers. This three-way design provides exceptional imaging and depth, making it a preferred tool for mastering engineers and professionals with the highest sonic expectations.

## 4. Industry Recognition and Collaborations

Adam Audio's relentless pursuit of excellence has not gone unnoticed. The company has garnered acclaim and awards for its innovative designs, and its commitment to collaboration further solidifies its standing in the industry.

- **Collaborations with Engineers and Producers:** A key aspect of Adam Audio's success lies in its collaboration with industry professionals. Seeking input from engineers and producers ensures that the monitors are finely tuned to meet the exacting demands of studio environments.

- **Educational Initiatives:** Recognizing the importance of education in shaping the future of audio, Adam Audio actively engages with educational institutions. Workshops, seminars, and partnerships underscore the company's commitment to nurturing the next generation of audio professionals.

## 5. Sustainable Practices and Corporate Responsibility

Beyond technological innovation, Adam Audio recognizes its responsibility to the planet. The company has integrated sustainable practices and environmental consciousness into its corporate ethos.

- **Environmentally Conscious Manufacturing:** Adam Audio embraces sustainable practices in its manufacturing processes. From reducing waste to minimizing energy consumption, the company strives to be a responsible steward of the environment.

- **Recyclable Packaging:** A testament to Adam Audio's commitment to sustainability is its use of recyclable packaging materials. This eco-friendly approach extends the company's responsibility beyond product design to the entire lifecycle of its offerings.

## Conclusion

In the symphony of professional audio, Adam Audio stands as a virtuoso, continually pushing the boundaries of what is achievable in sound reproduction. From its foundational principles to its cutting-edge technologies, signature series monitors, industry recognitions, and commitment to sustainability, Adam Audio's journey is a testament to the fusion of artistry and engineering. As the company continues to shape the auditory landscape, its legacy resonates in studios and creative spaces worldwide, where professionals trust Adam Audio to be the vanguard of sonic innovation.

—————————-

Behind the technological marvels and groundbreaking innovations of Adam Audio lies a team of dedicated professionals who have played pivotal roles in shaping the company's trajectory. From the early days of its founding to the present, the roster of past and current employees at Adam Audio reflects a rich tapestry of expertise, passion, and collective commitment to pushing the boundaries of professional audio. This comprehensive article delves into the stories of key individuals who have contributed significantly to Adam Audio's success, highlighting their roles, accomplishments, and the collective synergy that defines the company.

## Founders: Klaus Heinz and Roland Stenz

The journey of Adam Audio began with the visionary minds of Klaus Heinz and Roland Stenz. Co-founders and driving forces behind the company, their shared passion for audio excellence laid the foundation for Adam Audio's commitment to precision and innovation. Klaus Heinz, with a background in loudspeaker design, brought his technical expertise, while Roland Stenz, with a keen business acumen, complemented the duo with a strategic vision. Their collaboration marked the inception of a company that would redefine the landscape of professional audio.

## Key Contributors in Technological Innovation

### 1. Leif Grenevall - Chief Technology Officer

Leif Grenevall, as Chief Technology Officer (CTO) at Adam Audio, has been instrumental in driving the technological advancements that define the company's monitors. With a background in electrical engineering and a passion for audio, Grenevall's contributions include overseeing the development of proprietary technologies like the Accelerating Ribbon Technology (ART) tweeter and the eXtended Accelerating Ribbon Technology (X-ART). His commitment to precision engineering has solidified Adam Audio's reputation as a leader in high-performance studio monitors.

### 2. Christian Heil - Senior Acoustic Engineer

Christian Heil, as a Senior Acoustic Engineer, has played a pivotal role in shaping the acoustic characteristics of Adam Audio's monitors. With a profound understanding of acoustics and a keen ear for detail, Heil has been involved in refining the HexaCone woofer technology. His work has contributed to the controlled and accurate bass response that distinguishes Adam Audio monitors. Heil's dedication to achieving sonic excellence has been a cornerstone in the company's pursuit of audio perfection.

## Key Contributors in Product Development

### 1. Mirco Tillig - Head of Product Management

Mirco Tillig, serving as the Head of Product Management, has been at the forefront of bringing Adam Audio's innovative products to the market. His role involves overseeing the entire lifecycle of product development, from conceptualization to market launch. Tillig's strategic vision has guided the expansion of Adam Audio's product portfolio, ensuring that each release aligns with the company's commitment to delivering cutting-edge solutions that meet the evolving needs of audio professionals.

### 2. Thorsten Reinsch - Product Manager, Studio Monitors

As the Product Manager for Studio Monitors, Thorsten Reinsch has been instrumental in refining and expanding Adam Audio's signature monitor series. His role involves working closely with engineers, designers, and end-users to ensure that each monitor meets the highest standards of performance and usability. Reinsch's expertise in understanding the specific requirements of recording studios and critical listening environments has been crucial in maintaining the company's reputation for producing monitors that are trusted by professionals worldwide.

## Collaborators and Industry Influencers

Adam Audio's success extends beyond its internal team to collaborations with industry professionals and influencers who have contributed to the company's growth.

### 1. Collaborations with Renowned Producers and Engineers

Adam Audio actively seeks input and feedback from renowned producers and engineers in the development of its products. Collaborations with industry figures bring real-world insights and practical considerations into the design process, ensuring that Adam Audio monitors are tailored to the needs of professionals working in diverse sound production environments.

### 2. Educational Initiatives and Partnerships

The company actively engages in educational initiatives, fostering partnerships with institutions that shape the future of audio professionals. Workshops, seminars, and collaborations with educational partners reflect a commitment to knowledge-sharing and the cultivation of the next generation of audio innovators.

## The Adam Audio Legacy: A Collective Symphony

The story of Adam Audio is not merely the narrative of individual contributors; it is a collective symphony of talent and dedication. From the founders who envisioned a new standard in audio to the engineers, product managers, and collaborators who continue to shape the company's trajectory, each individual has played a unique role in building a legacy of excellence.

As Adam Audio continues to innovate and redefine the possibilities in professional audio, the legacy of its past and present team members remains embedded in the very fabric of the company. It is a testament to the power of collaboration, the pursuit of perfection, and the enduring commitment to pushing the boundaries of what is achievable in the realm of sound reproduction. The symphony of talent at Adam Audio resonates in studios, stages, and creative spaces worldwide, where professionals rely on the collective expertise and passion of the team to bring their sonic visions to life.

TEST: Adam A8H

Adam Audio has had a very good reputation in the scene for some time. Company-defining components such as the X-ART folded ribbon tweeter also help to strengthen the position and assert itself against the anything but weak competition. With the Adam A8H, Adam already has a slight taste of air in the midfield area due to the performance data, but is still marketed in the nearfield monitor area. Let's see how the product performs, which has lots of interesting features.
The construction of the Adam A8H
The Adam A8H is a 3-way monitor that can be operated both horizontally and vertically. The position intended by the manufacturer is horizontal, but by rotating the tweeter, which is attached with 4 screws and sits in an HPS waveguide, the monitor can be used upright even in tight spaces. As expected, the monitor is available in a left and a right version, which with a retail price of €1,549 per box will shock some users, but can be seen as comparatively cheap for the expected performance.
The system has the dimensions (H x W x D): 274 mm x 382 mm x 329 mm and weighs 13.6 kg per box. Not really much, but it is recommended to work with appropriate tripods. The power of the individual speakers is RMS 250 W (8" MLM woofer), 70 W (3.5" MLM midrange driver) and 20 watts (X-Art tweeter). which corresponds to a total output of 340 watts RMS with a max. SPL @ 1m of 105 dB. The frequency response is given as 34 Hz - 41 kHz, the crossover frequencies are 400 Hz and 3 kHz.
The housing is cleanly processed and covered with a high-quality, black textured paint. In order to prevent phase problems caused by edge reflections, particularly in the high frequency range, the upper side edges were discreetly beveled. Funnel-shaped bass reflex openings below the bass speakers ensure stronger bass reproduction and reduce any ventilation noise. For wall or fixed mounting, the housing has 4 M8 screw threads on the bottom to ensure a secure stand even in an inclined position.
If the Adam A8H is registered on the Adam website, Adam offers an extension of the warranty to 5 years.
The DSP area of the Adam A8H
The Adam A8H monitor has an internal DSP, which, among other things, enables several external interventions. With an internal sample rate of 96 kHz and a 24 bit AD converter, the Adam A8H offers a 4-fold EQ with the parameters "Bass", "Desk", "Presence" and "Treble", with which you can adapt the system to the The acoustics of the room can be adjusted and its control buttons have been attached to the back of the housing. You can choose over 100 different combination options using various presets or manually. Furthermore, 3 different voicings can be set, 2 Adam presets and an individually created one. What seems interesting is the fact that Adam also offers RCA connections in this performance class in addition to the
Another highlight is the connection to the A Control software via Ethernet, which enables remote control for all important parameters. The A Control software can be downloaded free of charge from the Adam website. In the A Control software, additional sound optimization tools, such as the Sonarworks profiles, can be imported directly into the DSP of the Adam A8H.
Many manufacturers use DSP for crossover and voicing, but the current generation of DSP monitors integrate speaker calibration into their monitors. This in itself is nothing new, Dynaudio introduced this onboard calibration over 20 years ago with the AIR series and more recently Genelec also introduced its proprietary GLM system. However, pure software products like Sonarworks Sound ID and IK Multimedias ARC are extremely popular and when it comes to ease of use, there is indeed nothing better. However, using software in your listening chain is invasive and occasionally a bit frustrating. The A series, on the other hand, offers the option of loading the Sonarworks calibration into the monitors' internal DSP, where it belongs. A-Series customers also get access to an extended 60-day trial version of Sonarworks, so you only need to factor in the cost of a measurement microphone.
The sound of the Adam A8H
Like most other monitor manufacturers, Adam Audio also recommends that customers let their loudspeakers “swing in” over a longer period of time in order to free all components from the rigidity of production and to ensure that the individual components have the necessary elasticity. Adam Audio is talking about at least 8 hours of “complex material”, which covers the entire frequency range and also briefly challenges the performance data of the monitors. In order to give monitors of this performance class an optimal development opportunity, I would personally recommend placing the speakers at least 1.5 meters away from the listening position, otherwise there is a risk of uneven perception. Due to the bass reflex opening on the front, it is also possible, with the necessary care, to place the speakers a little closer to the wall than usual. However, the range below 300 Hz should always be treated with the necessary caution.
Even the first tones that come out of the speakers show which sonic league we are in, even without any measurement or EQ post-processing. A fundamentally neutral basic sound with a very well-defined low bass and the well-known Adam high frequency range is revealed right from the start and will make any experienced sound engineer sit up and take notice. The monitors cope excellently with any type of sound information, be it pop, classical or metal, every impulse is reproduced cleanly and, above all, very fatigue-free at any volume.
Rarely have I experienced such clean and well-defined reproduction from individual 8-inch woofers, even below 70 Hz, which only makes the use of a separate subwoofer necessary in very large control rooms. As expected, the treble range also leaves a very good impression, although depending on the sound material, you can notice a very fine resolution above 10 kHz, especially in the hi-hat / cymbal area during drum takes. Impressive! There is really no need to mention the usual standards such as depth grading, impulse behavior etc., everything is at the highest level.
In contrast to a two-way solution, a system in the style of the Adam A8H can of course show off its strengths, particularly in the midrange, as the notorious crossover dip is eliminated. Conversely, this also means that the areas of vocals and guitars in particular appear much more prominent in the mix and must therefore be viewed accordingly in the overall context. You shouldn't make the mistake of placing the same instruments too far in the background in the mix because of the better location in terms of both volume and spatial connection.
Interestingly, compared to many other monitors that I usually test, I only needed an extremely short listening time of a few minutes to get used to the sound of the Adam A8H. No inflated bass boom, no unpleasantly excessive mid-range presence and no piercing highs, but an extremely neutral and analytical sound image offers an excellent basis, which you can then later adjust to your personal taste using the EQ software.
So everything is at the highest level? Yes, except for one downside! I couldn't believe it, but even a high-end monitor like the Adam A8H suffers from the “noisegate” disease, which is now wreaking havoc on so many providers. To be fair, the system must be said to be very quiet when the power amplifiers are switched off after the signal is interrupted, but it is what it is, after about 4 seconds the system is deactivated with a slight “click” due to background noise , which can get on your nerves depending on your personal level of suffering. No offense, but in this price range, especially when the sound of the system is beyond criticism, I would have expected a better solution, for example a manual deactivation of the auto mute using a simple pressure switch on the back of the housing.
Conclusion
With the Adam A8H, the Berlin manufacturer has an excellent 3-way monitor in its portfolio, which targets the transition area from nearfield to midfiled. The performance data is definitely sufficient for larger control rooms and in most cases makes the often used subwoofer seem obsolete.
The monitor impresses across the board with an excellently neutral sound, a very well-defined and deep bass range and the classic Adam high-frequency range, which forms its own sound group due to the ribbon tweeter.
If you are looking for professional, very good-sounding and powerful A-monitoring, you should definitely try this system out.
————————
Additional Informations:

Adam Audio stands as a prominent player in the world of professional audio, renowned for its commitment to delivering precision and innovation in sound reproduction. Founded in 1999 by Klaus Heinz and Roland Stenz, the German-based company has consistently pushed the boundaries of audio technology. This article provides a comprehensive exploration of Adam Audio, its founding principles, and the groundbreaking inventions that have solidified its position as an industry leader.

1. Founding Principles and Vision

Adam Audio was born out of a shared passion for audio excellence between Klaus Heinz and Roland Stenz. The company's foundation was laid on the principles of precision, transparency, and innovation in sound reproduction. The vision was to create audio products that not only met but exceeded the expectations of professionals in various industries, including recording studios, broadcast facilities, and home studios.

2. Proprietary Technologies

Adam Audio has been at the forefront of developing and implementing proprietary technologies that set its products apart in terms of sonic accuracy and reliability. Some notable technologies include:

   a. **Accelerating Ribbon Technology (ART):** Central to Adam Audio's success is the ART tweeter, an innovative design that combines the advantages of both ribbon and dome tweeter technologies. This approach results in extended frequency response, reduced distortion, and exceptional transient response.

   b. **X-ART (eXtended Accelerating Ribbon Technology):** A refinement of the original ART, the X-ART tweeter takes the concept further with an even larger folded diaphragm area. This technology contributes to the exceptional clarity and detail for which Adam Audio monitors are renowned.

   c. **HexaCone Woofers:** Adam Audio employs HexaCone woofers in its speaker designs. These woofers feature a honeycomb structure that enhances rigidity and minimizes cone breakup, allowing for a more controlled and accurate bass response.

   d. **Integrated Amplification Systems:** Adam Audio has embraced the concept of integrated amplification in its monitor designs. By matching amplifiers precisely to the characteristics of individual drivers, the company ensures optimal performance and synergy in its speaker systems.

3. Signature Series Monitors

Adam Audio's success is epitomized by its signature series of studio monitors, which have become a staple in professional recording environments worldwide. The A7, A8X, and A77X are examples of monitors that showcase the company's commitment to delivering a transparent and reliable listening experience.

   a. **A7 Series:** The A7 series, featuring models like the A7X, has become a reference in nearfield monitoring. With a balanced frequency response and precise imaging, these monitors are favored by recording engineers, producers, and musicians seeking accuracy in a compact form factor.

   b. **A8X Series:** The A8X series represents a step up in size and power, catering to larger studios and critical listening applications. The additional woofer size contributes to extended low-frequency response without compromising the precision that defines Adam Audio monitors.

   c. **A77X Series:** The A77X is a flagship model that incorporates Adam Audio's innovative X-ART tweeter and dual woofers. This three-way design provides exceptional imaging and depth, making it a choice tool for mastering engineers and professionals with discerning ears.

4. Industry Recognition and Collaborations

Adam Audio's commitment to excellence has not gone unnoticed in the industry. The company's monitors have received accolades and awards for their exceptional performance and design. Moreover, Adam Audio has engaged in collaborations with renowned professionals and institutions, further solidifying its reputation as a trusted partner in the audio community.

   a. **Collaborations with Engineers and Producers:** Adam Audio actively seeks input from audio professionals in the development of its products. This collaborative approach ensures that the monitors meet the rigorous demands of those working in diverse sound production environments.

   b. **Educational Initiatives:** Recognizing the importance of education in the audio industry, Adam Audio has been involved in initiatives to support aspiring audio engineers and producers. This includes partnerships with educational institutions and participation in workshops and seminars.

5. Sustainable Practices and Corporate Responsibility

In addition to its focus on technological innovation, Adam Audio places importance on sustainability and corporate responsibility. The company strives to minimize its environmental impact through eco-friendly manufacturing practices and the use of recyclable materials in its products.

   a. **Environmentally Conscious Manufacturing:** Adam Audio incorporates sustainable practices in its manufacturing processes, reducing waste and energy consumption. The company's commitment to environmental responsibility aligns with the growing awareness of sustainability in the global business landscape.

   b. **Recyclable Packaging:** Adam Audio embraces recyclable packaging materials, minimizing the environmental footprint associated with its products. This commitment reflects a holistic approach to corporate responsibility and environmental stewardship.

Conclusion

Adam Audio's journey from its founding principles to its current status as a global leader in professional audio is marked by a dedication to innovation, precision, and collaboration. The company's proprietary technologies, signature series monitors, industry recognitions, and sustainable practices collectively showcase a commitment to advancing the art and science of sound reproduction. As Adam Audio continues to shape the future of audio technology, its legacy remains embedded in the studios, stages, and creative spaces where professionals rely on the company's expertise to bring their sonic visions to life.

FEATURE: How Is The Big Tour Planned And Implemented?

 When I listen to one or two accounts from acquaintances, some of whom can't go beyond the event organizer's partial reimbursement of the travel costs to the club, I'm sure that an article about planning a big tour must sound like sheer mockery to them . The initial situation of even putting on a coherent tour to cover the costs is more catastrophic than ever for unknown bands and for years there has only been one direction, namely downwards. Nevertheless, despite all the economic pessimism in the live music scene, there are still "big tours", although these are primarily carried out by established or very well-known artists. However, even these are not about worldwide tours by international superstars, which are successful anyway but the area that goes beyond the "saved annual vacation minus family" or the "weekend with local gigs." Semi-professional musicians often cover this area because their artistic income alone is not enough to survive and they therefore have to secure themselves with a part-time job. However, your priority is 100% on the music and the opportunities it offers. In this area, three weeks or more in a row can arise, which can make many things appear in a different light. Let's Take a closer look at the economic, social and technical minefield so that as few mistakes as possible are made in advance

The definition of a tour has changed significantly over the last two decades. As is well known, a live performance used to be mainly used to promote the band or artist's new album and thus generate most of the profit. Nowadays it's the other way around. You bring a new album onto the market in order to have a reason to go on tour, since there is no profit or comparatively little profit to be made from the sale of classical recordings. The current charts have long since lost their significance, as just under 3,000 albums sold in one week are now enough for second place in the official Media Control Charts. A placement in the top 10 is therefore only an honor for musicians, while serious business people can only smile with pity at such sales. What you can “earn” in streaming below the multi-million mark is probably well known by now.

Planning a big tour

That's why playing live in combination with selling merchandise and VIP tickets for larger acts is the last chance to make a significant profit. The distribution of income has become established: the fee covers travel and transport costs, while the sale of merchandise represents the profit from the tour and depends on the number of visitors per show, from which the “sales per visitor” is determined. Anyone planning a strenuous tour, without breaks for more than a month, is faced with various uncertainties at the beginning of their career that can quickly capsize the boat called "tour".

To be clear, this article is not about successful booking or similar, this area has already been covered in this article (https://www.amazona.de/newcomerband-euer-erstes-booking-wie-wo -was/ ) treated in detail. Rather, it is intended to point out that many areas can be optimized in advance with relatively little effort, which can later cause problems during ongoing tour operations.

Of course, you can take everything into your own hands and take on all the other functions in addition to operating your own instrument, but in most cases this leads to a decrease in the quality of your own performance on stage. If you don't have the head free for your personal artistic achievement, you'll end up bypassing the visitor. If you have the means of transport, you should at least have a merchandiser and a tour leader/driver/backliner on board. The merchandiser can be motivated by a percentage share of the sales, but a separate agreement must be made with the tour leader.

In general, planning and carrying out a major tour requires a lot of commitment, organization and careful preparation. It is important to consider various tasks in advance to ensure that the tour runs smoothly and has the desired success. The first step in preparing for a tour is to define clear goals. Do you want to win new fans, promote a new album or expand your presence in certain regions? Based on these goals, tour dates and locations should be decided. It is important to take into account travel times, potential target groups, seasonal characteristics and existing fan bases in the individual cities or countries.

Regarding budgeting and financing, it is always advisable to create a detailed budget for the tour itself, including all expected costs such as travel, accommodation, food, transport, equipment, marketing and promotion. You should also plan beyond just the salary and include income from previous shows, support from record companies or sponsors or through crowdfunding campaigns in the planning.

Preparations for a big tour

Many points within the daily routine vary when living “on the road”, which is why you should pay particular attention to the following things on a “big tour”:

1.) Physical stress
A tour where you are on the road for longer than just Friday to Sunday or even longer and then only have four days at home is a mammoth physical task. It is not necessary to be as old as the author of this article to know that the body particularly suffers from lack of sleep and psychological imbalance. What is often presented to the outside world as a “2-hour show and just hanging out on the bus and playing video games” challenges the body much more than you would initially think. When you're in your early 20s, the whole thing might seem like a joke, since you can go a week without sleep and celebrate getting your rind cracked every day. But this week is also coming to an end and with it the fitness. With every day on tour you lose a percentage of your fitness, which ultimately ends in total exhaustion. It is therefore advisable to strengthen your body in advance through fitness, a healthy diet and a balanced daily routine in order to last longer.

I've already been on tour with many young support bands who didn't miss an opportunity to indulge in rock'n'roll in all its clichés until it was just amazing. You can do it, but forgetting instruments at the venue and the latent getting on your nerves because the headliner is full as a bucket around the clock isn't good in the long run and has a positive effect caused one or two expulsions from the tour.

2.) Psyche
The point of psychological stress needs to be taken into account even more than the point mentioned above, as you cannot prepare adequately here. Only those who are prepared to completely give up their privacy for the duration of the tour can really enjoy everyday tour life. If you work with hotel beds and have the luxury of single beds, you may be able to build a small refuge into which you can at least partially retreat. However, anyone who works with nightliners/tour buses is forced to subordinate their personal daily routine to the entire tour party. There is extreme crampedness, completely different ideas about the room temperature and always too little space for everything. Not to forget sleeping on a roaring diesel, which with a bit of luck will perhaps be replaced by an electric motor in the medium term, but is still the standard at the moment. This scenario wears down anyone who hasn't either known this procedure for years or has their psyche well under control.


3.) Equipment
To get to the point, the most important point of a big tour is packing the equipment in cases. Professional flight cases or high-quality hardshell cases are now affordable and offer reliable protection for the instruments. Unfortunately, there are still colleagues who check in their instrument in a simple cardboard box at the airline check-in counter and are then surprised when there is only rubble left at the destination. Every musician has a responsibility to provide working equipment every night, and that includes appropriate protection.

Another crucial point is the availability of spare parts and accessories. On a longer tour, all parts really have to be present twice. Not just the guitar and maybe a spare cable, but really everything. Power supplies, stompboxes, power cords, guitar straps, DI boxes, amplifiers, speakers, in-ear systems, transmitters, microphones and much more.

In addition, wearing parts such as strings, drumsticks, skins and gaffa tape are required. There are also unusual things like the cerumen filters in the in-ear systems. As soon as these filters become clogged, you can no longer hear any treble in the earphones, which makes monitoring pointless. Of course, every part should be checked beforehand to ensure it is working, but it is surprising how often colleagues show up at the venue with empty batteries. It is helpful to stock up on items such as batteries in a maxi pack before the tour begins so that everyone can help themselves and the costs can be covered by the tour proceeds. This means that our colleagues also have functioning equipment and are only responsible for the sound and functionality up to the output socket of their instrument.

Ultimately, however, everyone has to know what they can expect of themselves and their colleagues, but there is one thing you should always be clear about. If the fan only gets a substandard show due to some kind of personal misconduct, there is no excuse!

So have fun and good luck with your shows!

—————————

Additional Informations:

For musicians aspiring to showcase their talents on the global stage, understanding the complex web of international entry requirements is paramount. Traveling from one country to another involves negotiating a labyrinth of visa regulations, work permits, and cultural nuances. This article provides an in-depth exploration of the entry requirements for musicians worldwide, shedding light on the challenges, variations, and evolving trends in a landscape where artistic expression meets immigration protocols.

1. Visa Categories for Musicians

Musicians often fall under various visa categories depending on the nature and purpose of their visit. Common visa types include:

   a. **Tourist Visa:** Musicians performing in non-commercial, non-profit events or festivals may be eligible for a tourist visa. However, the limitations on remuneration and performance venues must be carefully considered.

   b. **Artist/Entertainer Visa:** Many countries offer specific artist or entertainer visas designed for performers. These visas often require detailed documentation of the performance, contracts, and the artist's credentials.

   c. **Business Visa:** In some cases, musicians traveling for business purposes, such as meetings with industry professionals, may utilize business visas. However, performing at public events may be restricted under this category.

   d. **Work Visa/Permit:** Musicians engaged in commercial performances, tours, or recording sessions often need a work visa or permit. These applications require extensive documentation, including proof of employment and adherence to local labor laws.

2. Documentation and Application Processes

Navigating the documentation and application processes for musician visas can be intricate. Key elements typically include:

   a. **Invitation Letters:** Musicians are often required to provide invitation letters from event organizers or sponsors, detailing the purpose, duration, and scope of their performances.

   b. **Contracts:** Comprehensive contracts outlining the terms of performances, remuneration, and other relevant details are crucial for visa applications. These documents often undergo scrutiny to ensure compliance with immigration regulations.

   c. **Proof of Artistic Credentials:** Musicians may need to provide evidence of their professional standing, including awards, accolades, and previous performances. This helps establish the artist's legitimacy and contributes to the approval process.

   d. **Travel Itineraries:** Clear and detailed itineraries, including performance venues, dates, and accommodation arrangements, are essential components of visa applications.

3. Regional Disparities and Challenges

The entry requirements for musicians vary significantly from region to region, reflecting the diverse cultural, economic, and political landscapes. Challenges include:

   a. **Stringent Security Measures:** In the post-9/11 world, many countries have implemented stringent security measures that can affect the visa application process for musicians. Background checks and security clearances may be required.

   b. **Economic Considerations:** Economic factors, such as the potential impact on local job markets, can influence visa approval. Some countries prioritize the employment of local artists and may impose restrictions on foreign performers.

   c. **Diversity of Regulations:** Navigating a patchwork of regulations can be daunting. Musicians touring multiple countries must adapt to varying visa requirements, processing times, and documentation standards.

4. Cultural Sensitivity and Awareness

Beyond legal requirements, musicians must also be attuned to cultural norms and sensitivities. Understanding local customs, traditions, and etiquette can contribute to successful performances and positive interactions with local communities.

   a. **Cultural Competence:** Musicians should invest time in researching and understanding the cultural contexts of the countries they plan to visit. This includes knowledge of appropriate attire, audience expectations, and respect for local customs.

   b. **Language Considerations:** Language barriers can pose challenges. Musicians may need to consider communication strategies, such as hiring interpreters or collaborating with local artists to enhance cross-cultural understanding.

5. Evolving Trends and Adaptations

The dynamics of international travel for musicians are continually evolving, influenced by geopolitical changes, global events, and technological advancements. Recent trends include:

   a. **Virtual Performances:** The rise of virtual performances, especially in response to the COVID-19 pandemic, has reshaped the landscape. Musicians now explore digital platforms for international exposure, albeit with unique considerations.

   b. **Collaborative Initiatives:** Collaborative initiatives between countries to streamline visa processes for artists have gained traction. These efforts aim to foster cultural exchange while addressing the challenges associated with traditional visa requirements.

   c. **Technological Solutions:** Some countries are exploring technological solutions, such as digital visa applications and online platforms for document submission, to simplify and expedite the process for musicians.

Conclusion

Navigating the worldwide entry requirements for musicians demands a combination of legal acumen, cultural awareness, and adaptability. As musicians aspire to share their art with diverse audiences, the intricacies of visa applications and the evolving global landscape necessitate strategic planning and collaboration between artists, industry stakeholders, and immigration authorities. By understanding and addressing these challenges, musicians can continue to traverse borders, bridging cultures through the universal language of music.

FEATURE: How Do You Keep Fans Interested?

 Despite all the admiration for the changes that companies like Tesla, systems like Bitcoin or trades like heat pumps in conjunction with AI have brought to humanity in recent years, probably no other system has changed as fundamentally as the media world. With the introduction of Web 2.0 and the imminent adaptation of Web 3.0, every interested user now has the opportunity to transport their content all over the world, which has both many advantages and many disadvantages. Due to the media bombardment that hits us every second, it is becoming increasingly difficult to generate new fans, but also to keep old fans who you have laboriously gathered together, as you are fighting a 24/7 battle against “competitive products “, who want to “steal” the fan’s attention. Not only are you dealing with the problem that countless other artists want to be noticed in the same way, but the fan is also distracted by things like social media, video games or just the constant flow of news, which leads to time away from it There is less and less available to you or your band in your professional life. With this feature we try to point out some basic points that can be used to specifically combat the loss of attention.

What is your added value for the fan?

We'll start with a very provocative question: why should a fan even bother with you and your art? Are you, your music, your songs, your lyrics, your appearance, your statements worth it that a music lover / fan spends their free time with your creative output and not with the songs of Ed Sheeran or Taylor Swift? Do you have something special about yourself that fans can use to “adorn” you in front of their friends in the sense of “have you heard blah blah blah, that’s a blast for such and such a reason!”

I know it's not a pleasant question, but in times when you have 24/7 access to millions of other artists, it's very hard indeed to retain a fan for a long period of time, unless yes Unless you were very lucky to have started your career 30 to 50 years ago and achieved the appropriate level of attention. In this case, it doesn't really matter what you do, because you have a positive image in the fans' memory pattern and you actually don't need to do anything at all other than play your old hits regularly and say every now and then that you still exist. There will definitely be thousands of old people coming to your concerts, no matter how good your performance is now. Sad but true.

Unfortunately, newly founded or yet to be founded bands cannot rest on these laurels, although in my opinion the band construct will become much less important in the medium term anyway. As is well known, the majority of mainstream audiences now unfortunately don't care at all whether the music they hear is produced live on stage or played from a MacBook. You shouldn't forget that a band in which different musicians play different instruments was founded because in the early days of popular music there was simply no other way to convey music live in all its shades than to have one for each instrument musician took. Nowadays, this is all taken over by technology if necessary and I'm pretty sure that in the future a single musician with three dancers on stage will provide significantly more entertainment value than a classic four-piece band, if not each musician is a real enrichment in their own right for the viewer.

How do I ensure that the fan continues to lend an ear?

How to acquire fans and draw attention to yourself has already been widely published on the Internet or in specialist magazines and you can read about it with greater or lesser success. This feature is intended to focus on what you can do once you have successfully acquired fans to keep the fans on board so that, as I said, you don't lose them again to Ed Sheeran and Taylor Swift or their many colleagues .

Assuming they have a regular job, everyone now only has a very short amount of time per day in which they can do the things they enjoy. If that includes music, it's up to you to give the fan something that will make them want to spend this extremely short time with you or at least bring their friends over to listen or watch your creative output with them. To do this, you have to keep two important points in mind.

Music is emotions captured in sounds. If you want to keep your fans, you have to be able to put them in a mood that either reflects their current emotional state or have them listen to your music to get into that emotional state. This can include anything from shallow ambient chatter to hard-hitting metal drones that the listener would like to hear at that moment or in the respective situation. If you can do this, you've already exhausted 50% of all the options you have left to keep fans engaged. At the same time, this also means that the fan appreciates a certain orientation with your music, which doesn't mean that you can never break out of your pattern, but you should always think about the type of fan you are addressing.

This can also apply to productions that seem completely exaggerated at first glance, such as Heino sings Rammstein or Paul Anka arranges typical rock songs in the classic big band style. What you shouldn't forget, however, is that the artists mentioned manage to interpret foreign songs with their own performance, especially with their own voice and their way of singing, as if they were their own songs, which then even to the Heino audience, at least makes a Heino Rammstein interpretation accessible to part of the audience, some of whom probably don't think the title is bad at all, without knowing what the original actually sounds like.

I assume that everyone reading this article knows that the media industry has completely changed and income is generated completely differently than it used to be. As a quick reminder, publishing songs in the form of streaming, CDs and even vinyl can now only generate marginal income, which only just exceeds the hobby level.

All recordings are actually only there to draw attention to you and give you a reason to perform live or on the Internet. That's why more and more institutions are of course jumping into the live music sector and holding their own, but that's a different topic that can be dealt with in another feature.

What you should ask yourself, however, is why is the live sector the last department where there is still money to be made? Why have the fans arranged themselves in such a way that the biggest cash cow of the past, the physical recording medium, has become irrelevant and the live shows ultimately dominate everything that is desirable in any way? Well, the main reason is that humans are social creatures and celebrating an artist together with like-minded people, singing the same lyrics, moving to the same beats is still the central point of what it's all about for many people when it comes to music and emotions. So your job is to regularly provide the fan with content that keeps you in their attention and what attracts them to your shows.

The three points of fan loyalty

The following points are important:

1.) Publish your own music regularly
2.) Be authentic
3.) Be approachable within a moderate range


to 1.)

Think carefully about whether you want to stick to the classic publishing principle of an album. Large record companies are still very happy to stick to this system because their promotion and marketing departments can handle this type of publication very well, as you can easily sample large-scale trade press, internet media, etc. in one fell swoop and with several small ones Promotions try to keep the band in the media until the next album is released. However, if you have a peer-to-peer network where you are in more or less direct contact with fans, you might want to consider going there and, for example, releasing a new song every two months distribute the streaming platform accordingly. Of course, this also has to be advertised again and again, but a newsletter is still a very good thing, although you of course have to be careful not to make a mistake in terms of data protection, or else you have a very good online presence and can use it usual social media to inform fans about it.


to 2.)

Old hat in all professions that deal with business, leadership or personnel management in general, but still a real challenge for artists. All too often you are told that you have to wear this or that, say this or that, do this or that and so on. Exactly the opposite is the case. Once you have become a personality, with all its advantages and disadvantages, you can discreetly work on the disadvantages and push the advantages further forward. But the most important thing is that you are a guy, you are a personality that people would like to look at, that they would like to listen to and that they would like to spend their time with. That's the only thing that matters in the end. Be unique and be good at what you do and you will find your fans, provided you fit into their life structure.


to 3.)

This is by far the most difficult area, as it depends very much on the musician's attitude towards the public. Every fan finds it great to get as close as possible to their artist, even if it's just in a friendly conversation at a live show or in a chat on an online basis. However, the closer you come into contact with your fans and the more personal things you share, the more you lose shine. However, if you take too much time out of communication, you run the risk of appearing arrogant and unapproachable, which can also have the opposite effect, unless it is part of your image.

For my part, I can only recommend that almost every person should be shown a certain degree of basic politeness and basic interest in themselves, especially when you consider that it only takes around 1,000 Die Hard fans to reach a modest level To be able to live music. If you manage to get around 1,000 people so enthusiastic about you and your music that they buy everything you have available to purchase, the income will be enough to cover a simple living, assuming that , you maintain direct contact with the fan and are not forced to give up any stakes in things like label, management or anything else.


Finally, I can only recommend that you choose your target group that you believe will appreciate your creative output and convince them to listen to you. It makes no sense at all to mention a little bit about yourself everywhere like the watering can principle; you'll actually achieve the opposite of what you actually want. Anyone who likes Ballermann Bums doesn't really care about any kind of music, it's all about the party and the atmosphere. At parties like this you could also have a drum machine with a cheap sequencer bass running and someone singing “you are so wonderfully beautiful, you are so wonderfully beautiful” with autotune over it, it would have the same effect. If you make your mood and your self-esteem dependent on such an audience, you have already lost.

If there's one of the few benefits of media overload, it's the fact that you can reach pretty much anyone in the world and there will always be people who are into exactly what you're offering. It's a lot of work and it's torture and it takes years and it will often get you to the point where you say, "I don't feel like it anymore," but if you can get through it, then you have a chance establish.

And like I said, 1,000 Die Hard fans to survive, 2,000 and it gets better and now imagine you have 10,000 fans.

I wish you much success for your future.

————————

Additional Informations:

In an era characterized by information overload, constant connectivity, and an abundance of entertainment options, the attention span of music listeners has become a precious and elusive commodity. The contemporary music landscape faces the challenge of capturing and retaining the focus of an audience inundated with a myriad of stimuli. This article delves into the factors contributing to the diminishing attention of music listeners and explores how the industry can adapt to this evolving landscape.

1. Streaming Services and the Paradox of Choice

The advent of digital streaming platforms has revolutionized the way people access and consume music. While these services offer unparalleled convenience and a vast library of songs at users' fingertips, they also introduce the paradox of choice. With millions of tracks available, listeners often find themselves overwhelmed by the sheer volume of options, leading to shorter listening sessions and a tendency to skip through songs in search of instant gratification.

2. Short-form Content and the Rise of Singles

The rise of short-form content across various media platforms, including social media and video-sharing apps, has influenced music consumption patterns. In an age dominated by bite-sized content, there is a growing inclination towards singles and individual tracks rather than full-length albums. This shift not only impacts the revenue models for artists and the industry but also contributes to a fragmented listening experience where listeners may not engage with an artist's complete body of work.

3. Attention Economy and Multitasking

The attention economy, driven by social media, notifications, and the constant demand for engagement, poses a formidable challenge to music consumption. Listeners are increasingly engaging in multitasking behaviors, such as scrolling through social media feeds or working while listening to music. This divided attention diminishes the immersive experience that music traditionally offers and may lead to a reduced appreciation for the nuances of the art form.

4. Algorithmic Playlisting and Predictability

While algorithmic playlists on streaming platforms aim to enhance user experience by offering personalized recommendations, they inadvertently contribute to a sense of predictability. As algorithms analyze user preferences and patterns, there is a risk of creating echo chambers, where listeners are exposed to a limited range of genres and artists that align with their existing tastes. This narrowing of musical exploration can lead to monotony and a lack of excitement, contributing to shorter attention spans.

5. The Rise of TikTok and Viral Trends

Social media platforms, particularly TikTok, have become influential in shaping music trends and determining what captures the attention of the masses. While this can provide exposure to emerging artists, it also contributes to a culture of fleeting popularity, where songs gain rapid attention and then quickly fade into obscurity. This rapid turnover of viral content may contribute to listeners' reluctance to invest time in exploring a diverse range of artists and genres.

6. Strategies for Navigating the Attention Crisis

Addressing the diminishing attention of music listeners requires a multi-faceted approach that combines technological innovation, artist engagement, and industry adaptability. Some strategies include:

   a. **Curated Experiences:** Platforms and artists can curate immersive experiences that go beyond individual tracks, offering thematic playlists, visual components, and storytelling to captivate listeners.

   b. **Interactive Content:** Integrating interactive elements into music releases, such as virtual reality experiences or interactive music videos, can enhance engagement and encourage a more active participation from the audience.

   c. **Diverse Collaborations:** Encouraging collaborations between artists from different genres and industries can introduce listeners to new and unexpected musical experiences, breaking the monotony of algorithm-driven playlists.

   d. **Educational Initiatives:** Promoting music education and storytelling around artists and genres can foster a deeper connection between listeners and the music they consume, encouraging a more thoughtful and engaged audience.

Conclusion

As the music industry grapples with the challenge of diminishing attention spans, there is a need for continuous innovation and adaptation. By understanding the factors contributing to this trend and implementing strategic initiatives, stakeholders can create an environment where music is not just consumed but cherished. Navigating the attention crisis requires a collaborative effort from artists, platforms, and industry professionals to ensure that the art form continues to resonate and evolve in the ever-changing landscape of the digital age.

FEATURE: The Value Of Music Today

 Is it all just a hobby? The definition of a hobby is actually quite simple. You take an activity that is made up of time spent and money invested. If the financial profit is higher than the investment, one speaks of a professional or commercial orientation, at least in the tax sense. If the personal investment is higher than the profit achieved, one has a hobby or one is pursuing a hobby. Is this broken down definition really that simple and, above all, what value does music have today?

The magic of the past or the transfigured look back

The constant “there used to be more tinsel” sayings, although they now seem very tiring, unfortunately sometimes have something very true about them. A colleague of mine was recently asked by his son why music from the sixties is still present today and is often played in advertising, at events or even on the radio. His answer was "In the sixties, music was created to generate emotions, today's music is created to generate clicks." In return, one might ask, if music creators 6 decades ago had had the same technical possibilities as they do today, they wouldn't have produced the same irrelevant crap that largely floods streaming platforms today? They certainly would have! Or to put it another way, has the limitation of artists by technology meant that they were forced to engage with their creative craft in order to reach the fan?

In addition to its mostly technically predetermined sound, each musical era has its own unique style of musical performance, both in terms of orchestration, arrangement and musical implementation. At the very beginning of recording technology, there was a band playing live in which one or perhaps two microphones tried to capture the live sound to some extent and record it directly onto the record. Gambled it up, forgot the text, grabbed the potatoes? New recording or leave the mistake on it. The musicians had to be correspondingly fit on their instrument. Different volumes? Move the respective instrument forward or backward in the room, done! The aim was to build a mood using the simplest means, because “we had nothing”.

With multi-track technology, you could not only record the instruments individually, but also create more through overdubs than what the band would have been able to achieve in its natural structure. They finally arrived in the “artificial” area using the drop in/out method, which was celebrated as the holy grail by singers and soloists in particular, as they managed to combine individual passages for the first time in order to get the most out of the artist's technical skills to bring out the artist in the studio, even if some of it can no longer be implemented live. The beginning of the end. Why? A few weeks ago I happened to see a live concert by Supertramp from the seventies on TV. Except for the fact that there was a little more room reverberation on the microphones and the saxophonist's intonation was off a few times, the concert was a 1:1 representation of the respective recordings. Not only did the instrumental passages sound identical, but the vocals were also indistinguishable. It's hard to believe these days when, at least in the rock sector, people are more than grateful if the singer even partially manages to reproduce the studio recordings.

Yes, and then HD Recording came along and with it, every producer's wettest dreams became reality. Everything, absolutely everything, that had been dreamed of for decades suddenly became a reality, which led to gigantic productions, especially in the eighties, that no longer had anything to do with a “classic” band constellation. If anything, you were slowed down by the computing power of the Macs / Ataris and the storage capacity of the respective peripherals, I only say AKAI Sampler 16 MB (MB, not GB!). This limit has finally been torn down in recent years, as current DAWs no longer have any limits when it comes to tracks, plugins and automation, and all for a price for which four decades ago you could only get two official preamps in 19 inch format has.

Anyone who has read this far is probably wondering why the entire list, everything is known, everything has already been heard. Well, it's supposed to show you why the situation is the way it is.

The value itself...

In order to determine the value of any action or item, we briefly go into “the world of evil”, i.e. we take a quick look at the financial industry with all of its stocks, bonds, derivatives, P2P loans and cryptocurrencies. Determining a value is very easy, anything that requires great effort to produce or is only available in small quantities is valuable, regardless of whether it is vintage cars, whiskey, art objects or Bitcoins. Anything that can be produced quickly, without great effort and in any quantity is comparatively worthless. Or to put it another way, Bitcoin, at 21 million. limited, cannot be multiplied any further and is produced with a lot of energy to ensure absolute protection against counterfeiting, and in the long term increases in value. FIAT money such as B. the US dollar is increased almost indefinitely, especially in times of crisis (every third dollar currently in circulation was printed in the last three years), fuels inflation and constantly loses value.

Applied to the music industry, this means that anything that can be easily produced in the home studio no longer has any value. The best example is orchestral recordings. Just a few years ago, recording a large symphony orchestra required huge logistical, technical, spatial and financial effort. Today you can throw in a high-quality library and, assuming you have the technical arranging skills, you can produce Hans Zimmer compositions on an assembly line in your bedroom. Result: no one listens anymore to an orchestral part in a film, a video game or a composition, while you bought the CD for the Star Wars soundtrack so you can listen to John Williams' excellent work at home.


The monetary aspect...

What is sometimes a great enrichment for the hobby musician turns out to be a death knell for the professional musician in many cases. Since almost every hobby musician wants to publish their creativity and in times of Spotify and colleagues this is also possible for everyone at a very reasonable price, the music world is flooded with thousands of publications every hour, some of which are never noticed outside of one's personal circle of friends.

Nowadays, for example, even with GarageBand, it is easily possible to stick together pre-made loops with appropriate instrumentation without even having any idea what you are doing, let alone mastering an instrument. Today, when I ask guitarists on Facebook what they do musically, in 90% of all cases I get the answer “I'm currently learning to set up my home studio and working on my first CD”. Mastering an instrument has quietly moved away from being the top priority in personal, musical life planning and is now just a means to an end for “recording music”. To found a band? It's too tiring for what! Keep the band alive? It's not worth it!

In plain English, newcomers no longer have a chance to assert themselves in the flood of publications and professionals are no longer needed because technology has almost completely replaced them. I don't even want to start with the Corona catastrophe. Where there are losers, there are always winners, so who benefits from the current development? You might hardly think it's possible, but it's the established manufacturers and the big music department stores.

Since Corona at the latest, sales of instruments in the lower and lowest price categories have multiplied. The hype already ends in the middle price range, as many musicians do not understand the meaning behind a higher quality, but also better sounding instrument, especially since the sound of the recording sounds identical to a guitar that costs €300 or €3,000, so why more spend as necessary?


A look into the crystal ball...

How is the future going to look like. I won't be so presumptuous, here's a final statement on this matter. to meet, but with just over 40 years of experience as a prof. As a musician, I can at least take development as a given. Music is being “consumed” more than ever before, without the “consumer” having even the slightest interest in the artist, the song title or a story behind the song. In principle, every song has already been written and will ultimately only be reproduced in a slightly modified form as a new title.

This development will continue, and in my opinion AI (Artificial Intelligence) will increasingly find its way into the “pro” business and then also into the consumer sector. As a producer, you will enter your desired style, choose an artist as a model and the AI will then compose the track for you, mix it and possibly also have an API for your digital distributor, which will immediately post the track on Spotify etc., i.e. H. even more titles at even shorter intervals without any artists. If you ever need them for the cover or playback shows etc., you choose the appropriate models from the catalog and book them by the hour. By the way, this is not cynicism, I'm sure it will go in that direction. You can get the first results e.g. E.g. listen here:


There will still be bands who have a good time with a beer in the hobby cellar after work and maybe also play one or two shows a year in the local pub (as long as this Corona has survived...), but there will be a lively scene of musicians who Meeting people with their instruments to play in front of people without backing tracks and make money in the process will no longer exist.

————————-

Additional Informations:

Artificial Intelligence (AI) has emerged as a revolutionary force in various industries, and the realm of music is no exception. The integration of AI technologies in the music industry has not only transformed the way music is created, produced, and consumed but has also opened up new avenues for creativity and innovation. This article explores the multifaceted impact of AI in the music sector, covering areas such as composition, production, recommendation systems, and the evolving landscape of music distribution.

1. AI in Music Composition

One of the most significant contributions of AI to the music industry lies in its ability to compose original pieces. AI algorithms, particularly generative models, have gained prominence in creating compositions that range from classical to contemporary genres. Projects like Google's Magenta and OpenAI's MuseNet showcase the capability of AI to analyze patterns in existing musical compositions and generate new, unique pieces.

AI systems can analyze vast datasets of musical scores, styles, and genres to understand the nuances of various musical elements. These systems then employ machine learning techniques, including deep neural networks, to compose music that aligns with specific parameters or artistic preferences. The result is a fusion of human creativity and machine precision, providing musicians with new sources of inspiration and collaboration.

2. AI in Music Production

In addition to composition, AI has significantly impacted the production process of music. Automation tools, powered by AI, assist in tasks such as mixing, mastering, and sound engineering. For instance, AI algorithms can analyze audio tracks and automatically adjust levels, equalization, and other parameters to achieve a polished and professional sound.

AI-driven plugins and software also enable musicians and producers to experiment with new sounds and effects, pushing the boundaries of traditional music production. By automating repetitive tasks, AI allows artists to focus more on the creative aspects of their work, potentially leading to the development of novel and groundbreaking musical styles.

3. Personalized Music Recommendations

Music recommendation systems have become integral to the way people discover and consume music. AI plays a crucial role in these systems by analyzing user behavior, preferences, and historical data to generate personalized recommendations. Platforms like Spotify, Apple Music, and Pandora utilize advanced machine learning algorithms to curate playlists and suggest songs tailored to individual tastes.

These recommendation systems not only enhance user experience but also contribute to the exposure of lesser-known artists. By leveraging AI, music streaming services can identify niche genres or emerging trends, ensuring a diverse and dynamic musical landscape.

4. AI and Creativity

The intersection of AI and creativity in music has sparked debates about the nature of artistic expression. Critics argue that relying on algorithms may dilute the authenticity of human creativity, while proponents believe that AI can act as a collaborator, offering fresh perspectives and expanding the creative palette.

AI's ability to analyze vast datasets and identify patterns allows musicians to experiment with unconventional combinations of sounds, genres, and styles. The collaborative potential of AI encourages artists to explore uncharted territories, fostering a symbiotic relationship between human intuition and machine-generated insights.

5. Challenges and Ethical Considerations

While AI presents immense opportunities for the music industry, it also brings forth challenges and ethical considerations. Issues related to copyright, intellectual property, and the potential displacement of human artists raise concerns about the long-term implications of AI in music.

The question of attribution becomes particularly pertinent when AI systems generate music autonomously. Determining the ownership of AI-generated compositions raises legal and ethical dilemmas, as current copyright laws are often ill-equipped to address such scenarios. Striking a balance between promoting innovation and protecting artists' rights remains a complex challenge.

Moreover, the use of AI in music creation also raises questions about job displacement within the industry. As AI tools become more sophisticated, there is the possibility that certain roles traditionally performed by humans, such as session musicians or arrangers, could be automated, impacting employment opportunities in the sector.

Conclusion

Artificial Intelligence has ushered in a new era for the music industry, reshaping the creative process, production techniques, and the way audiences discover and consume music. As AI continues to evolve, it is essential for stakeholders in the music industry, including artists, producers, and policymakers, to navigate the challenges and ethical considerations associated with this transformative technology.

Ultimately, the integration of AI in music represents an opportunity for synergistic collaboration, where human ingenuity and machine intelligence coalesce to push the boundaries of musical expression. The ongoing dialogue between technology and creativity will undoubtedly shape the future of the music industry, offering a dynamic landscape that embraces innovation while preserving the essence of artistic authenticity.

FEATURE: What's the legendary Plexi Sound?

It is considered the greatest legend that the electric guitar sound has ever produced, the legendary “Plexi” sound. Every musician who has had the pleasure of working with analog amps and all preset friends in the simulation / profiling department will have heard or read the name before. Every expert, on the other hand, will frown because THE Plexi sound does not exist at all and it is in no way fixed like a twin reverb or rectifier, for example. This feature is intended to dispel a few myths and misunderstandings that have accumulated over the last six decades and are repeatedly misrepresented. So why did guitarists like Jimmy Hendrix, Jeff Beck and Jimmy Page identify with this car?

What is a Plexi?

We jump back in time to the early sixties in Great Britain. Rock music of all kinds exploded in the UK during this time and posed a major problem for local musicians. The crowds at the concerts were getting bigger and bigger, as were the halls, but there was almost no equipment that could fill the halls with sound. The British musicians had a selection of small combo amplifiers, which went up to a maximum of 15 - 20 watts and these also lasted a short time at full load before going into the eternal hunting grounds. Companies like VOX or Selmer were just getting started and were not yet able to even begin to meet demand.

The only manufacturer in the world that had stable amps at the time that could generate up to 100 watts of power was located on the other side of the pond and was called Fender. However, at the time there were no import companies that would ship the desperately sought-after amplifiers to Europe, and the different mains voltages between the USA and the UK put a damper on private imports.

Jim Marshall, who opened a music store in London as a trained drummer and electrician, managed to obtain a small stock of amplifiers for the first time, but the demand still could not be met. So it came about that Jim Marshall hired a few engineers who then copied the 59' Fender Bassman 1:1 with a few modifications and brought it onto the market under the name JTM 45. The amp practically became the standard in all British clubs overnight and brought Marshall a huge boost in popularity.

A short time later, Pete Townshend from THE WHO asked Jim Marshall for a louder amp because the JTM 45's 45 watts weren't enough for him. Please imagine for a moment what volume levels prevailed on stage back then when 45 watt solid tubes were considered too quiet. The reason is quickly explained. P.A. Systems such as those offered today simply did not exist back then. People were happy when their vocals were amplified via a “vocal system” using crazy constructions. With a lot of luck they also found 2 channels for the kick and an overhead microphone, but that was it. Monitor boxes? What is that? Guitar and bass? Straight from the stage into the hall. It is not for nothing that almost all musicians of this time were and are partially or completely deaf.

After Jim Marshall doubled the JTM 45's output to 100 watts at Townshend's insistence, the next model, the original Plexi, came onto the market in 1967 in the form of the Marshall Superlead 100. It still had the reserves to sound clean even at high volumes. “Sound clean? Marshall and Clean, what’s that supposed to mean?” the first readers will ask themselves. Well, as already mentioned, during this time it was primarily about being able to fill large halls with sound without the sound collapsing. High gain as it is used today was unthinkable even in the wildest dreams and since artists like Jimi Hendrix almost predominantly preferred a clean, possibly slightly crunchy sound, the Plexi was characterized by precisely this feature. It's funny when you consider that the clean sound probably comes last when it comes to classic Marshall sounds.

Where does the term “Plexi” come from?

As I said, the name Plexi is a creation of a word that was coined by customers at the time. It is simply a description of the fact that the control panel of the amplifier is backed by a plexiglass pane for optical reasons, nothing else. In principle it wouldn't be a problem if it weren't for the fact that there were tons of Marshall amplifiers with different sound requirements, all of which had a control panel lined with Plexiglas. There were organ amplifiers, bass amplifiers, guitar amplifiers, and even Plexi vocal systems in Marshall's range.

Over the decades it has been agreed that a non-Master Marshall with 50 or 100 watts is called a “Plexi”, even if from 1969 onwards it no longer had a Plexiglas pane in its equipment. Seen this way, these include the 1959, 1987, 1992 models, some Bluesbreaker combos and of course the reissue models, which Marshall releases at regular intervals.

What is the “Plexi” sound?

To say it right from the start, the “Plexi” sound in all its shades is a far cry from what we call “lead” or even “high gain”. However, it is not the “super clean” that modern multi-channel devices offer. Strictly speaking, it's the different levels of crunch that Marshall offers with these models, depending on the guitar and the pickups installed. I'm consciously talking about playing the amp WITHOUT additional pedals, as these of course greatly expand the sound of the amp, but also completely change its sound. However, it should also be mentioned that all Plexis harmonize perfectly with boosters, overdrive and distortion pedals of all kinds due to their spartan construction. However, going into this further would go beyond the scope of this special. You can find some sound examples under this link.

Even if a typical Plexi is seen as a single-channel device, the amp must, strictly speaking, be seen as a two-channel device, which offers two different inputs with different sound approaches per channel, hence the four inputs. (Footswitch in 1967? What is that?) While input 1 of the respective channel was the much hotter input, input 2 still offers a comparatively clean sound even at very high volumes. Mind you, the volume at 12 o'clock, for example, is infernal and can really be maximized at large open air concerts.

The two channels of the amp differ massively in terms of their sound characteristics. Channel i of the amp is the classic lead channel and has more treble and presence, while channel 2 has significantly less treble and a higher bass content. What came up relatively early and was due to the circuitry of the time is the fact that you can connect both channels using a short patch cable and then mix them using the two volume controls. Channel 2 in particular benefits from this, as in my opinion it doesn't work at all in its solo function, as it is far too musty and expressionless.

A special feature of the classic Plexi sound is the fact that it has a lot of highs, but they don't “hurt”. Many modern amps make you squint as soon as you tamper with the treble or presence controls, but this is not the case with Marshall. The tone control of the amp is deliberately designed to be comparatively ineffective. When asked about the tone control, Jim Marshall's statement is legendary: “This is on purpose so that you can't set a bad sound,” knowing that God knows that his customers in “Swinging London” had other interests in mind than the perfect setting of a guitar amp.

I have recorded three amps that can be included in the “Plexi” range, a 1959 model, which was tuned almost 30 years ago (albeit very well, but unfortunately) by Manfred Reckmeyer, an untreated 1992 model, which is the bass amp Execution, but in principle it is almost identical to the 1959 and a new Soundcity Master One Hundred, which is very close to the Plexi in terms of approach, but still represents an independent sound culture. All amps were recorded without any pedals; the guitar was a Fender Strat Anniversary from 1979, which was equipped with an EMG set.

For the tuned 1959 I only used the “untuned” setting, but you can already tell that changes have been made to the innards of the amp. The sound is more stable than vintage amplifiers, but it lacks the freshness of the original.

In terms of sound, the 1992 actually offers an identical copy of the 1959 Superlead with a slightly more stable bass range, which is why it was almost completely turned out.

The SoundCity comes very close to a classic Marshall, but offers a significantly greater range of sound than the typical non-Master Marshalls. For me it is an outstanding alternative, which, in contrast to some Marshall products, is currently available and which has the same history as Marshall.

To get to the point, operating a Plexi on stage in its sweet spot without appropriate measures borders on bodily harm, even though the sound is unparalleled. Nothing, really nothing, can compare with this power and this stage presence, especially not simulations or profiles that are adorned with the trademark. But if you use, for example, a high-end load resistor like the Fryette Power Station, you can even manage to keep the legendary sound at practical volume levels and still not have to accept any loss of sound. An amp for eternity!

One last thing, the famous “English setting”, i.e. all controls at 10, is complete nonsense, the amp sounds much too pressed and undynamic in this setting. If at all, you can only operate the amp in this setting with a guitar that has extremely low output, so maybe a vintage Strat with half of the magnet molecules already tipped over or maybe an old Danelectro.

————————-

Additional Informations:

Jim Marshall, born James Charles Marshall on July 29, 1923, was a British entrepreneur and musician who left an indelible mark on the world of music through his revolutionary contributions to amplifier technology. Widely known as the "Father of Loud," Marshall's name is synonymous with the iconic Marshall amplifiers that have played a pivotal role in shaping the sound of rock and roll. This article explores the life, career, and lasting legacy of Jim Marshall, a visionary whose innovations continue to resonate across the global music landscape.

Early Life:

Born in London, Jim Marshall grew up during a time when the music scene was undergoing a radical transformation. In his youth, he developed a passion for jazz and the drums, ultimately leading him to pursue a career in music. Marshall's early experiences as a drummer laid the foundation for his later success in the music industry, as he gained firsthand knowledge of the needs and challenges faced by musicians.

Entrepreneurial Beginnings:

Jim Marshall's journey as an entrepreneur began in the early 1960s when he opened a small music shop in London. Initially selling instruments and offering drum lessons, Marshall's shop soon became a hub for local musicians. Recognizing the demand for reliable amplifiers that could produce the volume required for live performances, Marshall decided to venture into amplifier manufacturing.

The Birth of Marshall Amplification:

In 1962, Marshall introduced the JTM45 amplifier, a product that would mark the birth of Marshall Amplification. This amplifier, inspired by the American Fender Bassman, quickly gained popularity for its powerful sound and durability. Marshall's keen understanding of musicians' needs allowed him to refine and improve his amplifiers continuously.

The Marshall Stack:

One of Marshall's most significant contributions to the world of music was the development of the Marshall stack. In the mid-1960s, he introduced the concept of stacking multiple speaker cabinets on top of each other, creating a towering wall of sound. This innovation not only provided the volume that rock musicians craved but also became an iconic visual symbol of the rock and roll lifestyle.

Endorsements and Influential Users:

As Marshall Amplification gained acclaim, it attracted endorsements from some of the most influential guitarists in the world. Legends like Jimi Hendrix, Eric Clapton, and Jimmy Page embraced the Marshall sound, solidifying its status as the go-to choice for rock musicians. The association with these iconic artists propelled Marshall Amplifiers to international prominence.

The Marshall Logo:

The distinctive "Marshall" logo, featuring a stylized script, became an iconic symbol of quality and reliability. Marshall's commitment to producing amplifiers that could withstand the rigors of touring and deliver a consistent, powerful sound earned the brand the trust of musicians worldwide.

Legacy and Impact:

Jim Marshall's impact on the music industry extends far beyond the amplifiers that bear his name. His innovative spirit and dedication to meeting the needs of musicians revolutionized the way amplifiers were designed and built. The Marshall sound became synonymous with the energetic and powerful performances of rock and roll, shaping the sonic landscape of countless genres.

Jim Marshall passed away on April 5, 2012, but his legacy lives on through the enduring popularity of Marshall Amplifiers. The company continues to innovate, adapting to new technologies while staying true to the principles set forth by its founder. Marshall amplifiers remain an integral part of the music industry, used by musicians of all levels, from aspiring beginners to seasoned professionals.

Conclusion:

Jim Marshall's journey from a drummer and music shop owner to the creator of one of the most iconic amplifier brands in the world is a testament to his entrepreneurial spirit, passion for music, and commitment to quality. The Marshall Amplification legacy serves as a reminder of the profound impact one individual can have on an entire industry. Jim Marshall's vision and innovation have left an indelible mark on the history of music, ensuring that his name will be remembered for generations to come.