TEST: AMS Neve 4081

 Even the strongest trademark in professional studio operations has to keep up with the times, which is why the company founded by Rupert Neve has taken the legendary 1081 microphone preamplifier as a starting point with the AMS Neve 4081 QuadMic and has simply quadrupled it.

The construction of the AMS Neve 4081 QuadMic

One of the names you first get to know in your training in sound engineering is the Neve company, which after being bought by Siemens in 1985, merged with Advanced Music Systems into the AMS company in 1992 Neve was converted. The microphone preamps 1073 and 1081 are still among the company's best-known classics and are held in the highest esteem simply because of their countless copies from other manufacturers. This excellent reputation will not be lost under the new label. In recent years, several new products have been introduced based on these original designs, but with modern improvements to better align with today's current workflow practices and requirements.

The new 4081 Quad Mic Preamp is based on the immense success of the 1081 module, which is constructed identically to the original mixing console from 1972 or the remote-controlled 1081R variant, which contains up to 12 compact preamp modules based on the original Neve 1081 or the technically improved AIR Montserrat Studio variant offered space.

At first glance, the AMS Neve 4081 QuadMic looks like a double brick due to its height of 2U, its half rack width of 9.5 inches and its rather large depth of 270 mm. A rack kit is available as an option, allowing either a single 4081 or a pair to be installed in a rack if required. However, the device also has aluminum handles on the front that protect the controls and allow the AMS Neve 4081 QuadMic to be used as a standalone version. In this case the system rests on 4 rubber feet which are attached to the underside.

Despite its bulky appearance, the 4081 is surprisingly light, weighing just 3 kg, which is probably due to the fact that the AMS Neve 4081 QuadMic has an external power supply. You can do it, but to be honest, in my opinion you should be able to expect a cold appliance plug at a retail price of just under €3,500.

As with the 1081R, each function of the four channels can be controlled either directly from the front panel or via Neve's remote control. The software is available for PC and Mac, the AMS Neve 4081 QuadMic is connected via USB 2. For multiple operation, the units are connected in series via the RS485 interface. In this way, up to 16 of these units can be controlled remotely, allowing a maximum upgrade of up to a total of 64 channels. A four-way rear panel DIP switch provides the ability to uniquely identify each 4081 module in a multi-module installation.

The case can also accommodate an optional digital converter card, which digitizes the four channel outputs and outputs them in both Firewire and AES3 formats. The same format is offered in digital format as a return channel. These are converted by a D/A converter and made available as analog line-level signals from a 25-pin D-Sub socket on the main device. These channels are typically used as monitor returns or as a direct monitor mix. The same D-Sub socket also provides access to balanced insert returns for each channel, allowing an alternative input signal to be routed to the D/A converters. Eight XLRs In/Outs on the back of the case provide four microphone/line inputs and the corresponding outputs. The external SMPS power supply is connected via an eight-pin DIN socket on the outside left of the housing.

Essentially there were 4 pieces in the 4081 case. 1081R preamps were installed, especially since the functions on the front are very similar. A large, very easily locked knob with the classic red Neve wing knob is located at the top of the channel and is used to adjust the preamplification. This control also has a push button function which is intended to query the console settings when the 4081 is used with a Neve 88R console. In microphone mode, the gain range extends from 20 to 70 dB in 5 dB increments, while in line mode it is reduced to 0 to 20 dB. The respective gain setting is displayed in a large, two-digit LED window below the control, with two additional LEDs indicating the signal present (green for signals above 30 dBu) and overload (red at +24 dBu, 2 dB below analog clipping). . Unfortunately, the gain control leaves a comparatively weak impression with its “floppy” holder and is in fact unworthy of a device in this price range.

Below the numeric display window, six illuminated pushbuttons provide all the usual preamp switching functions: phantom power, a 20 dB pad, low impedance mode (e.g. for ribbon microphones), mic/line input switching, polarity reversal and loop path activation, which switches the input to the (optional) D/A converter from the output of the preamplifier to an external input. With this function, for example, an external compressor can be patched between the analog output of a channel and the corresponding symmetrical insert return to the D/A converter and switched on and off using the front button of the 4081.

To the right of the four preamp control areas at the top of the panel is the familiar on/off button, identified by its illuminated Neve logo. Below there are two buttons that can be used to configure the sample rate and clock source of the optional digital card. Eight yellow LEDs display the current sample rate with all standard modes from 44.1 to 192 kHz, as well as indicators for 384 kHz and the DXD sample rate. Four green LEDs below, however, indicate the current clock source of Wordclock, AES3, Internal and Firewire.





In use

The 4081 may visually flirt with its past due to its classic, all-analog design, but the digital connectivity on the back shows the product is ready for integration into a modern studio. Already with the first signals played, the phenomenon that has given the name Neve its famous extra dose of glamor and glory for decades is revealed.

It's really hard to describe what happens acoustically once you have the AMS Neve 4081 QuadMic in the signal path, but the sonic difference is clearly noticeable. Almost every signal fed in, regardless of style or frequency spectrum, gains density and character. You could almost think that the product, which “only” provides the preamp function, has its own, discreetly adjusted channel strip consisting of compressor, EQ and enhancer built in.

At first listening impression, you completely miss the inner need to process the signal with appropriate tools, the signal pours out of the monitors so round, full-bodied and yet natural, in a word, the signal once again sounds “analog” in the best sense of the word of the word.

The narrow-breasted signal donors, e.g. B. in the form of ribbon microphones at your expense, or room microphones, which only deliver very little level. Even with full preamplification, the noise component is negligible and does not color the signal in any way.

To test the flexibility of the AMS Neve 4081 QuadMic on different signals, several dynamic and frequency diametric signals were used. It starts with a spatially microphoned natural drum set:

The following are recordings of a radio loop:

A typical electric bass figure for the bass range:

Something synthetic from the electrical sector:

Finally a female voice:

Conclusion

With the AMS Neve 4081 QuadMic, the British company once again underlines its legendary reputation when it comes to sound. With the product you get 4 units of the 1081R module for a comparatively low price, provided your personal budget even allows an investment in this quality class.

The digital connection and system expansion is exemplary and also enables operation in a modern digital studio. Especially with appropriate cascading, the system can show off its full strengths in the form of a full-bodied analog sound that is in the top league.

However, what caused AMS Neve to initiate such inferior integration of the input controls in this high-end product will always remain a mystery to me. In my opinion it's the only, but unfortunately also a very big, negative point in an otherwise outstanding product.

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Additional Informations:


In the realm of professional audio equipment, few names resonate with as much reverence as AMS Neve. With a history spanning over five decades, AMS Neve has consistently pushed the boundaries of audio technology, setting the industry standard for high-quality recording and mixing equipment. This comprehensive article delves into the origins, innovations, and impact of AMS Neve in the world of sound engineering.

## A Storied Beginning

The story of AMS Neve begins in the early 1960s when Rupert Neve, a British electronics engineer and visionary, founded Neve Electronics. Rupert Neve's passion for audio engineering led him to develop some of the most iconic and influential audio equipment in history, setting the stage for the legacy of AMS Neve.

In 1970, Neve Electronics merged with Automated Music Systems (AMS), giving birth to AMS Neve. This union brought together Neve's reputation for crafting high-end recording consoles and AMS's expertise in digital audio technology. The company's headquarters remained in the United Kingdom, where its engineers continued to innovate and create cutting-edge audio equipment.

## Legendary Consoles

AMS Neve is perhaps best known for its legendary analog recording consoles. These consoles have graced the world's most renowned recording studios and have been used to produce countless hit records. Notable examples include the Neve 8028, Neve 8078, and Neve VR Series consoles, which have been cherished for their exceptional sound quality, pristine mic preamps, and versatile EQ sections. These consoles have played pivotal roles in shaping the sound of music across various genres, from rock to classical to pop.

## Iconic Signal Processors

Beyond consoles, AMS Neve has made significant contributions to the world of signal processing. The company's outboard gear, such as the Neve 1073 preamp and 33609 compressor, have become iconic pieces of equipment coveted by audio engineers and producers worldwide. The Neve 1073, in particular, is celebrated for its warm, colorful, and character-rich sound, making it a staple for recording vocals, guitars, and drums.

## Digital Advancements

AMS Neve didn't rest on its analog laurels; the company embraced digital technology with the same fervor that defined its analog offerings. The Neve DFC (Digital Film Console) and Genesys digital console exemplify the brand's commitment to innovation. The DFC, for instance, has been instrumental in the post-production industry, providing advanced mixing capabilities for films and television shows.

## Commitment to Quality

One of the hallmarks of AMS Neve is its unwavering commitment to quality and craftsmanship. The company has consistently used the finest components and materials in its products, ensuring longevity and reliability. Each piece of equipment is handcrafted with meticulous attention to detail, upholding the standards set by Rupert Neve himself.

## Studio Integration

AMS Neve's dedication to the needs of modern studios is evident in its products' integration capabilities. The Neve BCM10/2 Mk2, for instance, combines analog circuitry with digital control, allowing seamless integration into today's digital audio workstations (DAWs). This forward-thinking approach ensures that AMS Neve remains at the forefront of studio technology.

## Awards and Recognition

The industry has not been slow to recognize the excellence of AMS Neve. Over the years, the company has received numerous awards, including multiple Technical Grammy Awards from the Recording Academy. These accolades acknowledge AMS Neve's enduring contributions to the advancement of audio technology.

## The Legacy Continues

As technology evolves, AMS Neve continues to adapt and innovate. The brand's ongoing commitment to creating exceptional audio equipment ensures its relevance in an ever-changing industry. AMS Neve remains synonymous with uncompromising sound quality, trusted by audio professionals who demand the best.

In conclusion, AMS Neve's journey from its humble beginnings to its current status as a global leader in audio technology is a testament to the passion, innovation, and dedication of its founders and team. With legendary analog consoles, iconic signal processors, and cutting-edge digital solutions, AMS Neve has left an indelible mark on the world of audio engineering, shaping the way we hear and experience music and sound.

TEST: Ampeg SVT VR

 I won't soon forget the exhausted, slightly reproachful look of the otherwise friendly UPS employee when he rang my doorbell to deliver a medium-sized package to me. At first I couldn't fully understand his request to help him carry the package because of its size until I helped myself.
When we arrived at the studio, an Ampeg SVT-VR bass head weighing a whopping 43 kg emerged from the brown cardboard packaging! Truly not for the faint of heart. Even the act of prying the amplifier out of the packaging with one hand and holding the packaging with the other hand fails miserably. The device can only be transported with full physical exertion and by a strong man alone. It is not for nothing that a carrying handle was omitted on the top of the housing and two massive folding handles were installed on the side.

Apart from the trademark “Marshall” in the guitarist class, there is probably no other product that is as closely associated with the term “rock” as Ampeg’s SVT class. Everything, really everything that had any status was on the move with these monsters when it came to low-frequency design over 30 years ago. Please take into account the fact that at that time, open airs were actually provided with a somewhat more powerful vocal system and a large part of the instrument sound actually came from the stage and not from the P.A. like today. came. There is a reason why many artists like Pete Townsend, John Entwhistle or Glenn Hughes complain about a rudimentary loss of hearing; the volume on stage was truly infernal at the time. In the age of digital switching power supplies under a kilo and bass amps the size of 4 cigarette packs, there must be a reason why Ampeg continues to produce archaic dinosaur-class amplifiers.


Construction:

The SVT-VR Amp is a reissue of the world-famous “Blue-Line” head from the early seventies in an all-tube design. A total of 12 glass bottles are used, 2x 12AX7 and a 12AU7 in the pre-stage, 2x 12AU7 and a 12AX7 in the driver stage and 6x! 6550 in the final stage. Due to the immense heat generated, the car has to be forced cooled; the thermal power plant is blown by a fan built into the rear wall. Ampeg refers to an output of 300 watts RMS at 4 or 2 ohms, i.e. a single 8 ohm box is not recommended and the classic 16 ohm cabinets are usually only found with guitarists anyway.

The whole thing is packaged in a very solid wooden structure, with a perforated sheet of steel at the back. The amp rests on 4 tapered rubber feet that fit into the corresponding Ampeg bass speakers. People have been arguing for years now as to whether you should actually place an all-tube bass amp on your speaker during a performance or next to it. It is known that heated tubes should no longer be moved if possible and any mechanical stress should be avoided during operation. Both have a negative impact on the service life and reliability of the component. On the other hand, IF a tube gets vibrations THEN definitely if it is placed on a loud bass speaker during the show. An amp built into the rack and padded with foam will certainly thank you for its longer lifespan, but visually the classic phallus shape of a stack can only be achieved with a top section. And anyway, who wants to carry this case monster? Amp plus case, that means at least 60 kg, i.e. the case is equipped with wheels and we have vibrations again during transport that nobody actually wants. How to do it........

The entire workmanship of the product is very clean and solid, only the rocker switches for the sound control (booster / midrange) make a downright pathetic impression. Wobbly, flexible and unclear when it comes to locking in, these cheap ones have nothing in common with the rest of the high quality of workmanship. It's a mystery to me how you can install something like that in a quality product. In return, you then have to deal with standby and power switches that are so massive and difficult to operate that delicate women's hands may not even be able to turn them.

As was often the case in the 1970s, a not insignificant part of the sound shaping is already anticipated by the different input sockets of the amp. The SVT-VR has four of these, 2 per channel, each divided into “Normal” and “Bright”. Channel one has a three-band tone control, which operates at 4Khz (+/- 12 db - treble), 40Hz (+/- 12 db - bass) and, depending on the selected center frequency, at 220Hz / 800Hz or 3Khz (+/- 20db - midrange). intervenes in the sound event. The channel also has 2 boosters at 8Khz (Ultra High) and 600Hz (Ultra Low) and a bass cut at 40Hz. Channel 2 dispenses with the midrange range and only has a treble and bass control along with 2 boosters.

On the back, next to the mains socket and the main fuse from left to right, we first find a polarity switch, which is due to the sometimes lousy quality of the power network overseas, for example in the USA (but only 2 conductors in the network fly to the moon.....simple laughable) or Japan makes perfect sense and can suppress ground loops. Despite the reissue, Ampeg has (fortunately) opened up a section of modernity and allows the bias or tube balance within the amps to be adjusted in just a few steps using a slotted screwdriver. Even an inexperienced user can carry out the adjustment quite quickly using an LED control, provided they have at least briefly familiarized themselves with the English-language manual. This refers once again to the structural peculiarities of all-tube amps and the importance of adjustment.

A suitable loop-in trio is available via slave-out, preamp-out and power-amp-in to feed or feed external devices. A symmetrical D.I. box, with selectable tapping point (pre/post EQ), or with ground lift and adjustable output volume, was also placed on the back. On the far right you will find the connection sockets for the speakers. As is now usual, the XLR plug has given way to the superior Speakon plug at Ampeg, and 2 jack sockets are still available for “emergency charging”.



Sound:

When connected and wired, no one can beat the SVT when it comes to its solid appearance. After flipping the power switch, a red LED makes it clear to us that the tubes are being preheated. On the back, an orange LED shows the correct tuning of the factory-adjusted power tubes. So then, switched to standby, the red LED changes to green and the inferno starts.... However, not in the form of sound but rather background noise caused by the construction. On the one hand, we have a very loud switch-on impulse, which really doesn't have to be there. All connected speakers make a powerful leap forward, a behavior that I have never experienced with all-tube amps.

However, the built-in fan, which starts working when the amplifier is switched on, shoots the bird down. I've only heard such a noise on cheap PC notebooks, you'd think you'd started a model airplane behind the amplifier. The fan is so loud that you can't actually put the amp in the control room when working in the studio. I realize that the immense heat generated when the device is in operation needs to be dissipated, but that is really too much of a good thing. Of course, the fan can no longer be heard on a loud stage, but this is a clear limitation when working in the studio.

Well, enough complaining, what does the “Godfather Of Rock Bass Amps” sound like now? Let's make it short, fantastic! Even if the bass control is unfavorable at 40Hz because it is too low and the midrange actually only sounds good at 800Hz, if a bass amp ever sounded legendary, it was the SVT. Mind you, we're talking about rock, hard rock and metal. Here we don't wrap things softly, pack them airily and serve them gently. There are low mids here that are so boney that no bass drum, no matter how loud, can affect the bass. The high-mid range, played alone is almost noisy to penetrating, and in the band context it finds exactly the frequency range that the guitar and vocals leave free. If you are looking for a flexible, multi-channel amp with different characteristics, you have come to the wrong place with the SVT. There is only one (!) sound here, but with the best that you can imagine for rock'n'roll.

The amp compresses even at low volumes and if you have the opportunity to actually drive the amp to the power amplifier saturation on a large stage or an open air event, you will realize how legends are created. Mind you, I'm talking about open airs in the sense of Rock-Am-Ring, etc. At sister's garden party, a turned-up SVT only ensures that the men in green are on the mat within a very short time.

Conclusion:

Infinitely heavy, maintenance-intensive, full of background noise, inflexible but equipped with probably the best rock sound in history! Decide for yourself.

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Additional Informations:


1. **Ampeg B-15 "Portaflex"**:
   - **Inventors**: Everett Hull and Stanley Michaels
   - **Notable Features**: The Ampeg B-15 "Portaflex," introduced in the late 1950s, was a groundbreaking innovation in amplifier design. Its most distinctive feature was the flip-top design, allowing for easy transport and setup. This amplifier used all-tube technology, with a single 12-inch speaker and a 30-watt power output. The B-15 produced a warm, smooth, and articulate tone, often described as "tubey." Its tone was characterized by a rich midrange, making it a favorite among jazz and Motown bassists. The amp's simplicity and reliability made it a studio staple, contributing to its legendary status.

2. **Ampeg SVT (Super Vacuum Tube)**:
   - **Inventors**: Developed by Bill Hughes, Dennis Kager, and Mike Matthews
   - **Notable Features**: Introduced in 1969, the Ampeg SVT is an iconic amplifier that set new standards for bass amplification. With a massive 300-watt all-tube power section and an eight 10-inch speaker cabinet, it became known for its unparalleled power and projection. The SVT's signature sound is characterized by a deep and punchy low end, a rich harmonic texture, and a crisp, cutting presence. Its ability to deliver clean, powerful bass tones even at high volumes made it a go-to choice for rock and heavy music genres.

3. **Ampeg V-4B**:
   - **Inventors**: Introduced by Ampeg's engineering team in the early 1970s
   - **Notable Features**: The Ampeg V-4B is a classic all-tube bass amplifier renowned for its vintage warmth and versatility. With a 100-watt output and a flexible four-band EQ, it offers a wide range of tonal options. Its clean tones are characterized by a smooth midrange and a defined low end, while pushing the gain yields a creamy, harmonically rich overdrive. This versatility has made it a favorite among bassists and guitarists seeking that classic Ampeg tube tone.

4. **Ampeg Heritage Series**:
   - **Inventors**: Developed by Ampeg's modern engineering team
   - **Notable Features**: The Ampeg Heritage Series amplifiers represent a fusion of vintage aesthetics and modern technology. These amps are meticulously designed to capture the essence of Ampeg's legendary sound while incorporating modern improvements in reliability and performance. The Heritage Series offers a wide tonal palette, including the classic Ampeg warmth, but with added flexibility, making them suitable for a variety of playing styles and musical genres. These amplifiers continue to honor Ampeg's rich legacy while meeting the demands of today's musicians.

5. **Ampeg BA Series**:
   - **Inventors**: Designed by Ampeg's modern engineering team
   - **Notable Features**: The Ampeg BA Series includes a range of compact and versatile bass amplifiers designed for practice, rehearsal, and smaller gigs. These amplifiers feature built-in EQ, effects loops, headphone jacks, and other convenient features. Their tonal characteristics are known for clarity, punch, and articulation, making them suitable for bassists of all skill levels and musical genres.

6. **Ampeg Classic Series**:
   - **Inventors**: Introduced as part of Ampeg's commitment to classic tone
   - **Notable Features**: The Ampeg Classic Series amplifiers aim to capture the vintage Ampeg sound while incorporating modern enhancements. These amps offer reduced noise, enhanced reliability, and expanded tonal flexibility. The Classic Series pays homage to Ampeg's rich heritage while ensuring that these amplifiers meet the demands of today's discerning musicians.

7. **Ampeg Micro-VR**:
   - **Inventors**: Designed by Ampeg's modern engineering team
   - **Notable Features**: The Ampeg Micro-VR is a compact and lightweight amplifier head that is often paired with the SVT-210AV cabinet. Despite its size, it packs a punch, offering classic Ampeg tone at lower wattage levels. This portability makes it ideal for smaller venues and recording situations where convenience and vintage sound are desired.

8. **Ampeg Rocket Series**:
   - **Inventors**: Engineered by modern Ampeg designers
   - **Notable Features**: The Ampeg Rocket Series amplifiers combine vintage aesthetics with modern functionality, catering primarily to guitarists. These amplifiers are known for their clean and warm tones, responsive controls, and versatility. While they may not be exclusively for bassists, they offer a taste of Ampeg's classic sound for guitarists.

These detailed insights into various Ampeg amplifier models, their inventors or development teams, and their tonal characteristics showcase the depth and diversity of Ampeg's legacy in the world of amplification. Each amplifier represents a unique chapter in Ampeg's history, contributing to the brand's enduring reputation for delivering exceptional tone and innovation.

TEST: Ampeg BA-110

Ampeg! A name like Donnerhall! Even if it may sound a little pathetic, in this case this statement should be taken literally. Only in very few cases is a company name as closely linked to a product as with this company and anyone who has ever experienced an SVT with a matching 8x10" box in the upper load range knows what I'm talking about. Unfortunately, as with almost all musical tactile experiences, there is a reduction in the practicality and handiness of the bass monster. Anyone who has had the pleasure of transporting the combination mentioned above, ideally with everything installed in massive flight cases, also knows what I'm talking about.

For this reason, Ampeg has for some time now felt the need to save as much of the legendary “big” sound of its cars as possible into contemporary, smaller designs in order to give ambitious beginners a taster course in Ampeg sound as well as a transportable solution for small shows or rehearsal rooms.

Ampeg also has the necessary experience when it comes to combo amplifiers, as the manufacturer had already offered a portable amplifier with the B-15 almost four decades ago to pay tribute to the slowly emerging session mode. Ampeg faces huge competition, as there are countless competitors in this segment who also want their piece of the low-frequency practice cake. With the recently introduced BA-110 (10 inch loudspeaker, 35 watts) and its little brother BA-108 (8 inch loudspeaker, 25 watts), the top dog of all-tube heads wants to establish its trademark in the small range too.


construction

The two suitcase amps are definitely transportable, as they only weigh 14.5 kilograms (BA-110) and 12.5 kilograms (BA-108). There was no compromise on stability either, as the chipboard walls are 16 millimeters thick and completely covered with Tolex. In addition, metal corners protect the housings against impacts on the edges. The front covering of the combos is removable; by pulling on a small plastic tab you can save yourself the anachronistic use of the slotted screwdriver. What emerges is a perfectly crafted 10- or 8-inch speaker, which has 2 additional bass reflex openings to give the housing dimensions, which are actually rather meager for a bass amplifier, more volume.

At first glance, you notice that the small cubes are not only designed for normal standing operation, but were also designed for wedge operation due to a flattened area on the back of the housing. Even if playing in this orientation seems very sensible in this performance class, the amps unfortunately prove to be very unstable in this playing position. Especially if the power cord is positioned on the back, the amps tend to tip over and must be prevented from doing so otherwise they will fall onto the back with just a light touch.

The amplifier section is pleasantly simple, as is typical for Ampeg. In addition to two jack input sockets with different sensitivity (active bass -15 dB or passive bass 0 dB), the combos have a standard three-band equalizer in the form of a bass, mid and treble control. External sound sources such as an MP3 player can be fed in via two RCA inputs, which can be adjusted to the volume of the bass signal using a separate volume control. As is usual in this performance class, both combos also have a headphone output, which switches off the internal loudspeaker when occupied. On the back, the combos have an FX loop-in path and a line-out, the output signal of which varies depending on the volume set on the amplifier. It's nice if you have external power amplifiers at the output, but bad if the signal is routed to the FOH position. There are no connection options for an additional box using the internal amplifier.


Practice

As a rough rule of thumb for the guitar:bass performance ratio, you can still use the well-known principle of 1:3, i.e. a bass amplifier should be able to deliver approximately three times the power as a comparable guitar amplifier. Based on this calculation example, it quickly becomes clear that the two Ampeg amplifiers were not designed for a real band contest, unless you want to get into the ring with 10 watt “guitar noises”. Moderate rehearsal room activity or ambitious practice amp use, on the other hand, is more the specialty of the two combos.

In terms of sound, Ampeg manages to shovel a lot of the classic tone into the practice amp category. Of course, no one expects the SVT tone for their pocket, but the certain “bony” tone can still be noted in both amps. While the BA-108 will find its way exclusively as a practice amp due to its speaker and performance design, the BA-110 can offer more bass foundation and assertiveness in terms of sound and volume.

Already set flat without active equalizer processing, the two combos offer a balanced sound. The powerful low-mid range, one of the characteristic Ampeg trademarks, can already be clearly heard in this setting. As expected, you should use the combination of bass control and volume moderately, otherwise it can lead to symptoms of overload. The products were not developed for heavy bass storms, common sense will undoubtedly recognize this and will not come up with the idea of challenging physics.

Nevertheless, both amps perform surprisingly confidently even at higher volumes, clipping very late and the background noise factor in terms of “rattle-and-clatter”, which is often found in small bass amps, remains largely a myth here. The full-range speakers do their job well and manage to deliver a consistently “adult” sound thanks to the combination of front speaker installation and double bass reflex opening.


Conclusion

Even though the competition in the area of bass practice amps is immense, Ampeg manages to transfer the legendary sound of its high-priced devices to a large extent into the small practice amplifiers. Thanks to a great deal of experience and the widely practiced “Developed in Home Country, Built in China” approach, the products BA-110 and BA-108 will find their way into music stores at a comparatively low retail price.

If you are looking for a small, light and portable bass amplifier combined with a decent tone, you should give the two brothers a listen. Whether you are a beginner or an ambitious user, the small cubes are a real recommendation in the field of practice amps due to the good workmanship, the coherent and simple construction and the good sound.

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Additional Informations:

Ampeg, a name synonymous with bass amplification excellence, has a storied history that has left an indelible mark on the world of music. Established in 1946, the company's journey from its humble beginnings to becoming a global leader in amplifier technology is a tale of innovation, commitment to quality, and a lasting influence on musicians across genres.

## The Genesis of Ampeg

Ampeg's origin story can be traced back to Linden, New Jersey, where Everett Hull and Stanley Michaels founded "Michaels-Hull Electronic Labs." The duo embarked on a mission to develop cutting-edge amplifiers for musical instruments. As their vision crystallized, they renamed the company "Ampeg," a portmanteau of "amplified" and "pegged," signifying their dedication to delivering amplified sound.

Ampeg's initial foray into the world of amplifiers proved groundbreaking. They introduced innovations that forever changed how bassists were heard on stage and in the studio. Their early success was driven by a commitment to producing top-tier sound quality.

## Pioneering Amplifier Technology

Ampeg's journey of innovation in amplifier technology is marked by several pivotal milestones:

### 1. Portaflex Series

The 1960s saw the introduction of the Portaflex series, a game-changer in amplifier portability. With its flip-top heads and matching speaker cabinets, the Portaflex series made it feasible for musicians to transport their equipment conveniently while retaining the powerful Ampeg sound. This innovation solidified Ampeg's reputation for both quality and portability.

### 2. SVT Series

The crown jewel of Ampeg's product lineup is the Super Vacuum Tube (SVT) series, unveiled in 1969. The SVT, a 300-watt all-tube bass amplifier head, is renowned for its unmatched power and distinctive sound. It became the go-to choice for countless legendary bassists, including James Jamerson, Jack Bruce, and Geddy Lee. To this day, the SVT remains an iconic amplifier highly sought after by musicians, a testament to Ampeg's enduring impact on the industry.

### 3. Ampeg V-4B

Another notable addition to Ampeg's arsenal is the V-4B, a versatile all-tube amplifier originally introduced in the 1970s. The V-4B is cherished for its warm, vintage tone and has garnered a devoted following among both bassists and guitarists in search of that classic Ampeg sound. It continues to be a popular choice for those who appreciate the warmth and character of tube amplification.

### 4. Ampeg Heritage Series

In recent years, Ampeg has remained at the forefront of innovation with their Heritage Series. These amplifiers combine modern features with the classic Ampeg sound, offering advanced technology while paying homage to the company's rich heritage. The Heritage Series ensures that both traditionalists and contemporary players have amplification options tailored to their preferences.

## The Signature Ampeg Sound

Ampeg is celebrated for its unmistakable sound characterized by warm, fat, and punchy tones. This distinctive sonic character is a direct result of their commitment to using vacuum tube technology in their amplifiers. The harmonically rich overdrive and deep low-end response of Ampeg amplifiers have made them a mainstay in a wide range of music genres, from rock and jazz to funk and beyond.

## Ampeg's Profound Influence on Music

Ampeg's influence on music extends beyond their iconic amplifiers. Their products have played a pivotal role in shaping the sound of countless legendary bands and musicians. From the iconic bass lines of Motown hits to the thunderous riffs of classic rock anthems, Ampeg amplifiers have been a driving force behind many seminal recordings.

Furthermore, Ampeg's dedication to innovation has set a gold standard for the entire industry. Many amplifier manufacturers have drawn inspiration from Ampeg's designs and technologies, leading to advancements in amplifier construction and sound quality across the board.

## Conclusion

In the realm of bass amplification, Ampeg stands tall as a legendary icon. With a rich history of innovation, a lineup of iconic products, and an enduring influence on music, Ampeg remains a name that musicians trust and admire. Whether you're a seasoned professional or an aspiring bassist, Ampeg's legacy continues to be an integral part of the musical landscape. The unmistakable sound of Ampeg amplifiers will resonate for generations to come, ensuring that the company's enduring impact on music endures as a timeless legend.

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20 well-known artists who are known for using Ampeg amplifiers:

1. James Jamerson - Renowned Motown session bassist.
2. Jack Bruce - Bassist for Cream.
3. Geddy Lee - Bassist and vocalist of Rush.
4. John Paul Jones - Bassist and keyboardist for Led Zeppelin.
5. Chris Squire - Bassist for Yes.
6. Jaco Pastorius - Influential jazz bassist.
7. Geezer Butler - Bassist for Black Sabbath.
8. Paul McCartney - Bassist for The Beatles.
9. Lemmy Kilmister - Bassist and frontman for Motörhead.
10. Flea - Bassist for Red Hot Chili Peppers.
11. Mike Watt - Bassist for Minutemen and The Stooges.
12. John Entwistle - Bassist for The Who.
13. Billy Sheehan - Known for his work with Mr. Big and David Lee Roth.
14. Kim Deal - Bassist for Pixies and The Breeders.
15. Krist Novoselic - Bassist for Nirvana.
16. John Deacon - Bassist for Queen.
17. Roger Waters - Bassist and songwriter for Pink Floyd.
18. Mike Dirnt - Bassist for Green Day.
19. Bootsy Collins - Funk bass legend.
20. Tina Weymouth - Bassist for Talking Heads and Tom Tom Club.

Please note that this list includes only a small fraction of Ampeg users, and there are countless other notable musicians who have also relied on Ampeg amplifiers for their signature sound.

TEST: Alvarez MD 3500

 Preface:

I still remember the time when acoustic guitars were generally delivered without pickups and recording an acoustic instrument live turned out to be a real challenge for sound engineers and musicians. Most of the time all that was left was a highly disciplined body control on the part of the artist, as the only recording was a microphone that was as sensitive as possible and every slight turn of the body completely changed the sound. A relaxed style of playing or even an entertaining stage show was completely unthinkable.

Nowadays, acoustic guitars without pickups are clearly in the minority and can usually only be found at high prices or at extra low prices. Almost the entire middle class has factory-installed acceptance systems that follow various transmission principles. What is even more unusual is the fact that the Alvarez company is releasing the MD 350, a mid-range model in a classic style, i.e. without any acceptance systems. However, the instrument can also be purchased with an integrated acceptance system as an option. The instrument comes from the ambitious Masterworks series and, to my surprise, is not manufactured in Europe or North America, but in China.




Construction:

While unpacking the plain cardboard transport box, a top-class transport case emerges from the foam beads. It has a built-in hydrometer (!) to keep an eye on the room's humidity, which is extremely important for acoustic guitars. While electric guitars are comparatively resistant to dry air, acoustic instruments are very susceptible to low humidity due to their more delicate construction and higher unpainted surfaces. The wood shrinks and is accompanied by cracks in the paint and even complete deformation of the components. To prevent this situation, Alvarez has integrated the measuring instrument into the lid of the case, a very useful and commendable device!

In terms of size, the actual instrument can be assigned to a dreadnaught, a size that is only surpassed in size by a jumbo. Even though some musicians complain about the lack of handling with a dreadnaught, this size has now become established as the standard measurement for this type of instrument. Their advantages in terms of volume, loudness and sound development are too great compared to their smaller relatives.

When it comes to choosing wood, Alvarez takes a traditional approach. The back and sides are made of solid Indian rosewood, which belongs to the black rosewood genus. By the way, the wood known as “Rosewood” in English has nothing to do with the German term rosewood due to a translation error. The double-locked 5-piece neck of the guitar appears to be made of mahogany, but unfortunately no further details could be found. However, the grain and sound support the assumption mentioned above. Deep black ebony was used as the fingerboard. A narrow but relatively high version was chosen as the fret wire.

Six gold-plated Grover tuners perform impeccable service on the headstock, which is also veneered with rosewood. The peg ends are made of a black, very non-slip plastic, which blends in beautifully with the black color of the fingerboard. An inlay made of 2 opposite A's made of mother-of-pearl completes the overall impression.

The top of the instrument is of particular importance. It is solid Engelmann spruce, a pine tree that comes from western North America. The top is optically traversed by an even grain, which gives the instrument a homogeneous look. The sound hole is surrounded by a narrow rosette and two thin lines, all very simple and tasteful. The overall simplicity of the instrument is further rounded off by a combination of tortoise and a so-called herringbone binding. In fact, all of the visual decorations on the instrument are kept very discreet. For example, the instrument only has a small oval fingerboard inlay on the twelfth fret; the usual orientation aids on the third, fifth, seventh and ninth frets are completely omitted. So if you are used to orienting yourself on the fingerboard, you should change your habits to focus on the edge of the neck, where the usual dot inlays are available.

Fortunately, the MD 350 has also addressed the issue of octave purity. The patented direct-coupled bridge, also made of ebony, has an offset at the transition from the G to the B string, which equalizes the vibration behavior of the non-wound strings in relation to the wounded strings.


Playability:

When you hold the neck of the MD 350 for the first time, the first thing you notice is the very pronounced C profile. The middle of the neck protrudes from the shaping like a small spike, a fact that some people have to get used to. Interestingly, there are no disadvantages to this form, on the contrary. This shaping was particularly effective in the picking style, as it opens up a favorable angle for the transfer of force to the fretboard, depending on the shape and size of the hand. The fretboard radius is moderate and the neck width can be described as strong but not overly fat. In combination with the neck profile, the result is an almost triangular shape, which at first glance seems unusual, but nevertheless functional. Thanks to the compensated bridge, the detuning is kept within pleasant limits even at higher registers. This means that full chords can be intoned relatively easily up to the eighth fret; only from the tenth fret onwards does a clear interference become audible.


Sound:
Mid-open! ;-) What do you mean by such a catchphrase? First of all, you have to take into account that a brand new instrument still sounds a bit brittle and awkward. Especially with a purely acoustic instrument, the woods have not yet settled in and ensure a slightly stiff attack and a relatively hard finish. However, with an experienced ear and practiced estimation skills, you can roughly estimate how the instrument has found its tonal personality after around 300-500 hours of playing time.

After the break-in period mentioned above, the MD 350 has a good chance of offering a warm and voluminous sound within the wood parameters. The aforementioned choice of wood already gives a rough direction, which is then supported without exception in the sound test. The rosewood sides and back provide a high midrange content, which is slightly above the resonance frequencies of mahogany due to the harder nature of the wood. The ebony fingerboard and bridge slightly increase the degree of hardness, only to be somewhat relativized by the mahogany neck.

What I really like is the solid spruce top, which in my opinion is yet to find its true potential. Detached from this, the instrument already has enormous volume and will have no problems asserting itself in an acoustic setting.



Conclusion:
It is becoming more and more common to notice that China is developing from a pure “cheap wage equals cheap instrument” manufacturing country into an ambitious upper middle class manufacturer, a development that Japan also went through bit by bit at the time. The import of Western knowledge, implemented through cheap Eastern wages, has in recent years taken on forms that no one would have ever dared to predict. We will probably find out relatively soon how long the almost complete abandonment of environmental protection measures and the political situation will allow this economic upgrade.

Separately from this, the bottom line is that the MD 350 is a sonically remarkable instrument built of high craftsmanship, which offers good sound quality at a low price. Visually tasteful, I think it will find its customers very quickly.

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Additional Informations:

Alvarez Guitars, a distinguished name in the world of acoustic and acoustic-electric guitars, stands as a paragon of craftsmanship, tradition, and innovation. With a history dating back to 1965, the company has earned its place among the most respected and coveted guitar manufacturers globally. This comprehensive article delves into the rich heritage, meticulous craftsmanship, diverse product range, technological innovations, and enduring influence of Alvarez Guitars within the realm of acoustic instruments.

### **A Legacy of Excellence**

Founded in 1965 by Kazuo Yairi in Nagoya, Japan, Alvarez Guitars embarked on a journey rooted in a commitment to delivering exceptional acoustic instruments. From its inception, the company has adhered to the principles of craftsmanship, attention to detail, and a deep respect for tradition. These qualities have been the cornerstone of Alvarez's legacy of excellence in the guitar manufacturing industry.

### **Craftsmanship and Tradition**

At the heart of Alvarez Guitars' enduring appeal is its unwavering dedication to traditional craftsmanship. The company's skilled luthiers draw upon decades of experience and a profound understanding of wood selection, design, and construction techniques to create instruments of unparalleled quality.

Alvarez's commitment to tradition extends to its choice of tonewoods, including premium spruce, cedar, mahogany, and rosewood, among others. The meticulous selection and treatment of tonewoods contribute to the rich, resonant tones and impeccable playability that define Alvarez guitars.

### **Diverse Product Range**

Alvarez Guitars offers a comprehensive and diverse product portfolio to cater to the needs and preferences of musicians across various genres and skill levels. Key product categories within the Alvarez lineup include:

#### 1. **Acoustic Guitars**

Alvarez's acoustic guitars encompass a wide range of body styles, including dreadnoughts, jumbos, grand auditoriums, and more. These instruments are celebrated for their warm, balanced tones and exceptional projection, making them suitable for solo performance, studio recording, and live settings.

#### 2. **Acoustic-Electric Guitars**

The company's acoustic-electric guitars seamlessly blend traditional craftsmanship with modern electronics. Alvarez incorporates industry-leading pickup systems, such as those from LR Baggs and Fishman, to ensure the acoustic integrity of the instrument is faithfully captured and amplified. These guitars are prized by performers for their versatility and stage-ready capabilities.

#### 3. **Classical Guitars**

Alvarez's classical guitars pay homage to the timeless artistry of nylon-string instruments. These guitars feature impeccable construction, traditional fan bracing, and exquisite tonewoods, delivering the rich, warm tones synonymous with classical guitar music.

#### 4. **Artists Series**

The Artists Series by Alvarez represents a pinnacle of craftsmanship, with models crafted in collaboration with world-renowned artists and luthiers. These guitars showcase Alvarez's commitment to pushing the boundaries of design and tonal possibilities.

#### 5. **Masterworks Series**

The Masterworks Series exemplifies Alvarez's dedication to uncompromising quality. These guitars are handcrafted with the utmost precision, featuring the finest tonewoods and meticulous attention to detail. They are favored by discerning musicians and collectors alike.

### **Technological Innovations**

While Alvarez Guitars remains deeply rooted in tradition, it is not averse to embracing technological innovations that enhance the playing experience. The incorporation of advanced bracing patterns, such as the FST2M forward-shifted, scalloped X-bracing, and the Bi-Level bridge system, have elevated the resonance, sustain, and intonation of Alvarez instruments. These innovations represent a harmonious blend of tradition and modernity.

### **Global Influence and Presence**

Alvarez Guitars' global influence extends across continents, earning it the trust of musicians, educators, and enthusiasts worldwide. The brand has established a strong presence in North America, Europe, Asia, and beyond, supported by an extensive network of authorized dealers and distributors.

### **Educational Initiatives and Support**

Alvarez Guitars is not only dedicated to crafting exceptional instruments but also to nurturing the musical journey of players at all levels. The company offers educational resources, including tutorials, guides, and instructional materials, to assist beginners and experienced players in mastering their craft. This commitment to education underscores Alvarez's role as a supportive partner in the musical community.

### **Conclusion: A Resonant Tradition**

In conclusion, Alvarez Guitars stands as a beacon of excellence in the realm of acoustic and acoustic-electric guitars. With a rich heritage, an unwavering commitment to craftsmanship and tradition, a diverse product portfolio, a willingness to embrace technological innovation, a global presence, and a dedication to musical education and support, Alvarez has earned its place as a venerable name in the world of guitar manufacturing. Its instruments continue to inspire and resonate with musicians, reflecting the company's enduring legacy of crafting instruments that transcend mere wood and strings to become vessels of artistic expression and musical excellence.

TEST: Alto TS 115 Vibe

 It's always interesting to see how a segment in the music sector changes. Not only is almost every area that deals with sales and acquisitions in some form subject to certain fashion trends, no, there is also creeping change, which can completely remodel an area, driven partly by requirements and partly by financial considerations.

One of these areas in sound reinforcement is the transformation of the specialist into a flexible multi-tasker who covers several areas, depending on what is required of him at the time. Please do the whole thing with a comparatively low sales price and in a weight class that the singer can even load into her VW Polo on her own if necessary. What seemed unthinkable just years ago is one of the biggest trends in the industry, we're talking about the active two-way box, which, thanks to Class D power amplifiers, works in the performance range of entire vocal systems from previous decades and whose areas of application range from P.A., monitor, sidefill tasks to extends to mobile barker sound systems.

The Alto TS115 Vibe comes into exactly this area, which, in addition to its classic task, also has an MP3 player installed for additional flexibility, which is managed from the back of the product.

construction

With dimensions of 385 x 430 x 679 mm and a weight of 18 kilograms, the Alto TS115 Vibe is in a class that you can't easily tuck under your arm for transport. In return for the power rating of 800 watts peak, it is a product that is comparably easy to handle, as long as you don't expect your front woman to set up her sound system alone.

The moderate weight can only be achieved by using light neodymium speakers in the form of a 15 inch woofer or 1 inch tweeter driver and the operation of two Class D power amplifiers. The housing is cast from durable polypropylene plastic and has no sharp edges. Four stacking feet, 6 M10 upper, lower and rear flight points and a 36 millimeter flange on the bottom allow any form of positioning in modern stage operations. In addition, two handles embedded on the sides and a recessed grip on the top help with portability.

The housing is designed in a trapezoidal shape, which minimizes the risk of edge reflection. In addition, the product can also be used as a stage wedge at a 40 degree angle thanks to the same shape. In addition to a power cable, the scope of delivery also includes a clear operating manual, which provides information about the most important features.

A solid metal grille protects the internally installed speakers from mechanical influences and also prevents objects from entering the two front bass reflex openings. A blue LED on the front of the housing provides information about the operating status of the product. The product can be operated from 100 to 240V mains voltage via the voltage control, which is only accessible internally.

All control and connection options are located on the back of the housing and have been placed slightly recessed to protect against transport damage. At the top is the illuminated display measuring 65 x 15 millimeters, with the MP3 player's controls in the form of push buttons placed directly underneath. A USB stick or a MicroSD card is used to feed tracks; the appropriate sockets are located directly next to the player. The built-in player supports the formats MP3, the Windows-based WMA and the Apple codec AAC.

If you place a stick in the product, you will receive extensive information about the memory contents with the folder name, title display, playing time and remaining titles, with small symbols in the lower right part of the display indicating whether it is a USB stick or a memory card. A single volume potentiometer regulates the output volume, with a small slider underneath deciding whether the left, right or both channels are reproduced through the speakers in a monophonic mix. By the way, the mixdown works without any phase cancellation.

A contour pressure switch can be used to activate a loudness setting in “bathtub EQ” (bass and treble in, mids out), which makes the sound more “pleasing”. This setting is a master equalizer and also influences the tone control of the applied microphone or line signals. There are no other sound or dynamic processing options in the form of filters or compressors.

Additional connections include two XLR/jack combination sockets with separate volume control. The two volume controls manage both a microphone and an applied line level. In the position 7 o'clock up to 12 o'clock, line signals are managed, from 12 o'clock to 5 p.m. the microphone signals are processed. A built-in limiter, which announces its use with a red LED, prevents the internal speakers from being overloaded and automatically reduces the volume if the level is too high.

In order to be able to connect several components to form a daisy chain operation, the Alto TS115 Vibe also has an XLR output, which picks up the signal either before or after the volume control. To prevent hum loops when linking several active systems, the system also has a switchable ground lift. A comparatively quiet fan ensures sufficient cooling within the case.

Practice

When the power switch is activated, the system boots up silently without the infamous switch-on impulse. First of all, when exposed to music, the Alto TS115 Vibe impresses with its transparent, powerful basic sound, which generates a frequency-even reproduction. Even in the crossover range, which is 2.5 kilohertz in this design, there are no frequency drops or acoustic gaps. In order to use the internal MP3 player, the USB stick or the MicroSD card must be formatted in FAT16 or FAT32; Mac formats such as OS Extended etc. are not supported.

In return, the player supports all common sample rates from the underground 8kHz up to 48 kHz, but without the CD standard audio formats AIF and WAV. If you place a microphone at the appropriate input, the maximum volume is reduced slightly for feedback reasons. It makes sense for a quick start, otherwise the usual setup techniques must be taken into account. Unfortunately, the XLR plugs cannot be locked in the socket, which results in a loss of signal flow if the position is changed carelessly.

As a stage monitor in wedge positioning, the Alto TS115 Vibe also leaves a good impression, although the symmetrical alignment of the two outer parts unfortunately does not allow for different beam angles. For an average drummer, the system can also be used as a drum fill, provided you are not a Motörhead. As expected, moderate sidefill use can also be practiced, but club stage dimensions should not be exceeded. In the P.A. In this area, the box shines with good acoustic illumination and good power reserves with a comparatively low weight.

Conclusion

The ALTO TS115 Vibe is an all-rounder on the market that shines with very good key data. Peak power of up to 800 watts with a comparatively low transport weight of 18 kilograms, road-suitable processing as well as universal mounting options up to the flown version enable a wide range of applications in the area of stage and hall sound reinforcement.

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Additional Informations:

Alto Professional, a prominent entity in the professional audio equipment domain, has solidified its position as a vanguard in the industry. Since its establishment in 2000, the company has been unwavering in its mission to revolutionize the auditory experience through a fusion of advanced technology and pragmatic design. This article delves into Alto Professional's extensive history, its multifaceted product line, technological innovations, global impact, educational initiatives, and its enduring legacy within the professional audio landscape.

### **A History of Pioneering Excellence**

Founded two decades ago, Alto Professional set out with a visionary objective: to redefine the auditory landscape. The company's core ethos has been centered on merging state-of-the-art technology with pragmatic utility to cater comprehensively to the requirements of professionals, musicians, and audiophiles. This unwavering dedication to excellence has been instrumental in elevating Alto Professional's stature within the industry.

### **A Multifaceted and Versatile Product Portfolio**

A hallmark of Alto Professional's standing is its expansive product catalog, encompassing an extensive array of equipment meticulously tailored to suit diverse audio environments and applications. Key product categories that have underscored the company's reputation include:

#### 1. **Loudspeakers and PA Systems**

Alto Professional's loudspeakers and PA systems have attained eminence for their unparalleled clarity, formidable power, and exceptional versatility. The product spectrum ranges from compact, portable PA systems, ideal for intimate venues, to high-output line arrays engineered to fill vast concert arenas. Eminent series such as the Truesonic and the Black Series have garnered accolades for their unwavering reliability and superlative sound quality.

#### 2. **Mixers and Mixing Consoles**

The company's mixing consoles and audio mixers are lauded for their intuitive design and superlative audio fidelity. From compact mixers tailored for small live performances to feature-rich digital consoles tailored for professional sound reinforcement in expansive venues, Alto Professional's portfolio caters comprehensively to a broad spectrum of mixing requisites.

#### 3. **Amplifiers and Signal Processors**

Alto Professional's amplifiers and signal processors play a pivotal role in augmenting audio performance. These devices are engineered with precision to provide nuanced audio control, ensuring that the audio signal remains crystalline and potent throughout the audio chain, from source to output.

#### 4. **Wireless Microphone Systems**

In the domain of wireless audio, Alto Professional offers cutting-edge wireless microphone systems renowned for their sonic clarity and steadfast reliability. These systems are indispensable for live performances, presentations, and myriad applications where mobility and unencumbered movement are prerequisites.

#### 5. **Studio Monitors and Recording Gear**

For recording and studio ecosystems, Alto Professional provides studio monitors and recording equipment meticulously designed to meet the exacting requirements of audio professionals. These studio monitors are lauded for their precision in sound reproduction, rendering them indispensable tools for producers and engineers demanding exacting fidelity.

### **Innovations at the Cutting Edge of Sound Technology**

Alto Professional's enduring influence stems from its unwavering commitment to technological innovation. The company continuously explores avant-garde technologies to enhance the quality and functionality of its products. This commitment to pushing the boundaries of audio technology is manifest in the seamless integration of digital signal processing (DSP) to achieve precise audio control and the utilization of advanced materials and engineering methodologies in speaker design.

### **Global Reach and Imprint**

Alto Professional's global influence within the audio industry is profound. With a presence spanning numerous nations and an extensive network of dealers and distributors, the company has effectively disseminated its products to an eclectic array of clientele. Its products find application in diverse environments, including music venues, recording studios, places of worship, educational institutions, and various settings where superior sound quality is imperative.

### **Educational Outreach and Unyielding Support**

In addition to its pursuit of audio equipment par excellence, Alto Professional is unwavering in its commitment to education and customer support. The company provides a wealth of resources, tutorials, and training programs aimed at empowering musicians, sound engineers, and audio professionals to harness the full potential of their equipment. This dedication to customer support and education has further cemented Alto Professional's status as a dependable partner in the audio industry.

### **Conclusion: A Resonant Legacy**

In conclusion, Alto Professional stands as an exemplar of excellence in the sphere of professional audio equipment. With a rich legacy, an expansive and diverse product catalog, an unrelenting dedication to technological innovation, a global footprint, and an emphasis on education and support, the company has consistently pushed the envelope of what is achievable in the realm of sound reinforcement. Alto Professional's lasting legacy transcends mere technological prowess; it is a legacy of profound influence, one that has molded the standards for audio quality and performance in professional domains. It remains an enduring beacon of inspiration for audio professionals and aficionados worldwide, underscoring Alto Professional's enduring eminence in the pursuit of audio excellence.

TEST: Alto TS 310

 Ever smaller, ever more powerful, ever lighter, with the current active full-range loudspeakers there is actually only one direction with the maxim: how can I illuminate a maximum area acoustically with a minimum of transport effort. Another contender comes from Alto, is an offspring of the current TS series and also goes by the name Alto TS 310 and once again follows the principle “Designed in the USA, Made in China”. This test will show to what extent the box can hold its own in practice with a retail price of only €233

The scope of application of the Alto TS 310

The times of specialists seem to be receding more and more into the background and can actually only assert themselves on large, professional stages. The entire consumer sector is firmly in the hands of multifunctional boxes, which also include the Alto TS 310, although Alto is in this regard. put a few more spins on it. In addition to the standards such as high stand operation and floor monitor, the Alto TS 310 is also equipped with M10 flight points, which greatly increases flexibility in stationary operation.

What's interesting is that Alto puts a lot of focus on DJ operation with their product, so that a commercially available DJ mixer actually serves as a reference in the manual as an application example for 2 speakers. To what extent the speakers, especially in the bass range, The practical test will show that the requirements are met.

The construction of the Alto TS 310

The Alto TS 310 is an active two-way speaker, which is rated at 1,000 watts RMS and a peak of 2,000 watts, a value that is definitely in the upper range in this class. In the RMS range, the breakdown is 650 watts for the 10-inch woofer and 350 watts for the 1.4-inch neodymium driver, which represents an unusually strong focus on the tweeter in terms of power output. We will discuss later to what extent these values correspond to practical suitability. The separation is at 2.5 kHz, with the beam angle once again being 90 degrees horizontally and 60 degrees vertically. The frequency response is given as 54 Hz - 20 kHz at a sound pressure of 126 dB (SPL @ 1m)

With dimensions of 524 mm x 320 mm x 300 mm, the box is extremely handy and, with a weight of 11.8 kg, is also comparatively easy to transport. The housing made of polypropylene is impeccably crafted and protects the two speakers with a solid, black metal grille. The system has two handles on the sides, which in this size are usually sufficient for transport and balancing on high stands. If you want to keep the look of the boxes for a little longer, we recommend purchasing the optional protective cover TS210, which costs €28.

Both in the upright position and in wedge operation, the Alto TS 310 is held in place by 4 shaped feet (upright operation) or a small grooved surface (wedge operation), which are machined from the polypropylene. The stability ranges from good (upright operation) to sufficient (wedge operation), but the slip resistance can only be described as moderate due to the non-rubberized surface. All controls are located on the back of the housing and have been provisionally secured with two protruding edges to prevent them from breaking off. In addition to the box, the scope of delivery also includes a power cable and a multilingual, simple manual.

The connection options on the back of the housing have been kept very simple and include the management of 2 input sources, each of which can accommodate a jack, TRS and XLR with a combination socket. A gain control with 0 dB raster allows you to adjust the level between the line and microphone signals, and a red Peal LED helps with overloading. There is no sound control at all, only a contour switch provides a bit of a scoop/loudness feeling with an increase in the treble and bass range of 3 dB. For daisy chain operation, the Alto TS 310 also has an Since the system is passively cooled, the Alto TS 310 operates at a very low noise level, which offers great advantages, especially at small events.

In practice

As elegant as the surface of the Alto TS 310 may appear when delivered from the factory, it is also susceptible to scratches, so I definitely recommend factoring the costs for the protective cover into your budget. A worn-out box may still have some charm with the local punk combo, but it seems completely out of place when it comes to a presentation. Despite the stated values in the four-digit watt range, you should not ignore the practical key data of the box. A pair of speakers will be able to adequately provide sound for a small gathering of 50 - 60 people, but no more is possible.

I tested the system in three different areas. On the one hand as a wedge in a rehearsal studio, in high stand operation in a small hall and in high stand operation in a large open outdoor area.

The first sound impression with the Contour switch deactivated and the neutral tone control is decent. The bass range is surprisingly present, significantly more than I would have expected from a 10-inch device. The highs sound a bit busy, the midrange sounds comparatively balanced. You immediately notice that the tweeter, which is slightly larger than the standard 1-inch drivers, extends nicely into the high-mids and covers a significantly better mid-range content than what is normally offered in this performance class. A good start.

Pressing the contour switch changes the sound characteristics significantly. The treble range clearly gains in presence and character and the bass range is also pushed strongly, but stops just before the drone and holds the volume surprisingly well without tipping over. In this setting, the system will already be able to cover a large part of its range of application without having to use another EQ from the console or similar. However, restrictions must be made in the area of the “physicality” of the sound. It is truly impressive what bass the Alto TS 310 gets out of the 10 inch speaker and housing construction, but of course it cannot replace an additional subwoofer. As expected, the 10-inch device has physical limits that cannot be overcome even with the best design.

Let’s now come to the “eye-catchers” of the Alto TS 310, the performance specifications. I am still of the opinion that no company does itself a favor by using the last physically determined values as a hook and selling these to the customer as a standard. For every hobby speaker who basks in the number “2,000”, there are around 10 disappointed customers who expected more from the number. The fact is that the box is loud, even very loud for its size, but in the last performance range the previously good sound of the construction turns into an unpleasantly harsh, sometimes distorted sound, which significantly reduces the quality of the product.

Not only is the “2,000 watt” peak not reached in practice, you also don’t want to push the box to its limits in the power range below that, unless you want to turn to the experimental area of music. A targeted peak power of 1 KW with a reduction of approx. 600 watts would suit the system very well and leave a really good sound impression right up to the performance limit. In this way, however, you run the risk of burdening the listener more than pleasing the listener if you use the right amount of power.

Conclusion

With the Alto TS 310, the American manufacturer has an inexpensive full-range box with good sound and high flexibility in its range. The system sounds much more mature than what the dimensions suggest and offers a wide range of possible uses with a high stand, floor monitor and flight operation.

If the manufacturer were not, like many of its colleagues, to peddle unrealistic performance specifications and thus create expectations that cannot be met in practice, the box would leave an all-round successful impression. This leaves you with a very decent sounding box, where you have to be very careful with the control path in the last quarter of the volume controls.

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Additional Informations:

Alto Professional, a prominent and distinguished name in the realm of professional audio equipment, has been at the forefront of the industry for several decades. With an unwavering commitment to delivering high-quality sound reinforcement solutions, the company has not only set the standard for excellence but has also significantly influenced the way music is experienced and presented. In this comprehensive article, we will take an in-depth look at Alto Professional's remarkable journey, its extensive and diverse range of products, its technological innovations, global impact, educational initiatives, and the lasting legacy it has created in the world of professional audio.

### **A Legacy of Excellence**

Founded in 2000, Alto Professional emerged with a visionary mission: to redefine the audio experience. From its inception, the company demonstrated a relentless dedication to combining cutting-edge technology with practicality, aiming to meet the diverse needs of audio professionals, musicians, and enthusiasts. This commitment to excellence has been a driving force behind Alto Professional's growth and influence in the industry.

### **Expansive and Versatile Product Portfolio**

One of Alto Professional's standout attributes is its comprehensive product catalog, which encompasses a wide array of equipment tailored to meet the demands of various audio environments and applications. Let's delve into some of the key product categories that have solidified the company's reputation:

#### 1. **Loudspeakers and PA Systems**

Alto Professional's loudspeakers and PA systems have become synonymous with clarity, power, and versatility. The product lineup includes everything from compact portable PA systems ideal for intimate venues to high-output line arrays that can fill vast concert halls. Notable series like the Truesonic and the Black Series have earned acclaim for their reliability and exceptional sound quality.

#### 2. **Mixers and Mixing Consoles**

The company's mixing consoles and audio mixers are celebrated for their intuitive design and exceptional audio fidelity. Whether it's a compact mixer for small live performances or a feature-rich digital console for professional sound reinforcement in larger venues, Alto Professional's lineup caters to a broad spectrum of mixing requirements.

#### 3. **Amplifiers and Signal Processors**

Alto Professional's amplifiers and signal processors play a pivotal role in enhancing audio performance. These products are engineered to provide precise audio control and ensure that the signal remains clear and powerful throughout the entire sound chain, from source to output.

#### 4. **Wireless Microphone Systems**

In the realm of wireless audio, Alto Professional offers state-of-the-art wireless microphone systems known for their clarity and reliability. These systems are invaluable for live performances, presentations, and various applications where mobility and freedom of movement are essential.

#### 5. **Studio Monitors and Recording Gear**

For recording and studio environments, Alto Professional provides studio monitors and recording gear that meet the exacting demands of audio professionals. These studio monitors offer accurate sound reproduction, making them indispensable tools for producers and engineers striving for precision in their work.

### **Innovations Pioneering Sound Technology**

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Alto Professional's influence on the global audio industry is profound. With a presence in numerous countries and an extensive network of dealers and distributors, the company has effectively reached and served a diverse range of customers. Its products can be found in music venues, recording studios, houses of worship, educational institutions, and countless other settings where premium sound quality is paramount.

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TEST: Allpedal Devils Triad

 Some insiders will know Jeff Loomis from his work with “Nevermore”, but he made his final leap into the top league with his entry into “Arch Enemy” in 2014, where, in contrast to Michael Amott, who was primarily responsible for the is responsible for the composition work and takes over the virtuoso parts of the guitar work. I met both of them for a friendly chat at the Alpenflair Festival this year, as they both had the dressing room next to us and entered the stage after us. I was invited to watch their show from the stage, but I couldn't see whether Jeff Loomis was already using his all-pedal Devil's Triad OD/BST/REV/DEL, as he only had a large midi bar at his feet as a control center , although you can of course easily integrate your signature pedal into your setup using a looper. We have the same pedal for testing today.

The concept of the Allpedal Devil's Triad OD/BST/REV/DEL

Allpedal have come up with really nice packaging. Black, visually appealing packaging with a magnetic closure ensures a good first impression. There is also a marketing sticker and four stick-on feet if the pedal is not attached to a floorboard. The pedal itself also looks very appealing with its red, black and white skull appearance and should attract the attention of genre fans.

With his Allpedal Devil's Triad OD/BST/REV/DEL pedal, Jeff Loomis is taking up a trend that has gained massive popularity recently. We're talking about a pedal that reflects the artist's general basic sound, usually in the form of an overdrive/distortion pedal, has one or two preferred effects installed and, in case of doubt, can be used on any amp with a serial FX loop by using the FX -Return is used as a power amp and the pedal as a preamp. In this case, it is important to optimally adjust the output level of the pedal, as the combination preamp / pedal - FX return, preamp / pedal - external 19 inch power amplifier or preamp / pedal - input amp each require completely different output levels and, if adjusted incorrectly, one will be irrelevant produce a thin or muddy over-pressed sound.

The principle of the Allpedal Devils Triad OD/BST/REV/DEL, developed and built in the USA, is to accommodate four different effects in one housing, such as overdrive, boost, delay and reverb. The four functions share three ON-OFF switches, with reverb and delay having to share one switch. The entire hardware is completely black except for the boost controller, which comes in a bright red. The Drive, Reverb and Delay effects each have three control knobs, which are pleasantly stiff and have the following control options:

Drive FX: Drive: Analog op-amp with Soft Clipping 260K @ 1KhZ, Level: Off - 20db, Tone: 10db Boost @ 4KhZ | 15db cut @ 4KhZ - Gain: Increases Signal to the clipping LEDS to increase distortion.

Delay: Analog signal path with digital repeats. - Measured input impedance: 250K @ 1KhZ - Level: Volume of the repeats, dry signal always unity level. - Feedback: Number of repeats. - Delay: Time between repeats ~50ms minimum / ~500ms maximum.

Reverb: Analog signal path with digital plate reverb emulator. - Level: Volume of wet signal, dry signal always unity level. - Tone: Attenuates highs from wet signal only. - Decay: Sets the level of wet signal feedback.

Boost: Analog op-amp - Measured input impedance: 325K @ 1KhZ - Boost: Unity - 20db


Unfortunately, the labels on the respective controls are very small and can only be deciphered if you look closely. It is therefore best for the live situation to learn the respective control functions by heart if you want to access them during the show. The pedal itself is very solid, which suggests a long service life. The respective effects are each provided with an LED, which provides information about the on-off status, while a large red LED provides information about the applied mains voltage. With dimensions (W x D x H): 146 mm x 119 mm x 60 mm and a weight of 547 grams, the pedal still remains within the range of normal parameters. A standard 9V connection with a hollow plug is sufficient for the power supply.

In order to be able to use the total of four effects perfectly and distribute them on the respective amp, the pedal has an input and an output on the front for both the drive boost section and the delay reverb section. With the Allpedal Devils Triad OD/BST/REV/DEL, Jeff Loomis uses the Four Cable Method, which integrates the preamp section of the respective amplifier into the setup with the external pedal. With this method, both the pre-amp of the amplifier can access the effects of the effects pedal, and the pre-amp function of the pedal can access the power amp of the amplifier without having to go through the pre-amp. This generally allows for significantly greater flexibility in terms of sound than standard wiring.


The Allpedal Devils Triad OD/BST/REV/DEL in practice.

As expected, the Allpedal Devils Triad OD/BST/REV/DEL focuses primarily on high gain sounds of different stripes. The pedal offers a highly compressed basic sound, the sharpness of which can be adjusted somewhat. Even though many sound examples on the internet refer to hard rock or classic rock attitudes, yes, you can of course achieve good sounds with this pedal even at lower gain settings, but the primary application of this pedal is not rock, but metal. The interaction with the dynamics of your personal playing style is a bit too limited for a real rock sound, which means that the pedal irons out the level differences relatively strongly to an average level and primarily only differs in the gain range.

But this is by no means meant negatively, because a signature pedal should of course particularly reflect the characteristics of the respective artist in their preferred style and not be an all-rounder in the classic sense. As soon as we get into the metal area, the pedal can fully demonstrate its true strengths. Even at high gain settings, the sound remains comparatively transparent, both in rhythm and in solo areas. Provided you play cleanly, the high compression offers a good basis for pumping heavy sounds, also in the downtuning area.

The level, or boost function, deserves special attention, as the signal level can be increased to +40 dB by combining the two controls. This not only allows you to find the perfect level for the respective power amplifier response, as previously mentioned, but you can also use this boost function to drive somewhat discreet amps into a sweet spot in which the amp can offer its best sound quality. In particular, all-tube amplifiers that are designed to be relatively open in the output stage with a low scoop approach, such as Marshall, Hiwatt, Soundcity or similar, should benefit from the approach of the Allpedal Devils Triad OD/BST/REV/DEL.

In the area of the 4-cable method, the user also benefits from the sound quality of the reverb and delay units, which are spartan in their control but quite effective in their sound design. The two effects offer a good basis, especially if you want to give your guitar a subtle color in solo or clean passages.
For more unusual ambient sounds, I would like a slightly higher resolution and more complex control, but as I said, that's not what the pedal was designed for.

All in all, you have to attest to the pedal's sound being exactly the same as its namesake. The pedal works excellently in metal and all its varieties, which is what it was ultimately designed for. It fulfills the function of a full-fledged guitar preamp, especially for the working musician who has to travel with small equipment, so that you can use almost any amp on site as long as it has a serial FX loop.

Addendum: I initially operated the pedal with a 100 mA power supply, but this resulted in a lot of mains hum. This problem was solved with a current of 250 mA. It is therefore important to ensure that the power supply unit used offers sufficient mA.

Conclusion

With the Allpedal Devils Triad OD/BST/REV/DEL, the American company Jeff Loomis has tailored a pedal that cuts a fine figure in every style of metal. The highly compressed basic sound offers a good basis for pumping palm-muted actions as well as for sustain-rich leads.

In combination with an extensive boost function, a good amp with a serial FX loop on the venue is enough to be able to implement the majority of your personal repertoire without additional equipment, which greatly reduces the workload for the working musician.

A high-quality pedal that deserves to be tested!

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Additional Informations:

Jeff Loomis, an American guitar virtuoso hailing from Appleton, Wisconsin, has left an indelible mark on the world of heavy metal and progressive music. Born on September 14, 1971, Loomis's career is nothing short of a saga, marked by remarkable technical proficiency, creative innovation, and enduring dedication to his craft. In this comprehensive article, we will delve into every nuance of Jeff Loomis's life, career, and his profound influence on the realm of electric guitar.

### Early Life and Musical Genesis

Jeff Loomis's journey into the realm of music commenced in his formative years. Growing up in a family with a strong musical inclination, he was introduced to the guitar at the tender age of 9. It was evident from the outset that young Jeff possessed an innate gift for the instrument. His influences at this early stage included revered guitarists such as Marty Friedman and Jason Becker, whose complex, neoclassical styles would go on to shape Loomis's distinctive approach to the guitar.

### Shaping the Soundscape with Nevermore

Loomis's career breakthrough arrived when he joined the Seattle-based progressive metal band, Nevermore, in 1994. His entrance into the group marked a turning point for both himself and the band. Jeff's unparalleled technical prowess and songwriting skills quickly established him as a pivotal figure in shaping Nevermore's signature sound.

During his tenure with the band, Loomis contributed significantly to a series of critically acclaimed albums, including "Dead Heart in a Dead World" and "This Godless Endeavor." Notably, his composition "The Seven Tongues of God" showcased his ability to craft intricate guitar harmonies, marrying technical complexity with poignant melodies.

### "Zero Order Phase" and the Solo Odyssey

In 2008, Jeff Loomis embarked on a solo career with the release of his debut instrumental album, "Zero Order Phase." This opus showcased Loomis's full spectrum as a musician, intertwining elements of progressive metal, neoclassical shred, and profound melodic sensibility. The album stands as a testament to his prowess, with tracks like "Miles of Machines" and "Shouting Fire at a Funeral" becoming instant classics among guitar enthusiasts.

"Zero Order Phase" heralded Loomis's arrival as a solo artist of paramount importance, establishing him as a modern guitar hero capable of pushing the boundaries of his craft.

### The Arch Enemy Phase

In 2014, Jeff Loomis received a call that would further enhance his reputation in the metal community. He was invited to join the influential melodic death metal band Arch Enemy, stepping into the shoes of guitarist Nick Cordle. His inclusion in the band elevated Arch Enemy's sound to new heights, with Loomis's guitar solos and songwriting contributions injecting fresh energy into their music.

His work with Arch Enemy can be savored on albums like "War Eternal" and "Will to Power." Jeff Loomis's intricate leads and harmonies added depth and complexity to the band's relentless aggression, demonstrating his remarkable versatility as a guitarist.

### Signature Guitars and the Science of Sound

Beyond his playing and songwriting, Jeff Loomis has significantly impacted the world of guitar manufacturing. Collaborating with companies such as Schecter Guitar Research, he has designed signature guitar models tailored to the demands of modern metal guitarists. These instruments typically feature extended scale lengths, high-output pickups, and ergonomic designs, engineered for both precision and comfort during relentless shredding and heavy riffing.

In the realm of gear, Loomis is known for his preference for amplifiers from companies like Kemper and Randall, supplemented by a diverse array of effects pedals. His meticulous attention to his sound has resulted in a tone that is not only powerful but also highly distinctive.

### Legacy and Ongoing Influence

Jeff Loomis's contributions to the heavy metal and progressive music spheres are immeasurable. His innovative approach to guitar playing, characterized by the fusion of technicality with deep emotional expression, has served as an enduring source of inspiration for countless guitarists and bands worldwide. His legacy extends not just through his own music but also through the generation of guitarists he has mentored and influenced.

In summation, Jeff Loomis stands as an undisputed icon in the world of heavy metal guitar. His extraordinary journey, from a young guitar enthusiast in the heartland of America to a globally celebrated virtuoso, is a testament to his unwavering dedication, unparalleled talent, and a boundless passion for music. Whether blazing through complex compositions with bands like Nevermore and Arch Enemy or captivating audiences with his solo work, Jeff Loomis continues to push the boundaries of what is achievable on the six strings, leaving an enduring and indelible mark on the world of music.