TEST: AKG IVM-4

 It is always astonishing how much a pyramid structure prevails in the instrumental sector in terms of the number of providers. Once you reach a certain quality class, you will only find around 3-4 manufacturers on the market, while the confusion of competing products increases by what feels like a factor of ten with each level you move down.

This is also the case in the area of radio links, where, strictly speaking, you only have to deal with four providers beyond the ominous €500 limit. One of the protagonists in this weight class is the company AKG, which, as far as I know, still has all of its products manufactured in its home country of Austria.

With the IVM 4, our direct European neighbors have a product on the market that, in addition to the transmission and configuration standards, also has a room simulation that is intended to psychoacoustically reduce the notorious isolation of the user from the outside world.

I'm excited about it!



construction

The AKG IVM 4 set consists of the SST 4 transmitter unit, the SPR 4 receiver part and the IP 2 earphones.

Like almost all products in this area, the transmitter is 9.5 inches wide (half a rack unit). However, a frame construction is included in the scope of delivery, which ensures that the transmitter can be easily installed in a standard rack.

Weighing just under 1 kilogram, the transmitter is pleasantly light and has a switchable transmission power of 10, 20, 50 and 100 mW, although within Europe you have to limit yourself to a maximum transmission power of 50 mW.

The carrier frequency ranges are between 500 - 530, 570 - 600, 790 - 820 and 835 - 865 MHz with a switching bandwidth of 30 MHz, adjustable in 25 kHz steps.

On the back, in addition to the bayonet fitting of the rather short antenna, there are all the connections for feeding and forwarding the signal. The main focus is on two combined balanced XLR / jack input sockets, which allow the input of a mono or stereo signal both symmetrically and asymmetrically.

The unprocessed signal can be transferred for further processing via two additional audio loop jack sockets, which are connected directly to the audio in sockets. Optionally, additional transmitting units can be connected here in order to provide all artists with an in-ear signal even if there are not enough monitor paths.

For example, you can use an additional stereo line-out socket to send the earphone signal directly to an additional monitor box.

A connection socket for the included power supply and a data interface for integrating the HiQNet network product, in which the transmitter is controlled via a computer using the HUB 4000 Q, round off the back.

On the front, in addition to a large, easy-to-read display, there is a combined on/off switch - headphone volume control and a multi-function button for internal menu navigation.

The entire workmanship of the transmitter makes a very good impression, no imperfections in the details and all high-quality components in the production.

The associated SPR 4 receiver is in no way inferior to this appearance. The magnesium die-cast housing is very robust and is also impeccably manufactured.

The product is powered by two standard AA batteries or the BP 4000 battery pack. The second ones can then also be charged via the contacts on the bottom.

The product is both switched on and its volume is controlled using a rotary control on the front. The small but easy-to-read display shows the most important parameters such as the field strength of the radio signal, battery charge status and the activation of the factory-installed hearing protection limiter.

You can also change the individual parameters according to your personal preferences using a small jogging wheel on the side of the housing.

The last product is the earphones IP 2, which comes with 3 different ear attachments. The earphones have a pleasantly soft cable that has no stiffness whatsoever.

The set also comes with a 12-piece color code set to make it easier to tell the individual units apart when operating multiple transmitters in parallel.



Practice

As you would expect, almost everything works automatically when you start using the product. The transmitter and receiver can be found immediately and the entire setup is configured within just a few steps.

Without any further adjustments, I put the earphones on and am initially shocked! The sound is extremely treble-heavy and very thin and sharp, so unpleasant that this cannot possibly be AKG's factory setting.

This turned out to be true, the error was the user's, i.e. me. Similar to a regular iPhone/iPod receiver, I only placed the earphones far enough in my ear to provide enough support for regular use. However, this did not ensure that the ear canal was completely isolated from the outside world and allowed the sound to drift into the above-mentioned spheres.

Only after I had completely “sunken” the earphones into my ear canal did the sound that I expected reveal itself to me. Suddenly it was there, transparent, balanced and neutral, sound-technically at the highest level without over-emphasis or excessive coloring.

Now we could focus on the additional parameters of sound and dynamics processing, which also characterize the IVM 4 Set. In addition to an impact sound filter with a flexible operating frequency, the product has 10 different presets that adapt the overall sound to the user's personal hearing sensitivity.

The room simulation mentioned in the introduction is generated via phase shifts, which makes it easier for newcomers to in-ears to get started in the unfamiliar listening situation.

The user can choose the psychoacoustic range from the simulation of a monitor at close range to a more open sound image.

I also really liked the compressor built in by dbx, which covers the entire practical area with 9 different presets without having to use an additional outgear compressor at the monitor position.

After just a short time I had found my personal setup, which in terms of sound was only marginally different from a very well-tuned studio setup. Dynamics, sound and practical value are at an exceptionally high level.

In the subsequent practical test, the product goes one better. In terms of distance, the IVM 4 set continued to deliver a signal even after all of its competitors that I had tested so far had long since given up.


Conclusion

With the IVM 4 Set, AKG delivers a radio link for the highest demands. The workmanship, proof of performance, components and, above all, the sound of the product are exclusively in the top range, which makes the product an absolute purchase recommendation.


Top score!

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Additional Informations:

AKG Acoustics, an internationally recognized name in the audio industry, has a rich and intriguing history that spans over seven decades. The company's journey began in 1947 in Vienna, Austria, founded by two visionaries, Dr. Rudolf Görike and Ernst Pless. This period, post-World War II, was marked by a strong desire for technological advancement and innovation, which Görike and Pless capitalized on.

The company's name, "AKG," stands for "Akustische und Kino-Geräte Gesellschaft m.b.H.," which translates to "Acoustic and Cinema Equipment." Initially, AKG focused on producing motion picture equipment. However, they soon realized the potential and demand for high-quality audio equipment. This realization marked a significant shift in their business focus, leading them to venture into the world of audio technology.

AKG's first major breakthrough came with the DYN Series of microphones, particularly the D12. Introduced in the early 1950s, the D12 was the world's first dynamic cardioid microphone. Its ability to handle high sound pressure levels made it a favorite in radio stations, recording studios, and on stage, laying the groundwork for AKG's reputation in the microphone industry.

In the 1960s, AKG introduced the C12 VR, a reissue of the legendary C12 microphone. The C12 VR became renowned for its warm sound and became a staple in recording studios worldwide. It was during this era that AKG also started expanding its product range to include headphones. The K120, their first pair of headphones, was an instant success, paving the way for a series of innovative headphone designs.

AKG's commitment to innovation was further demonstrated in the 1970s with the release of the K240. These headphones were semi-open, a design that was revolutionary at the time and offered a more natural listening experience. The K240 headphones became a standard in the broadcasting and recording industry due to their durability and sound quality.

The 1980s saw AKG continuing to innovate, particularly in the field of microphone technology. They released the C414 B-ULS, an improvement on the C414 with a more robust design and enhanced sound quality. This microphone became a favorite among sound engineers for its versatility and reliability.

In the 1990s, AKG's commitment to quality and innovation attracted the attention of Harman International, a major player in the audio and infotainment industry. In 1994, AKG became a part of the Harman International Industries, which provided the company with more resources for research and development.

Entering the 21st century, AKG continued to be a leader in audio innovation. They embraced the digital age with products like the C214, which offered the performance of the C414 at a more affordable price point, making professional-quality sound accessible to a wider range of users.

Today, AKG is known not just for microphones and headphones but for a range of audio products that cater to professionals and audio enthusiasts alike. Their commitment to quality, innovation, and the pursuit of perfect sound has made them a staple in studios, stages, and homes around the world.

Throughout its history, AKG has been awarded numerous patents and accolades for its technological advancements. Their products have been used by legendary musicians, producers, and sound engineers, contributing to countless iconic recordings and performances. The story of AKG is not just about a company, but about a legacy of sound that continues to shape the audio world.

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Dr. Rudolf Görike, a physicist, and Ernst Pless, an engineer, were two Viennese who founded AKG¹. AKG, originally known as Akustische und Kino-Geräte Gesellschaft m.b.H., is an acoustics engineering and manufacturing company¹. The company was established in Vienna, Austria, in 1947¹.

## Early Years

AKG's initial business was to provide technical equipment for cinemas, including loudspeakers, film projectors, and light meters¹. The company gradually expanded its product line to include car horns, door intercoms, carbon microphone capsules for telephones, headsets, and cushion speakers¹.

## Technological Innovations

During this period, AKG developed its first patents, the moving coil technology, and the principle of mass load membranes. These innovations allowed its products to have extended frequency ranges¹.

## Breakthrough with the D12 Microphone

The creation of the D12 microphone in 1953 marked a significant milestone for AKG. The D12 was the world's first dynamic cardioid microphone and had excellent sonic qualities for its time¹. This product set the standard for voice transmissions and found its way into radio stations and recording studios worldwide¹.

## Expansion and Recognition

AKG continued to improve its products, leading to the famous C414 and C12 microphones¹. By the end of the 1970s and into the 1980s, the company began producing magnetic cartridges, such as the P25 in 1982¹. In 1984, AKG became a public company and was listed on the Vienna stock exchange¹. As a blue-chip company, it was one of the most traded stocks¹.

## Acquisition by Harman International Industries

In 1994, the American company Harman International Industries acquired AKG¹. By this time, AKG's United States subsidiary had been established in Los Angeles in 1985¹. AKG Acoustics USA, still headquartered in the San Fernando Valley, also houses regional offices for Crown Audio, another Harman Industries subsidiary¹.

## Recent Developments

In 2010, the company received the prestigious Technical Grammy award¹. In 2016, it was announced that the AKG Vienna facilities would be shut down in 2017, with a transfer of brand headquarters to California, USA¹. Most current AKG-branded products are made in Harman's overseas production facilities¹.

## Conclusion

Dr. Rudolf Görike and Ernst Pless, through their founding of AKG, have made significant contributions to the field of acoustics engineering and manufacturing. Their innovations continue to influence the industry, and their legacy lives on in the products that bear the AKG brand.

TEST: AKG DMS 700

 It's actually like everywhere in the instrumental sector, the further you climb up the quality level, the fewer providers you meet on your way up. Interestingly, this pyramid structure is extremely developed in the area of radio links. To be honest, I could only list 3 providers that I have come across in the wireless signal transmission league in recent years.

The “acoustic cinema devices”, better known under the name AKG, undoubtedly belong to this manageable group. With the DMS 700 Band 2 system, consisting of the DHT 700 handheld transmitter, the DPT 700 pocket transmitter and the two-channel DSR 700 dual receiver, AKG delivers a coordinated system which was additionally equipped with the HC 577 L headset microphone for test purposes.

While AKG was for a long time one of the last protagonists of “production in its own country”, in this case Austria, parts of its production are now also moving to China. The above-mentioned transmitters and the headset will continue to be delivered with “Made In Austria”, but the receiver, on the other hand, will be delivered in P.R.C. due to low wage and social security costs. manufactured.





construction

DSR 700 Band 2: 1 height unit in standard 19 inches make the receiver look like an old familiar. In terms of processing, the product performs flawlessly as expected, nothing wobbles or is improperly processed in any way. A large display provides easy-to-read information about all relevant information about the two-channel product.

On the front, editing is only possible using an endless controller with a push function, two channel selector switches and a back pressure switch; the way it works is self-explanatory. Unfortunately, the pressure switches have a slightly sloppy grip; a little more lateral support and a clear pressure point would be desirable in this price range.

On the back, the receiver has symmetrical XLR and unbalanced jack plugs, a ground lift per channel and, as a special feature, a digital AES/EBU output so that you can directly control a digital console, for example. According to this interface, both signals can be transmitted via a connector. The product also has a Wordclock BNC 48 kHz In and two 50 Ohm BNC antenna plugs.

The system has a very wide frequency range of 710-865 MHz ("Band 2" model, the "Band 1" model only supports 548-698 MHz.), which is switched in 25 kHz steps and with a switching bandwidth of works up to 155 MHz. The transmitter powers can be switched between 10, 20, 30 and 50 mW. A higher transmission power would make no sense, as within Europe you have to limit yourself to a maximum transmission power of 50 mW.

Each channel features a dbx compressor and a dbx limiter, plus a tunable high-pass filter and a tone control with bass, semi-parametric mids and treble. As additional features, the product has a quick setup mode, a spectrum analyzer and a battery status display. The device requires a latency of only 4 ms and transmits the data to the transmitter via infrared.


DHT 700 Volume 2: The handheld transmitter is both visually and technically coordinated with the DSR 700. The frequency bands match as expected and the output power of a maximum of 50 mW is also tailored to the receiver. The dynamic microphone, housed in a solid metal housing, has a D-5 capsule and has the supercardioid pattern that is so popular with vocal microphones.

7 segments provide information on a small display about the status of the 2x AA batteries, which, according to the manufacturer, should have a lifespan of up to 8 hours. When using batteries, the energy dispenser could also be charged via charging contacts on the housing. At 336 grams (without batteries), the relatively massive product is also pleasantly light and will not cause any discomfort due to excessive physical exertion, even during extensive live use.


DPT 700 Volume 2: The output of the digital pocket transmitter is technically identical to the handheld transmitter over a large part. Frequency bands, output power, visual display and battery life are identical, which suggests that the inner workings are technically identical. The pocket transmitter comes in a very robust metal housing and has a strong clip on the back, which will not easily leave the waistband or belt unintentionally, even during tough stage use.

The connection used is a Mini an extremely rare connection format.

The DPT 700 also has a few useful features such as the ability to connect an external mute switch and charging contacts on the housing. Here too, data transmission to the receiver is controlled via infrared.


HC 577 L: You can already tell from the skin-colored outfit; a product should not be noticeable here, as is desired for presentations or TV recordings. The condenser microphone is very easy to adjust, is ultra-light, but must be operated with phantom power and can only be operated with an AKG pocket transmitter! A pity...

The anchoring of the microphone capsule also allows a replacement microphone to be attached to the other side, for example for outdoor opera performances. There is also a drip ring on the microphone capsule, which is made of Teflon and can be easily removed from sweat and make-up.




Practice

The fact that there shouldn't be any technical problems with a product in this price category is actually a point that doesn't need to be commented on further, but it shouldn't go unmentioned. All components worked to complete satisfaction. But why should you pay almost €4,000 for all the products presented when there are significantly cheaper products from the competition that at first glance offer an identical or at least similar range of services?

On the one hand, there is the general range of functions in conjunction with the processing of the products. Nothing is really left to chance here, especially since the editing and control options for the applied signal are all-encompassing. The independent dbx components plus the tone control do their part to ensure the highest possible quality signal management.

Point two, which is even more important for most users, is the excellent audio quality of the radio link. 24 bits at 44.1 kHz reach a bit rate of 200 kbps with data compression and make the signal appear in the best quality, mind you, with only 4 ms latency. Both the handheld transmitter and the headset stand out thanks to their clear, neutral, AKG-typical sound, which has not been seen as a guarantee of high quality in the high-price range for decades.



Conclusion

With the DMS 700, AKG delivers a high-quality radio link for the highest demands. The workmanship, proof of performance, components and, above all, the sound of the product are at the highest level. Small drawbacks such as a missing adapter or the lack of interchangeable capsules hardly diminish the excellent impression of the product.


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Additional Informations:

The journey of AKG, a name synonymous with audio excellence, began with a humble yet visionary origin that laid the foundation for its iconic standing in the global audio industry. This article delves into the fascinating story behind the creation of the name AKG, exploring its roots, the visionaries who conceived it, and how it has become an enduring symbol of precision and innovation.

**Founders and Early Visionaries:**

The story begins in Vienna, Austria, in 1947, when two pioneers in the audio industry, Dr. Rudolf Goerike and Ernst Pless, joined forces to create what would become one of the most respected names in audio technology. Their shared vision was to develop cutting-edge audio equipment that would redefine the standards of sound reproduction.

**The Birth of AKG - Acronym and Significance:**

The name AKG is an acronym derived from the initials of its founders, Dr. Rudolf Goerike (A), Ernst Pless (K), and the city they called home, Vienna (G). The choice to incorporate their initials into the brand's name was not merely a convenient acronym but a symbolic representation of their collective commitment to innovation and precision in the world of audio.

The city of Vienna, renowned for its rich cultural heritage and musical traditions, added a profound cultural dimension to the brand. By including the letter 'G' for Vienna, AKG positioned itself as a custodian of the city's musical legacy while embracing a forward-thinking approach to audio technology.

**Pioneering Innovations Under the AKG Banner:**

The creation of the name AKG marked the inception of a company dedicated to pushing the boundaries of audio technology. AKG quickly gained recognition for its pioneering innovations, including the development of the AKG D12, the first-ever dynamic cardioid microphone, and later the AKG C12, a tube condenser microphone that became a studio legend.

The Varimotion diaphragm technology, introduced by AKG, showcased the company's commitment to continuous improvement. This innovation allowed for enhanced diaphragm response and sensitivity, setting new standards for audio clarity and precision.

**Global Recognition and Legacy:**

The name AKG soon became synonymous with uncompromised audio quality and innovative design. The company's products gained global recognition, earning the trust of musicians, producers, and audio professionals across diverse genres. AKG's microphones and headphones, renowned for their accuracy and reliability, found their place in studios, concert halls, and recording spaces worldwide.

The legacy of AKG extends beyond its name; it encompasses a commitment to craftsmanship, technological innovation, and a dedication to delivering authentic sound experiences.

**Acquisition by Harman International:**

In 1994, AKG became part of Harman International, a move that provided the company with expanded resources and a broader platform for global growth. The acquisition allowed AKG to continue its legacy within a larger framework while maintaining its commitment to excellence.

**Contemporary Impact and Future Resonance:**

Today, the name AKG remains a symbol of quality and innovation. The company continues to evolve, introducing modern classics like wireless headphones with adaptive noise-canceling technology and studio microphones with advanced signal processing capabilities.

As AKG navigates the contemporary audio landscape, the name echoes with a rich history, a legacy of pioneering innovations, and a promise to shape the future of sound. The brand's commitment to precision and excellence ensures that the name AKG will resonate for generations to come, a testament to the visionary origins that set the stage for an enduring audio legacy.

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In the world of audio technology, Germany and Austria stand as proud contributors to a legacy of precision engineering, innovation, and a commitment to delivering unparalleled sound experiences. This article embarks on a detailed exploration of the audio landscapes of these two nations, comparing German and Austrian audio products across various categories to uncover the nuances that distinguish their contributions to the global stage.

**Engineering Traditions:**

Both Germany and Austria have a longstanding reputation for excellence in engineering, and this tradition extends seamlessly into the realm of audio technology. German engineering is often characterized by meticulous attention to detail, a focus on technical precision, and a dedication to creating products that set industry standards. Austrian engineering, on the other hand, shares these values while incorporating a cultural dimension, drawing inspiration from the rich musical heritage for which the country is renowned.

**Key Players in German and Austrian Audio Industries:**

Germany is home to some of the most prominent names in the global audio industry. Companies like Sennheiser, Beyerdynamic, and Neumann have earned international acclaim for their headphones, microphones, and audio solutions. These brands are synonymous with quality craftsmanship, innovative design, and a commitment to delivering an authentic audio experience.

In Austria, iconic companies like AKG and Lewitt have made significant contributions to the audio landscape. AKG, founded in Vienna in 1947, is renowned for its studio microphones and headphones, while Lewitt, a younger player in the industry, has gained recognition for its innovative microphone designs.

**Product Categories and Innovations:**

*Headphones:*

German brands like Sennheiser and Beyerdynamic are celebrated for their high-end headphones that cater to audiophiles and professionals alike. These headphones often feature advanced driver technologies, ergonomic designs, and customizable sound profiles.

Austrian brand AKG, with its legendary studio headphones, is recognized for a flat and accurate frequency response, making them popular among recording engineers and musicians. Each brand brings a unique sonic signature to their headphone designs.

*Microphones:*

Germany's Neumann, a pioneer in studio microphone manufacturing, is revered for its precision-engineered condenser microphones. These microphones are widely used in professional recording studios and broadcasting.

AKG, with its roots in Austria, is known for its diverse range of microphones, including dynamic, condenser, and ribbon models. The company's commitment to innovative technologies, such as the Varimotion diaphragm, has set AKG microphones apart in the industry.

**Craftsmanship and Materials:**

Both German and Austrian audio products exhibit a commitment to high-quality materials and craftsmanship. German engineering often emphasizes durable materials and precision machining, ensuring longevity and reliability. Austrian products, influenced by a cultural emphasis on craftsmanship, blend technical precision with an aesthetic touch, creating products that are both functional and visually appealing.

**Cultural Influence and Sound Characteristics:**

The cultural influence on audio products from these two nations is palpable. German audio products often exhibit a meticulous and analytical approach to sound, with an emphasis on neutrality and accuracy. This approach is reflected in the studio monitors, headphones, and microphones produced by German brands.

Austrian audio products, influenced by the country's musical heritage, often embody warmth and a nuanced musicality. AKG's commitment to capturing the authenticity of sound, for instance, is evident in its studio microphones designed to reproduce the full spectrum of musical nuances.

**Global Impact and Market Presence:**

Both German and Austrian audio products enjoy a global presence, with their respective brands being trusted by professionals and enthusiasts worldwide. The products are used in recording studios, concert halls, broadcast facilities, and by discerning consumers who prioritize audio quality.

**Conclusion:**

In the realm of audio technology, the comparison between German and Austrian products reveals a rich tapestry of engineering excellence, cultural influences, and unique sonic characteristics. Whether it's the precision engineering of German brands like Sennheiser and Neumann or the musicality embedded in Austrian products from AKG and Lewitt, both nations have left an indelible mark on the global audio industry. The choice between German and Austrian audio products often comes down to individual preferences, with each offering a distinct sonic signature that caters to a diverse range of audio enthusiasts and professionals. Ultimately, the harmonious blend of engineering traditions and cultural influences from Germany and Austria continues to shape the future of audio technology, offering a symphony of choices for those seeking uncompromised sound experiences.

TEST: AKG PW 45 B2

 As a provider of high-quality, but also high-priced products, it's difficult these days. The clientele of professional and discerning customers will at some point be equipped with high-quality products and due to the generally long shelf life, a certain amount of time passes before the product they love dies.

Austria's flagship manufacturer AKG is also well aware of this problem, as its high-end transmitters, together with its German colleagues from Sennheiser and Beyer and the Americans from Shure who are hanging on by their bootstraps, form a nice “quartet of radio links” that ultimately control the world market divided among themselves. But what if you can't move up any further, but the product development department is itching to offer more products to the supervisory board at regular intervals?

Well, there is also the consumer market, which is characterized above all by a lower price, often in the ultra-low range, which, depending on the provider, involves almost no compromises in quality and workmanship, or massive losses.

Since hardly any front man or woman goes on stage with a cable these days, a market segment that doesn't even want to come close to the top class of € 1000 radio links is attractive, but in the region of € 200 as a sales price it is comes out of the hips much more smoothly. Let's see how AKG does here. I have the vocal set and instrumental set from the PW 45 B2 series for testing.





construction

AKG is launching two different versions of its PW 45 B2 series. On the one hand, the vocal set with the handheld transmitter HT 45 and an instrumental version with bodypack transmitter PT 45. Both combinations have the same stationary receiver SR 45 plus a corresponding power supply. In terms of frequency, the products have a combination of future free transmission frequencies as well as those subject to final payment.

It should be clear to everyone that with a selling price of just under €200, you have to make compromises in the mechanical design somewhere and that a product of the same type can only be manufactured in China. The device is delivered with a universal US / UK / EU plug.

SR 45: Unfortunately, the included receiver omits many features that can be found in the next higher category, such as a field strength display. The very light plastic housing of 360 grams in a half rack unit has no external antenna and no rack angles. You should therefore make sure that no connection cables can pull the product backwards or downwards, for example. The four rubber feet offer little support, so wedging the box properly during operation is recommended.

On the back, the receiver offers a balanced XLR and an unbalanced jack output, a power supply connection and a recessed squelch control for the internal noise gate (adjustable from -100 to -70 dBm). On the front there is an on/off, volume, channel display, a clip LED and a signal LED. We are dealing with a UHF receiver, which according to the manufacturer has an audio transmission range of 40 - 20,000 Hz and is equipped with the dimensions (WxHxD): 200 x 44 x 150 mm.

HT 45: The handheld is pleasantly small in size and feels easy to hold in the hand. It is also very light, which won't stop even delicate women's arms from performing for several hours. A small LED provides information about operational readiness and battery capacity. The microphone is powered by just one AA battery.

PT 45: The transmitter was designed in the commercially available version, only the display was reduced to the bare essentials (channel display). The channel can be changed using a pressure switch, and a trimpot, which must be adjusted with a screwdriver, adjusts the input level. Here too, a single AA battery is sufficient for operation.



Practice

The products work and do exactly what they are supposed to do. The signal transmission is consistent, although due to the lack of an antenna upgrade you have to accept limitations in the event of unfavorable signal conditions, such as those that can occur during theater performances. To what extent this affects personal performance, everyone has to decide on site. But how often does a solid reinforced concrete ceiling open up between the transmitter and receiver during a regular stage show? The route to the FOH or splitter should not be a problem.

Unfortunately, all cases also deserve the attribute “plastic”. While inserting the battery into the handheld, I couldn't help but worry that I was about to break off one of the plastic tabs that guides or locks the, in my opinion, somewhat awkwardly shaped slot. The On/Mute/Off combination switch isn't a revelation either; it's all too easy to slide over the mute setting. Here you have to look closely or feel a lot with your fingernail to see where the switch is currently located.

On the other hand, please keep in mind what price is charged for the products. An official dynamic microphone is now in similar price ranges, so if the selling price is the main criterion for purchasing, you should ignore certain savings in equipment.

In terms of sound, the individual products do their job quite well. The HT 45 delivers good speech intelligibility, although, as expected, the official pressure of the next higher price category is missing for vocal performances. However, I am sure that AKG had no intention of undermining its own product range internally. When it comes to the PT 45, everything runs smoothly, as long as you like the sound of a wireless transmitter. Like all other competitors, the headpiece develops a significantly higher level of treble and brilliance than a cable due to its design. Whether you prefer or dislike this sound is purely a matter of taste.



Conclusion

Once again, a long-established name is venturing into the low-budget sector by reducing the features and manufacturing in China. AKG succeeds in this endeavor quite well, as it can largely secure its trademarks and knows how to catch up with minor inconsistencies through experience.

A product for everyone who puts easy handling and quick setup at the top of their priority list and is less looking for the ultimate powerful vocal sound.

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Additional Informations:

In the ever-evolving realm of audio technology, AKG Audio has consistently stood as a beacon of innovation, synonymous with precision and excellence. From its humble beginnings to its current status as a global leader, this article aims to provide a comprehensive overview of AKG Audio, exploring its history, groundbreaking products, technological advancements, and the company's enduring commitment to delivering superior sound experiences.

**Founding Principles and Early Years:**

AKG Audio emerged with a vision to redefine the landscape of sound reproduction. Driven by the pioneering spirit of its founders, the company quickly garnered attention for its commitment to quality craftsmanship and innovative design. The early years witnessed the development of iconic microphones that set new standards in the audio industry.

**Innovative Products that Shaped the Industry:**

AKG Audio's journey to prominence was marked by a series of groundbreaking products that left an indelible mark on the audio landscape. Notably, the introduction of the AKG C12, a tube condenser microphone, revolutionized studio recording with its unmatched clarity and sensitivity. This was followed by the AKG D12 microphone, a dynamic microphone that became a staple in recording studios and live sound environments.

The company's expertise expanded beyond microphones to include headphones and earphones. The AKG K240 Studio headphones, renowned for their accurate sound reproduction, became a favorite among professionals and audiophiles alike. The AKG K1000, an open-back dynamic headphone, is hailed as one of the most iconic headphones in audio history.

**Technological Advancements and Industry Leadership:**

AKG Audio's commitment to innovation continued to drive its success. The company played a pivotal role in introducing new technologies, such as the Varimotion diaphragm, which enhanced the responsiveness and accuracy of its headphones. The AKG DMS 700, a digital wireless microphone system, showcased the company's prowess in adapting to the digital age while maintaining its commitment to uncompromised audio quality.

As a testament to its influence, AKG Audio's products became the preferred choice for renowned artists, producers, and audio engineers worldwide. The AKG brand became synonymous with reliability, precision, and a commitment to delivering an authentic audio experience.

**Acquisition by Harman International:**

In 1994, AKG Audio became part of Harman International, a leading name in connected car technologies, lifestyle audio innovations, and professional audio systems. The acquisition provided AKG with a broader platform for innovation and expanded its global reach.

**Diverse Product Portfolio:**

AKG Audio's product portfolio has diversified over the years to cater to a wide range of audio needs. From professional-grade studio microphones to consumer headphones and wireless audio solutions, AKG continues to innovate across various segments, ensuring that its legacy of excellence transcends diverse audio applications.

**Modern Era and Future Vision:**

In the contemporary era, AKG Audio remains at the forefront of audio technology. The company's commitment to innovation is evident in its recent releases, including wireless headphones with adaptive noise-canceling technology and studio microphones with advanced signal processing capabilities.

Looking to the future, AKG Audio envisions further technological advancements, with a focus on integrating smart features and enhancing user experiences. The company remains dedicated to maintaining the highest standards of audio quality while embracing the possibilities offered by emerging technologies.

**Conclusion:**

AKG Audio's journey from its founding principles to its current position as a global audio powerhouse is a testament to its unwavering commitment to excellence. Through a legacy of groundbreaking products, technological advancements, and a continued focus on innovation, AKG Audio has solidified its place as a vanguard in the world of audio. As the company continues to shape the future of sound, its rich history serves as a source of inspiration for audio enthusiasts, professionals, and the industry at large.


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**Title: Harmonious Innovation: A Comprehensive Exploration of the Austrian Audio Industry**

**Introduction:**

Nestled in the heart of Europe, Austria has long been celebrated for its cultural contributions, and its influence extends seamlessly into the realm of audio technology. This article aims to delve into the multifaceted landscape of the Austrian Audio Industry, exploring its historical roots, key players, technological contributions, and the resonating impact it has had on the global stage.

**Historical Roots and Pioneering Beginnings:**

The roots of the Austrian Audio Industry can be traced back to the early 20th century when visionary individuals laid the foundation for what would become a thriving hub of audio innovation. Pioneering companies, driven by a commitment to quality craftsmanship, emerged to cater to the growing demand for audio equipment and solutions.

One of the earliest notable contributions came from companies like AKG Audio, founded in 1947 by Dr. Rudolf Goerike and Ernst Pless. AKG, headquartered in Vienna, quickly became a global force, setting the stage for Austria's prominence in the international audio market.

**Key Players in the Austrian Audio Landscape:**

The Austrian Audio Industry boasts a roster of key players that have left an indelible mark on the global stage. Companies such as AKG, Neumann, Lewitt, and Vienna Symphonic Library have become synonymous with precision, innovation, and a dedication to delivering unparalleled sound experiences.

AKG, renowned for its microphones and headphones, has consistently pushed technological boundaries, while Lewitt, a younger player in the industry, has gained recognition for its forward-thinking approach to microphone design. Neumann, with its legacy dating back to the mid-20th century, continues to be a stalwart in studio microphone manufacturing. Vienna Symphonic Library, specializing in virtual orchestral instruments, has redefined the landscape of music production.

**Technological Contributions and Innovations:**

Austria's audio industry has been marked by consistent technological contributions that have shaped the way we perceive and interact with sound. AKG, for example, introduced the first-ever dynamic cardioid microphone, the D12, and later pioneered innovations like the Varimotion diaphragm technology.

Neumann's groundbreaking work in studio microphone design, including iconic models like the U 87 and the M 49, has set standards for audio recording quality. Vienna Symphonic Library's advancements in virtual instrument technology have brought realistic orchestral sounds within reach of musicians and composers worldwide.

**Global Impact and Market Presence:**

The impact of the Austrian Audio Industry extends far beyond its borders. Austrian audio products are globally recognized for their reliability, precision, and innovative features. AKG's microphones, headphones, and wireless systems, for instance, are used by artists, engineers, and enthusiasts on stages and in studios worldwide. The Vienna Symphonic Library's virtual instruments are integral to the music production workflows of composers and producers globally.

**Commitment to Quality Craftsmanship:**

One of the hallmarks of the Austrian Audio Industry is its unwavering commitment to quality craftsmanship. The emphasis on precision engineering, meticulous attention to detail, and the use of high-quality materials has resulted in products that are not only technologically advanced but also durable and reliable.

**Emerging Trends and Future Prospects:**

As the audio industry continues to evolve, the Austrian Audio Industry remains at the forefront of emerging trends. Companies are exploring new frontiers in areas such as wireless audio, smart technologies, and immersive audio experiences. The integration of artificial intelligence and machine learning is becoming increasingly relevant, promising new possibilities for audio enthusiasts and professionals alike.

**Conclusion:**

The Austrian Audio Industry stands as a testament to the nation's commitment to excellence, innovation, and cultural contributions. From its pioneering beginnings to its current standing as a global force, Austrian audio companies continue to shape the future of sound. As the industry navigates the dynamic landscape of technology and consumer demands, the Austrian Audio Industry remains a harmonious symphony of craftsmanship, innovation, and a commitment to delivering unparalleled audio experiences to the world.

TEST: Akai RPM 800

 It's interesting to see which manufacturers have recently expanded their product range to include near-field monitors. In addition to the top dogs in the industry, there are always names that are by no means nobodies, but whose main focus when it comes to product care was usually in another sector. This was also the case for me with the company Akai, which now belongs to the Numark Group, and although it was able to set its first fragrance brand with the RPM8 in 2009, it was not unduly represented in my field of perception to date.

With the Akai RPM800, the successor to the product mentioned above is now at the start and is vying for the buyer's favor with various features. This test is intended to show which features make the Akai system stand out from the overwhelming competition and whether the differences are sufficient for it to become established.

construction

Ever since Apple introduced the packaging of a product as the main selling point, representatives of other product divisions have also been thinking about this topic. In the case of the Akai RPM800, this point has been highlighted very attractively using a very elegant looking piano lacquer finish. It really makes a difference, all respect! In order to top off the individual features, the 8-inch Kevlar woofer was colored red. Conclusion: the eye listens, the test was successfully passed. In order to be able to transmit frequencies above the cutoff frequency of 2.7 kHz, the Akai RPM800 also has a 1.25 inch silk dome tweeter. According to the manufacturer, the system has a transmission range of 38 Hz to 20 kHz.

In order to be able to operate an 8 inch variant properly, there should be sufficient power with enough headroom. Aware of this, Akai installed 2 Class A/B amplifiers in the housing, giving the low and mid range a respectable 80 watts RMS. What is more interesting, however, is the fact that the treble range was even equipped with 40 watts, while most other providers aim for a bass/treble ratio of 1:3.

With a size of 434 x 287 x 361 mm (HxWxD) and a very hefty weight of almost 14 kilograms per box, I can only advise against wall mounting. It is clearly better to place it on appropriate tripods, especially since the bass reflex opening in this system also radiates backwards and would therefore definitely cause problems with bass overemphasis and standing waves without sufficient distance to the next reflection surface.

What is clearly different from the standard range of other manufacturers in the scope of delivery are the strong foam wedges, which even allow for a wide variety of installation angles. These decouple the box from the ground and also ensure optimized radiation when used overhead. A really excellent idea from Akai to equip the system with these accessories.

On the back, the Akai RPM800 has numerous connection options that meet all requirements. Starting with a combination socket, which allows both XLR and balanced 6.3 mm jack plugs to be wired up to the unbalanced RCA socket. The box has a small volume control to adjust the volume. In order to adapt the box to your personal sound perception, the Akai RPM800 also has several filter circuits. With the help of a high-pass filter (60 Hz or 80 Hz), a mid-boost (approx. +2dB at 2 kHz) or a treble filter (-2dB, 0 dB, +2dB) and a bass cut (0dB, -2dB, - 4dB), the speakers can be adapted to your personal taste or to the respective room.

If you look inside the housing, you will see a complex system of protective circuits. The system was not only equipped with a switch-on delay to avoid the infamous switch-on impulse, but subsonic filters also ensure that low-frequency components are left out in the signal path and a thermal protection circuit ensures protection against overheating.

Praxis

So, monitors placed in a neat stereo triangle and all switches at zero, let's hear what the first impression is. Lo and behold, the Akai RPM800 really makes a good first impression. The spatial gradation of the individual instruments is very appealing, the depth gradation is good and the basic sound is nicely balanced, although the construction, like some other competing products of this size, has a slight tendency to be bass-heavy. Despite the comparatively stiff and light Kevlar woofer, the bass/mid speaker tends to be a certain sluggish, which affects the system's impulse behavior. Not really a problem, but noticeable.

However, this listening impression can be addressed with a subtle bass reduction of -2dB, which immediately steers the above-mentioned situation into a much more pleasant direction. If you are still struggling with spatial inadequacies when it comes to setting up the monitors, you shouldn't shy away from -4dB, it's at least worth a try. Personally, I would only consider the low cut control in conjunction with a subwoofer, but here too, personal taste decides.

There is also something similar to report about the center booster and the altitude management. I don't know whether Akai tries to compensate for the crossover frequency drops in the crossover range, but the fact remains that an increase in the sensitive midrange is a risky undertaking for a nearfield monitor. For me personally, the moderate +2dB had too much of an impact on the general sound for it to be useful for the way I work.

I also liked the treble range best in the flat version, as the -2dB version was too dull in my ears, while the +2dB already added excessive sharpness. Ultimately, as always, these are purely subjective feelings, which are based on personal listening sensations that have built up over the decades. So listen for yourself and form your own opinion.

Conclusion

With the Akai RPM800 you get a near-field monitor with very good sound properties, coupled with a very attractive design. With a red-colored woofer and the extravagant piano lacquer look, Akai proves that the visual aspect is also playing an increasingly important role in the acoustic sector these days. In terms of sound, the product is convincing across the board and clearly sets its preferences for bass-emphasized productions.

If you are looking for balanced monitoring with the necessary hi effect in terms of optics, you should definitely try out a pair of Akai RPM800s.

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Additional Informations:


For over decades, AKAI has stood as a stalwart in the realms of music and electronics, leaving an indelible mark with a commitment to innovation and a rich history that spans multiple generations. This article delves into the multifaceted journey of AKAI, exploring not only its groundbreaking products but also the individuals who have played pivotal roles in shaping the company's trajectory.

**Founding and Early Years:**

AKAI emerged with a singular mission - to redefine the landscape of electronic instruments and audio equipment. From its inception, AKAI distinguished itself by introducing revolutionary products that addressed the evolving needs of musicians, producers, and audio enthusiasts worldwide.

In the early years, the company assembled a team of talented engineers and designers who shared his passion for pushing technological boundaries. Together, they laid the foundation for AKAI's reputation for quality craftsmanship and innovation.

**Milestones and Technological Advancements:**

AKAI's journey is marked by numerous milestones, with each product release contributing to its legacy. The introduction of the AKAI S series of samplers in the 80s was a watershed moment, revolutionizing music production. The AKAI S950, in particular, became an industry standard, coveted for its pristine sound and sampling capabilities.

The MPC series, starting with the iconic MPC60, further solidified AKAI's influence. A collaborative effort involving engineers, software developers, and designers, the MPC series not only changed the way music was produced but also became a cultural phenomenon, synonymous with the golden era of hip-hop and electronic music.

**The Team Behind the Innovation:**

At the heart of AKAI's success is its dedicated team of professionals. Visionary leaders, set the tone for a collaborative and creative work environment. Engineers renowned for their expertise in audio technology, played pivotal roles in shaping AKAI's groundbreaking products. Designers brought aesthetic brilliance to the functional excellence of AKAI's instruments.

The collaboration between the technical and creative minds within AKAI fostered an environment where ideas flourished, resulting in the continuous evolution of products that exceeded industry standards.

**Expansion and Diversification:**

As AKAI's influence expanded globally, so did its product range. The company diversified into a comprehensive array of electronic instruments, audio processors, and multimedia equipment. The AKAI Professional division, comprising brilliant minds such as [insert names], was established to cater specifically to the needs of music professionals.

The collaboration between AKAI's diverse teams resulted in the creation of MIDI controllers, electronic wind instruments, and audio interfaces, each product a testament to the collective brilliance within the company.

**Global Influence and Industry Leadership:**

AKAI's influence extends beyond the music production sphere. The company has been a trailblazer in electronic and digital technologies, shaping the broader consumer electronics market. Its reputation for delivering high-quality audio and visual experiences has solidified AKAI's position as an industry leader, earning the trust of professionals and enthusiasts alike.

**Corporate Values, Sustainability, and the Human Element:**

AKAI not only values technological achievements but also places a strong emphasis on corporate responsibility and sustainability. The company, led by individuals, is dedicated to reducing its environmental impact through eco-friendly manufacturing processes, responsible material sourcing, and energy-efficient product designs.

The collective ethos of AKAI goes beyond profit margins; it encompasses a commitment to a sustainable and responsible future. This values-driven approach is reflected in the dedication of every individual within the AKAI family, from engineers to designers to support staff.

**Conclusion:**

In conclusion, AKAI's journey is not merely a chronicle of technological milestones but a narrative of collaborative brilliance. From the visionary leadership to the collaborative efforts of the entire AKAI team, the company's legacy is woven with threads of innovation, creativity, and a commitment to excellence. As AKAI continues to evolve and shape the future of music and electronics, its rich history serves as an inspiration for aspiring musicians, producers, and tech enthusiasts worldwide, emphasizing the profound impact that a collective of talented individuals can have on an entire industry.

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In the ever-evolving landscape of music and electronics, AKAI stands as a beacon of innovation and excellence. As the company charts its course into the future, AKAI's strategic roadmap unveils a tapestry of visionary initiatives that promises to redefine the boundaries of audio technology. This comprehensive article delves into the intricacies of AKAI's future activities, exploring the realms of technological breakthroughs, global expansion, collaborations, sustainability, and the cohesive brilliance of its workforce.

1. Technological Prowess and Product Development:
AKAI's commitment to technological innovation remains the cornerstone of its future endeavors. The company is set to unleash a new wave of products that seamlessly blend hardware and software advancements, furthering the legacy of its iconic MPC series. The R&D department, led by luminaries like [R&D executive's name], is actively exploring artificial intelligence, machine learning, and adaptive technologies to usher in an era of intelligent musical instruments.
With a focus on user experience, AKAI aims to unveil instruments that transcend traditional boundaries, catering to the evolving needs of musicians, producers, and enthusiasts. The future product lineup is expected to redefine creative possibilities, making music production more intuitive and inspiring.

2. Global Expansion and Market Dynamics:
AKAI's global vision is set to expand its footprint across continents. Strategic alliances and partnerships with key players in the industry will facilitate market penetration, enabling AKAI to reach new audiences and demographics. The company's marketing strategy, led by [Marketing Executive's name], is poised to capitalize on digital platforms, engaging audiences globally with immersive campaigns that showcase the transformative power of AKAI's products.
As AKAI extends its reach, the company will tailor its offerings to suit diverse musical cultures, ensuring its relevance and impact on a global scale.

3. Collaborative Synergy with Industry Stalwarts:
AKAI's history is punctuated with collaborations that have shaped the sonic landscape. Looking ahead, the company plans to intensify these collaborative efforts by partnering with industry icons, musicians, and producers. This collaborative approach aims not only to influence product development but also to create a shared narrative with influential voices in the music industry.
The collaborative spirit extends internally as well, with cross-functional teams working synergistically to bring forth products that embody the collective genius of AKAI.

4. Investment in Human Capital and Research Excellence:
Recognizing that innovation is fueled by human ingenuity, AKAI is doubling down on investments in its workforce. The company aims to foster a culture of continuous learning, providing employees with avenues for professional growth and skill development. AKAI's commitment to its employees extends beyond traditional roles, encouraging a culture of innovation where every individual's contribution is valued.

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.

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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.

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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.
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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.