TEST: ART Pro MPA II

 With their ART Pro MPA II, ART are once again highlighting their affinity for tubes. The comparatively very low retail price of under 400 euros, however, makes you frown a little. Can a classic tube sound be created for so little money?

The concept of the ART Pro MPA II

The ART Pro MPA II is a two-channel microphone preamplifier, which, as a special feature, has a double triode of type 12AX7 (ECC83) placed in the signal path per channel. This is one of the most common types of tubes used in instrumental applications, as they can almost without exception be found in every tube preamplifier of a guitar amplifier. However, the ART Pro MPA II is primarily constructed using transistor technology; the tube is located between the input and output stages and only provides coloring of the sound. A complete tube construction would not have been possible even with this retail price; you have to expect at least a four-digit amount here.

In general, the product is aimed at users who are visually attracted to vintage equipment, as the two large VU meters are a visual eye-catcher. Both meters can be readjusted using a small screwdriver if necessary and, together with the two 8-digit LED chains, enable extensive management of the signal.

Personally, I think the natural inertia of a VU meter as an average level display with the fast peak LEDs for any peaks that may occur is the perfect way to monitor the applied voltage. However, the name “Tube Warmth” below the LED chains indicates a display behavior that is not clearly visible at first glance. The saturation of the tubes is displayed here, which often runs analogously to the increase in the deflection of the VU meters, but must be viewed separately from it.

The front of the ART Pro MPA II

A gain control per channel is mandatory, which already offers a pre-amplification of 40 dB. An additional switch was placed below the respective VU meters, which increases the gain factor by a further 20 dB if necessary. In conjunction with the amplification of the output stage, which can boost the signal by a further 10 dB, even very weak-signal ribbon microphone-style microphones are provided with sufficient catch-up amplification.

Another special feature is that the input impedance of the channel can be varied from 150 to 3000 ohms, which sometimes has a massive effect on the sound of the microphone. In most cases, microphones sound best for the majority of listeners due to their low load and high impedance, but it is always worth experimenting a little with the control. The sonic possibilities definitely multiply.

Below the gain control there is a high-impedance jack input, which also enables the connection of high-impedance instruments such as electric bass or electric piano. ATTENTION, as a little practical tip, it is often said that you can also connect electric guitars to inputs of this type. From an electrical point of view yes, from a sound point of view definitely not! The characteristic sound of an electric guitar is only available in conjunction with a high-quality, microphoned amplifier or at least a good modeling amp in the style of a Kemper amp (which then also uses other inputs), unless you really want the “eighties” sound. Strat-Clean-PU-Select-Switch-to-4-directly-into-the-console” sound that cannot be beaten in terms of sterility.

To the right of the Hz input there is a high pass whose frequency can be adjusted between 7.5 - 200 Hz. It is impossible to determine whether the lowest frequency has any meaning or whether it is just an extreme value that looks good in the buyer's eyes, but low cut filters with values in the single-digit Hz range are completely meaningless in practice. It continues with 4 pressure switches, whereby in addition to the +20 dB switch already mentioned, the 48 V phantom power can be activated, the phase can be rotated and the anode voltage of the double triode can be changed. In the High setting, the tube proves to be somewhat more stable in saturation at large amplitudes than in the Normal setting. So if you like the sound to be a little cleaner, you should go to “High”, for a little more “dirt” please use “Normal”.

If you turn to the middle of the ART Pro MPA II front panel, an unusual but very practical switch appears, which switches the preamp into the M/S matrix, in which the stereo effect is achieved solely through level differences, not through delay differences between the channels. Normally, a circuit like this requires a little more effort; here the task is done for you with a simple push. A very good detail.

Another feature increases the flexibility of the preamp immensely. The ART Pro MPA II can be switched from a dual mono to a stereo device using a pressure switch on the right of the housing, with the left output control now managing both channels in terms of output level, while the right output control mutates into a stereo balance control.

The back of the ART Pro MPA II

On the back of the ART Pro MPA II, things are comparatively unspectacular, although again very practical. In contrast to the Hz inputs, which are located on the front, the balanced XLR inputs and outputs are on the back of the housing. The output is available as both XLR and TRS, both outputs are symmetrical. Using an additional switch you can choose between the hobby / HiFi level of -10 dBV and the professional level of + 4 dBu.

The inner workings of the ART Pro MPA II

A popular selling point for preamps is the concept of a discrete circuit, which does not work with integrated circuits but with individual transistors, which usually has a positive effect on the sound. The rest of the equipment is also quite convincing based on the names. OP's type NE5532 along with the Burr Brown OPA 2134 and a powerful toroidal transformer, which is also responsible for the majority of the rather heavy weight of just under 5 kilograms, raise expectations for the sound result.

The ART Pro MPA II in practice

Anyone who peddles the sales argument of a tube will, as expected, have to put up with a lot more when it comes to saturation than their competitors who are based purely on transistors. After activating the device, the LED chains initially perform a kind of “warm-up dance” until the double triodes have reached their operating temperatures.

In order to be able to assess the impedance controller's sound design, I used a dynamic microphone, which is known to require more amplification than the phantom power-supported condenser bolides. The subsequent sound files were made with a Beyerdynamics M 88, the “Phil Collins” microphone.

What makes a difference in terms of sound is the very clear and finely structured resolution of the ART Pro MPA II. Regardless of the saturation of the tube, the resolution of the signal is very benevolent and pleasant. As expected, the difference in sound with different input impedances is enormous and, as expected, almost all microphones sound best when turned to the right, i.e. with the highest possible impedance.

ART recommends starting at 12 o'clock at 600 ohms, but I wasn't that impressed with this setting. The ART Pro MPA II also handled condenser microphones and even the sometimes cumbersome and bass-heavy ribbon microphones perfectly without any complaints. One thing that was noticeable was that the preamp still operated with very little noise even at maximum pre-amplification. Adding tube saturation changed almost nothing in terms of the amount of background noise.

As expected, the tube circuitry has more of an effect on the color of the signal and less on the basic sound itself. The compression of the signal increases marginally, hence the subjectively perceived volume of the signal, but this cannot hide the fact that it is more or less a nice bonus rather than a style-defining element within the sound shaping.

Conclusion

With the ART Pro MPA II, the American manufacturer with Chinese production is consistently continuing its push for tube coloring at a low retail price. With a comparatively low retail price of less than 400 euros, the preamp offers a high degree of flexibility in terms of possible uses, high-quality components, extremely little background noise, a discrete circuit and a tastefully roaring coloring of the signal. You certainly can't expect a transistor-free all-tube sound at this retail price, but the product still impresses with a high density of top performers in its construction.

If you want to improve your sound shaping compared to the generally poor preamplifiers of your audio interface, you should definitely give the product a try.

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Additional Informations:

ART Audio, founded in 1988 by Tom Willis, is a company that has made a significant mark in the high-fidelity audio equipment industry. The brand stands out for its dedication to enhancing the listening experience of recorded music, a mission that is reflected in every aspect of its product design and development.

### Philosophy and Design Approach
ART Audio's philosophy is centered around the use of valve amplifiers. Despite the digital era's advancements, the company has identified and embraced the unique qualities that valve amplifiers bring to audio reproduction. These amplifiers are known for their ability to soften the sometimes aggressive nature of digital sound sources, thereby enriching the musicality of the audio.

This approach is not just a matter of component selection but a comprehensive design philosophy that prioritizes musicality and listening pleasure. ART Audio’s products are characterized by their meticulous engineering and attention to detail, resulting in equipment that is both technically proficient and emotionally resonant.

### Product Range and Features
ART Audio's product range showcases a commitment to high-quality audio reproduction:

1. **Tube Amplifiers and Preamps**: Their amplifiers and preamps are noted for their exceptional sound quality. Notable examples include the Art Audio Carissa SET 845 and the Art Audio PX25 MKii, each offering unique characteristics in terms of power output and sound quality.

2. **Phono Stages and Turntables**: Catering to the vinyl resurgence, ART Audio also produces turntables and phono stages, enhancing the analog listening experience for vinyl enthusiasts.

3. **Mono-Block and Stereo Power Amplifiers**: Their lineup includes both mono-block and stereo power amplifiers. The mono-block amplifiers are designed for those seeking the ultimate in power and separation, while the stereo amplifiers provide a more compact solution without compromising on quality.

4. **Integrated Amplifiers**: For those seeking a combination of a preamplifier and power amplifier in a single unit, ART Audio's integrated amplifiers offer a convenient yet high-quality option.

### Hand-Crafted Quality
Each product from ART Audio is hand-made in the UK, ensuring meticulous attention to detail and quality. This craftsmanship is a key component of the brand's identity, reflecting a blend of traditional techniques and modern audio technology.

### The ART Audio Experience
ART Audio's equipment is designed not just for technical excellence but for creating a deeper emotional connection with music. Their products are known to deliver a listening experience that is both immersive and emotionally engaging, resonating with both audiophiles and casual listeners.

### Market Position and Customer Base
The brand has cultivated a loyal following among audiophiles and music enthusiasts who appreciate the nuanced and rich sound quality that valve amplifiers provide. Their products are often found in high-end audio setups and are respected for their ability to deliver a superior listening experience.

### Future Outlook
As a company, ART Audio balances respect for the past with a vision for the future. They continue to innovate and adapt, ensuring that their products remain relevant and desirable in an ever-evolving audio landscape.

In summary, ART Audio represents a unique blend of traditional craftsmanship and modern audio technology, with a strong emphasis on the emotional impact of music. Their dedication to quality, combined with a deep understanding of what makes music listening enjoyable, positions them as a distinguished name in the high-fidelity audio equipment industry.

TEST: Apogee One

 The fact that, in addition to sophisticated technology, a crisp appearance also determines the final sales figures seems to have been at the top of the decision-making pile at Apogee with their new Apogee One interface. In keeping with the style of the company with the gnawed fruit from Cupertino, the look, feel, packaging and even smell are very much based on the Apple Group. Consistently until the end, Apogge One removes all products from the cooperation list that were not developed by the most famous turtleneck in the world. But after a long time there is once again a converter “Made in the U.S.A.”

At the same time, however, the user also has to dig a little deeper into his pockets, which, given the street price of just under €350, could deter some people from investing. However, if Apogee even partially succeeds in implementing their legendary converter qualities into the One Interface, the selling price will be put into perspective many times over. Unlike many other competitors, the Apogee One interface also has a built-in microphone, which makes quick recordings comparatively uncomplicated. A USB cable is also included in delivery
Each includes an iOS 30-pin + Lightning cable, a breakout cable (jack / XLR), power supply and a holding adapter for a microphone stand.


construction

Apogee is demonstrating a very successful strategy with its exclusive cooperation with Apple. On the one hand, you use the inherently more musician-oriented design of Apple devices compared to the competition in order to adapt the appearance and hardware to your desired candidate and thus guarantee the corporate identity. Furthermore, the audio connection peripherals of the devices, which are also inherently poor, are taken into account and the interface is as compact and well-equipped as possible, which makes use of the DAW's usually good to very good processor performance. Has a bit of the clownfish and the anemone.

So what can the Apogee One do, or rather what is its area of application?

1.) It is a studio quality voice recorder. Ideas, simple vocal recordings, interviews or those often forgotten podcasts can be created quickly and easily with the product.

2.) It is a classic interface that passes guitar, bass or an external microphone to the DAW. In addition to the mono signal, the internal microphone can also be recorded, meaning a singer/songwriter idea with guitar and vocals can also be quickly archived.

3.) It is a headphone amplifier, or it feeds active speakers with a stereo signal.

In all of the variants mentioned above, you are spared having to turn the headphones off or on the Mac or, even worse, the iOS device. Who doesn't know the kinked earphone plugs or broken sockets on Apple devices? Horrible...


In terms of casing technology, the Apogee One has to be given a very good rating both visually and haptically. The housing is made entirely of black anodized aluminum with a silver, contrasting strip for the internal microphone. With dimensions of 16 cm x 5.5 cm x 3.2 cm (D x W x H), it clearly towers over the iPhone 5, but still sits comfortably in the hand like a remote control. On the front, a large aluminum endless regulator with a pressure function sets the tone. Above the controller there are 2 LED chains, each with 3 (green / yellow / red) LEDs, followed by 4 pictograms, which provide information about the signal present. A rubber surface was glued to the back, which ensures good slip resistance even on smooth surfaces.

In contrast to the previous model, which only ran under OSX and got its power from the USB port, the current version can also be operated using a power supply or 2 AA batteries, which is also necessary for mobile operation using an iPhone or iPad. Compared to the previous model, which reached the maximum at a sample rate of 48 kHz, the current version can boast values of up to 96 kHz with a word width of 24 bits. Of course, the Apogee One also has 48V phantom power for corresponding condenser microphones.


Practice

The nice thing about a strictly defined target group is that the product is usually easy to use. This was also the case in this case, where there were no problems whatsoever when coupling the device and interface. The interface worked particularly well with Apple's own Garageband series, especially since this product is likely to be the main area of application for the Apogee One.

When it comes to converter quality, Apogee maintains the high standard that you would expect from one of the biggest converter names in the scene. Neutral, high resolution and without any background noise, the AD/DA section does its job without any criticism. With a pre-amplification of up to 62 dB, even very quiet sound sources can be adequately processed, which is also possible with the noise-free converter quality.

The built-in small diaphragm microphone does a good job. Even if the wish is obvious, a large diaphragm microphone of the upper class cannot replace it, but it lacks fine detail, resolution and character. Here you should still rely on your studio equipment if you want top results. However, when it comes to the on-the-fly area, the internal microphone is a real asset. The spatial capture is good, the handling is self-explanatory and video conferences in Skype will rarely have had better sound, given the bandwidth during the Transmission allows this.

A blessing is the included microphone stand holder, which accommodates the rather unusual housing shape perfectly. Only a few special holders are able to accurately place products with these dimensions on a tripod and would mean an additional financial burden.





Conclusion

The Apogee One Audio Interface represents a real enrichment of the handheld area. In terms of collaboration, look and feel, Apogee is exclusively dedicated to the Apple Group and manages to incorporate its extensive experience in converter quality into the product. Compared to its predecessor model, the product has perfect compatibility with the iOS group and, in addition to a dual independent power supply (power supply and batteries), also has an additional small diaphragm microphone, which expands the area of application to include interviews and podcasts.

Although the street price of just under 350 euros due to American production pushes the product into areas where desktop and 19-inch versions are already located, the overall character of the product still remains rounds off.

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Additional Informations:

Apogee Electronics, with its roots dating back to 1985, has developed a reputation for creating high-quality, professional audio equipment, favored by musicians, producers, and sound engineers worldwide. Their product range is comprehensive, covering audio interfaces, microphones, plugins, and accessories, each crafted with a focus on sound quality, ease of use, and innovative technology.

### Comprehensive Product Overview

#### Audio Interfaces
1. **Symphony Mk II**: This is Apogee's flagship audio interface, known for its exceptional audio quality and versatility. The Symphony Mk II is available in various configurations, catering to different studio needs. Its 16x16 Special Edition is particularly praised for its transparent sound quality, ideal for complex audio tasks like Dolby Atmos mixing. This interface is a favorite among top engineers and producers for its reliability and high-fidelity sound.

2. **Duet 3**: The Duet 3, recognized as a "Pro Mobile Studio," combines high-end audio conversion with portability and sleek design. It is popular among professionals for its ease of use and superior sound quality, making it a great choice for mobile recording setups and small home studios.

3. **Jam X**: Designed specifically for guitarists, the Jam X is a mobile guitar interface with built-in analog compression. It's celebrated for its ability to deliver high-quality sound in a compact and easy-to-use package, making it ideal for on-the-go musicians.

4. **BOOM**: The BOOM interface is aimed at entry-level users and offers professional sound quality at an affordable price. It's designed to be a straightforward and accessible solution for those new to audio recording or with smaller home studio setups.

5. **Symphony Desktop**: This studio desktop interface brings the quality of the Symphony series into a more compact form. It's a versatile tool for both studio and home use, offering top-notch audio conversion and processing in a more accessible desktop format.

#### Microphones
1. **ClipMic Digital**: This digital lapel microphone is designed for clear audio capture in various settings, including interviews, vlogs, and lectures.

2. **HypeMiC**: Known for its exceptional sound quality, the HypeMiC is a versatile microphone suited for professional recording environments.

3. **MiC Plus**: A USB microphone that caters to podcasters, streamers, and musicians, the MiC Plus is known for its ease of use and quality sound capture.

#### Plugins
Apogee also offers a suite of audio and effects plugins that enhance the functionality of their hardware. This includes:
- **Clearmountain Series Volume 1**: A collection of reverb, delay, and flanger/phaser plugins, modeled after sounds crafted by the legendary mix engineer Bob Clearmountain.
- **Clearmountain’s Phases**: A plugin offering unique modulation effects, including flanger and phaser, part of the Clearmountain series.

#### Accessories and Add-ons
The company also provides a range of accessories to complement their primary products, including breakout cables, carry cases, and control devices. These accessories are designed to enhance the functionality and usability of Apogee's main products.

### Market Position and Pricing
Apogee caters to a wide range of customers with their pricing strategy. For example, the Symphony Desktop is a high-end interface priced at approximately $1,495, appealing to professional studios, while the BOOM audio interface, priced at around $249, offers an affordable solution for beginners.

### Industry Reputation and Usage
Apogee's products are widely respected in the industry, endorsed by Grammy-winning artists and producers. They are known for high fidelity, reliability, and user-friendly interfaces, making them a top choice in both professional and home studio setups.

### Commitment to Innovation
Since its inception, Apogee has consistently been at the forefront of digital audio technology. Their commitment to innovation is evident in their product development, continuously addressing the evolving needs of the music production and recording industry.

Apogee Electronics has firmly established itself as a leader in the digital audio equipment industry. Their diverse range of products, which includes high-end audio interfaces like the Symphony Mk II, versatile microphones such as the HypeMiC, and innovative plugins, caters to a broad spectrum of audio professionals and enthusiasts. The brand's emphasis on quality, innovation, and user experience has cemented its prestigious position in the digital audio world.

TEST: Apogee Jam

 Anyone who has dealt a little with studio technology in recent years will have noticed it. More and more of the really big names from the golden years of studio equipment are opening their doors to the consumer sector. No matter whether Focusrite, Eventide, Aphex or whatever they are called, they have all recognized that real sales growth can only be achieved in the budget range once the high-end range is saturated with products. This is usually only to be welcomed, as most providers manage to transport their experience into the cheaper range and also provide ambitious beginners with inexpensive products with comparatively high quality at a low price.

So it's not surprising that one of the big "converter names", Apogee, comes up with a very interesting product, called JAM. A small version converter specially designed for the guitar/bass range, which particularly scores points with its extremely compact dimensions and easy handling.



construction

Since digital technology replaced analog recording with tapes of all kinds, we all know the problem. Our computer has millions of plug-ins in almost every sequencer program, but how do I get my anachronistic electric guitar saved to hard drive? If you want to do without the microphone input on some computers, which usually has poor sound quality and is borderline in terms of input level, all that remains is more or less complex Firewire / USB solutions, which usually prove to be anything but handy or even transportable.

The JAM fits exactly into the gap and is hard to beat when it comes to reducing it to the essentials, not to mention the external dimensions. In addition to a standard jack input, the product, which is manufactured in the USA, only has two output adapters that allow connection to an iPad / iPhone or a computer (USB) and an adjustable preamplifier that boosts the applied signal by up to 40 dB. That's it! No drivers, no power supplies, no batteries, the product receives its operating voltage from the bus of the computer/device. The product can be firmly anchored using a Velcro strap and relieves the strain on the connecting cables if any tension occurs.

The signal is converted to the standard values 44.1 kHz at 24 bits. Unfortunately there is a rejection for PC users, the JAM is only available to Apple users, whereby iOS 4.3 or OSX 10.6.4 or higher must be taken into account as system requirements. Note, therefore no driver orgy! The only display on the device is a three-color LED, which provides information about the operating states “power supply” (blue LED), “optimal control” (green LED) and “clipping” (red LED). In addition, the JAM also has an automatically controlled soft limiter on board to minimize extremely hard-sounding digital clippings.


Practice

“Beautifully handy” is undoubtedly the first impression the product leaves when unpacking it. The workmanship is good, or cleanly executed, the handling is very easy, cable in, guitar in, cable in USB or dock connector, done! The guitar can now be heard through the PC speakers or headphones. Real plug-and-play, not one of the “more-or-less-plug” solutions that you unfortunately come across so often! You can now quickly record corresponding guitar tracks using appropriate software such as Garageband, or you can record the unprocessed guitar signal digitally and then “re-amp” the corresponding signal onto one of the associated plug-ins.

Depending on the plug-in quality, amazing results can be achieved; there are now even countless budget productions that have created the guitars exclusively with plug-ins. The current edition of Garageband already has an appealing selection of presets, and the electric guitar section in particular has been massively expanded as a new target group. In addition, the program for Mac and iPad can be purchased for very little money if you are not already the owner of this program.

However, when it comes to demos, this way of working puts you at the forefront; I have rarely been able to capture an idea as quickly as with the Apogee JAM. In addition, the product now really fits in any jacket pocket, cable box or guitar gig bag. When it comes to weight, you obviously have to look at the other side of the coin.

Due to its low weight, the JAM has almost no grip, no matter what surface you place it on. Even if the Velcro solution may seem undistinguished to some, it is still the most practical of all solutions, especially when it comes to electromagnetic storage media. A small magnet stuck to the side of the JAM will produce similar and possibly visually more elegant results on a metal surface, but the warning is permitted, always be careful where the next storage medium is! In no time, the data is in eternal nirvana!


Conclusion

The Apogee JAM audio interface fills exactly the gap that many guitarists have wanted. Ultra-small, ultra-light, equipped with a very good sound and very easy to use, it is the right companion on the go, especially since almost every musician now has an iPad, iPhone or MacBook with them on the go. Whether on the tour bus, in the dressing room, in the project studio or during finger exercises at home, whenever the idea comes to you, with minimal effort and in a very short time the idea is captured on hard disk or flash memory.

Apogee manages to transport its experience from the high-end league to the budget range, allowing products like the JAM to benefit from it. A very clear purchase recommendation for me!

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Additional Informations:

Apogee Electronics, a trailblazer in the digital audio recording industry, has a rich history characterized by innovation, quality, and a deep understanding of audio professionals' needs. This article offers a comprehensive exploration of Apogee's journey, from its inception to its current status as a leader in digital audio technology.

### Introduction

Founded in 1985, Apogee Electronics quickly became synonymous with excellence in digital audio conversion and recording technology. Based in Santa Monica, California, the company has been pivotal in shaping the digital audio landscape.

### History and Development

1. **Origins and Growth:**
   - **Founding Vision:** Bruce Jackson, Christof Heidelberger, and Betty Bennett founded Apogee with the goal of improving the quality of digital audio.
   - **Early Focus:** Initially, Apogee concentrated on digital filters, which significantly enhanced the sound quality of professional digital audio recordings.

2. **Expansion of Product Range:**
   - **Entry into Audio Interfaces:** Apogee expanded its portfolio to include high-end audio interfaces, addressing the needs of both professional and home studios.
   - **Global Adoption:** Apogee products have become a mainstay in recording studios worldwide, known for their reliability and superior audio quality.

### Key Products and Technological Milestones

1. **Audio Interfaces:**
   - **Symphony Series:** The Symphony series is lauded for its superior sound quality and flexibility, making it a favorite in professional studios.
   - **Duet and Quartet:** These interfaces made Apogee's high-quality sound accessible to home studios and smaller professional settings.
   - **ONE Series:** Portable interfaces designed for solo artists, offering exceptional audio quality for on-the-go recording.

2. **Digital Audio Converters:**
   - **Benchmark DACs:** Apogee's DACs, including the Rosetta series, are known for their precise and transparent conversion quality.

3. **Microphones and Preamps:**
   - **Digital Microphones:** The MiC and HypeMiC models cater to both professional and amateur recording artists, offering studio-quality recording capabilities.

4. **Innovative Features:**
   - **Clocking and Conversion Technology:** Apogee's proprietary clocking and conversion technologies have set industry standards for audio fidelity.
   - **Soft Limit Technology:** This feature allows for maximizing digital levels without the harshness of clipping, enhancing overall audio quality.

### Industry Impact

1. **Studio and Live Sound:**
   - Apogee's products are integral in studios and live sound settings, contributing to the production of high-quality audio in various environments.

2. **Broadcasting Applications:**
   - The company's technology is also used in broadcasting, where audio clarity and consistency are paramount.

### Market Presence and Brand Image

- **Professional Endorsement:** Apogee is a brand revered by audio professionals for its commitment to quality and innovation.
- **Home Studio Market:** The company has successfully expanded into the consumer market, making professional audio quality accessible to home studios.

### Challenges and Market Dynamics

1. **Competitive Industry:** The audio equipment industry is highly competitive, with continuous technological advancements and changing market trends.
2. **Evolving Consumer Preferences:** Adapting to the digital and streaming era poses challenges and opportunities for innovation.

### Corporate Responsibility

- **Sustainable Practices:** Apogee emphasizes building durable, long-lasting products, aligning with sustainable consumption and production models.
- **Supporting Education:** The company is involved in educational programs, nurturing the next generation of audio professionals and enthusiasts.

### Future Directions

1. **Ongoing Innovation:** Apogee's commitment to research and development indicates a future filled with innovative products that continue to push the boundaries of digital audio technology.
2. **Adaptation to Technological Advances:** Keeping pace with digital trends, including mobile and streaming technologies, will be crucial for Apogee's future strategy.

### Conclusion

Apogee Electronics, through its dedication to superior sound quality and technological innovation, has cemented its position as a leader in the digital audio industry. From professional recording studios to home setups, Apogee's products have become synonymous with excellence in digital audio recording and processing. As the company looks towards the future, its legacy of innovation and commitment to quality positions it to continue shaping the audio recording landscape for years to come.

The state of California, USA, has long been a hub for the development and manufacture of audio equipment. This extensive article will explore the vibrant landscape of audio equipment manufacturers in California, covering a range of companies from iconic industry giants to innovative startups.

California's audio equipment industry is marked by a diverse array of companies specializing in various audio technologies. The state's rich cultural history in music and entertainment, combined with its status as a technology and innovation center, makes it an ideal location for audio equipment manufacturers.

### Historical Context

- **Early Beginnings:** California's audio equipment industry roots can be traced back to the early 20th century, coinciding with the rise of Hollywood and the entertainment industry.
- **Silicon Valley Influence:** The emergence of Silicon Valley as a global tech hub in the late 20th century further bolstered the growth of audio tech companies in the state.

### Major Players in the Industry

1. **Apogee Electronics:**
   - Based in Santa Monica, Apogee is renowned for its professional audio interfaces, converters, and microphones.
   - Apogee's products are a staple in both professional recording studios and home setups.

2. **Universal Audio:**
   - Located in Scotts Valley, Universal Audio is famous for its analog hardware and digital signal processing equipment.
   - The company has a rich legacy, having been re-established by Bill Putnam Jr., the son of a renowned recording engineer.

3. **Avid Technology:**
   - Although headquartered in Massachusetts, Avid has significant operations in California.
   - Avid's Pro Tools is a standard in digital audio workstations (DAWs) used for music production and film scoring.

### Emerging Companies and Startups

- **Boutique Pedal Makers:** California is home to a thriving community of boutique pedal manufacturers, known for their handcrafted and innovative guitar effects pedals.
- **Home Studio Equipment Providers:** The rise of home recording has seen a growth in companies that cater to this market with affordable yet high-quality equipment.

### Technological Innovations

- **Digital Audio Technology:** California companies have been at the forefront of digital audio technology, developing software and hardware that revolutionize how music is produced and recorded.
- **Advancements in Sound Quality:** Pursuit of higher fidelity and more authentic sound reproduction is a constant endeavor for these companies.

### Industry Challenges

- **Competition:** The presence of numerous established brands and emerging startups creates a highly competitive market.
- **Technological Shifts:** Rapid technological advancements necessitate continuous innovation and adaptation.

### Impact on Music and Entertainment

- **Influence on Music Production:** California's audio equipment manufacturers have significantly influenced global music production standards and practices.
- **Contribution to Cinema:** Many companies have contributed to cinema sound, enhancing the audio experience of films produced in Hollywood.

### Community and Environmental Responsibility

- **Sustainability Efforts:** Companies are increasingly focusing on sustainable manufacturing practices and reducing their environmental footprint.
- **Community Engagement:** Many firms engage in community initiatives, supporting music education and local arts.

### Future Outlook

- **Growth in Digital Audio Software:** The increasing shift towards software-based audio solutions presents growth opportunities for California's audio tech companies.
- **Global Market Expansion:** Many companies are looking to expand their global presence and adapt to the changing dynamics of the international market.

### Conclusion

California's audio equipment industry is a dynamic and influential sector, marked by a rich history, technological innovation, and a diverse range of companies. From pioneering audio interface manufacturers to boutique pedal builders, the state's companies continue to shape the sound of music and entertainment around the world. As technology evolves and the industry faces new challenges, these companies are poised to continue their legacy of innovation and excellence in audio technology.

TEST: Aphex 204

 APHEX! A name like Donnerhall! At least if, like me, you have been dealing with studio technology for over two decades or sometimes have to sit down. “Donnerhall?” the younger readers will suspect, “what is so incomparable about the company name?”

I dare say that EVERYONE has heard the name Aphex at least over 1000 times in their life, even if in such a subtle way that they are not aware of it. In the eternal top ten studio list, the experienced sound engineer will seamlessly place the American manufacturer in the “eternal best list” alongside more illustrious names such as Nieve, Studer, Focusrite and Eventide based on a single product alone.

We're talking about the Aural Exciter, a product that was born from a radio and television technician's accidentally miswired circuit and was given the final shine for decades as the last link in the cumulative chain of countless hits in world history. At the end of the seventies and beginning of the eighties, the device was so popular that you could only rent it for an hourly price of 30 dollars (!). Purchasing it was forbidden for fear of a copy of the circuit technology! One can imagine that only the big players in entertainment and broadcast technology had the necessary budget to secure this exquisite sound.

In times of the mass phenomenon of music, even legends cannot avoid revising their product range so as not to gather dust in the memories of yesterday. Aphex is now bringing a new edition of the 104 onto the market under the product name 204, which has several improvements compared to the previous model. Interestingly, Apex still manufactures its products in the USA and, like almost all of its colleagues, did not succumb to the temptation to move its production cities to the country without human, animal and environmental protection, China. Respect!



construction

The Aphex 204 looks pretty, with its front made of brushed aluminum, framed in a height unit. The product is designed completely in stereo, all control elements are designed twice, so that you can also use it in mono. However, a link switch, which would be useful for mastering a stereo file, for example, is missing.

The Aphex 204 contains two trademarks with which the manufacturer manifested its reputation among sound engineers. In addition to the Aural Exciter, which is responsible for the upper frequency range, there is also the so-called “Big Bottom”, which, who would have thought, covers the bass range. Due to the fact that the product does not increase the frequency range in terms of performance like a shelving filter, the big bottom circuit also provides a kind of protection circuit for the low bass range.

You can increase the subjective bass response without destroying the bass speaker by overloading it. A sensible setup, especially when it comes to sound reinforcement with small speakers. Background sound systems, demonstrations or broadcasting in general will benefit immensely from this circuit.
On the front, a channel is divided into two areas each with three controls. The Big Bottom is divided into the areas “Drive” (effect level), “Tune” (starting frequency) and “Mix” (dry/wet mixing ratio). The Aural Exciter works in a similar way, which can also be controlled via “Tune”, “Mix” and “Harmonics” (number of overtones). Each channel also has its own bypass switch.

On the back, the product has consistently symmetrical signal routing, either via lockable XLR plugs or jacks. Two slightly wonky slide switches allow you to choose between the home recording level -10 dB or the studio level +4 dB. The device is cleanly processed and gives no cause for criticism.



Practice

OK, what does an Aural Exciter actually do with the signal? The magic word is “Harmonics” or in German “overtones”, although in this case you can also bring a few “undertones” into play. The sound of an instrument is defined by its number of overtones and undertones. In general, one can say that the aggressiveness or sharpness of a tone increases with the number of overtones. For example, a trumpet with a high number of overtones sounds sharper than an oboe, which has comparatively few overtones. By the way, a clean sine wave does not occur in nature, but can only be created artificially with an oscillator.

This means that the Aural Exciter (some competitors also like to call their products “enhancers” or “expanders”, thanks to trademark protection laws...) can breathe additional “freshness” into a signal by generating frequencies that are not (yet) present during the recording process were. This is not an equalizer or shelving filter function that simply boosts previously defined frequencies, but rather the tonal source material is analyzed and “harmoniously supplemented” accordingly.

If you switch on the device and use the unspectacular “everything at 12 o’clock” setting as a basis, even with this insignificant basic setting, it suddenly becomes clear why, in those days and even today, a murmur goes through the rooms as soon as the device is activated . If you're ever in danger of never wanting to put a product down, that's the case with the Aphex 204! The audiophile addictive nature that this product creates within seconds is unbelievable! Every signal that is fed to the aphex experiences a very special kind of refreshment.

The device impresses across the board, especially in the mastering process. Ultimately, everyone has to know for themselves whether they prefer a hardware or software solution for editing their audio material. However, if you prefer the haptic experience, the Aphex 204 is the first choice! I can only recommend deactivating the device regularly, or you will completely lose the feeling for the neutral sound of the source material.



Conclusion

There are not many audio products that add such a distinctive timbre to an output signal that they actually have to be called a trademark. The Aphex Aural Exciter is undoubtedly one of them, as it gives the end product the sound of a real instrument. Often copied and rarely equaled, the product knows how to set standards even 35 years after its market launch, which drives its competitors to the development tables in droves.

Unobtrusively and yet effectively, the product adds exactly the loudness effect to the sound material that the ear canals like to perceive and fortunately has nothing to do with the “bathtub-EQ-GTI-car-stereo-idiot” department. With excellent sound and very good workmanship, the product can only be given the highest score! Respect!

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Additional Informations:

Aphex Systems Ltd., more commonly known as Aphex Audio, has carved a distinguished niche in the audio engineering industry. Renowned for its innovative audio signal processing technologies, Aphex Audio has made substantial contributions to the fields of recording, broadcast, live sound, and consumer audio over several decades. This article delves into the intricate details of Aphex Audio's journey, its groundbreaking products, technological advancements, impact on the audio industry, and future prospects.

### Introduction

Aphex Audio's story is one of technological innovation and enduring impact on audio quality. The company's commitment to improving sound has made its products revered among professionals and audio enthusiasts worldwide.

### History and Development

1. **Origins and Evolution:**
   - *Foundation:* Established in the 1970s, Aphex Systems Ltd. began as a visionary venture aimed at elevating audio processing technology.
   - *Growth Over the Years:* Aphex quickly distinguished itself with unique audio enhancement products, gaining a reputation in professional audio circles.

2. **Milestones in Development:**
   - *Innovative Beginnings:* The introduction of the Aural Exciter marked Aphex's entry into the professional audio market, revolutionizing sound enhancement techniques.
   - *Expansion:* Over time, the company diversified its product range, consistently staying ahead of industry trends.

### Key Products and Innovations

1. **Aural Exciter:**
   - *Impact on Audio Processing:* This product became synonymous with the brand, known for its ability to enhance clarity and presence in audio signals without boosting volume excessively.
   - *Evolution of the Product:* The Aural Exciter has undergone several iterations, each improving on the last, to remain relevant in the changing audio landscape.

2. **Compellor:**
   - *Functionality:* As a compressor/leveler/limiter, the Compellor provided unmatched dynamic range control, becoming a staple in broadcasting and studio environments.

3. **Other Notable Products:**
   - *Dominators and Multiband Processors:* These offered essential multi-band compression and peak limiting for mastering and broadcast applications.
   - *IN2:* Representing Aphex's venture into the home studio market, the IN2 is a USB audio interface that integrates high-quality preamps and digital converters.

### Technological Advancements

- **Unique Circuit Designs:** Aphex's innovation in circuit design, such as the "Reflected Plate Amplifier" and "Optical Compressor," contributed significantly to its unique sound enhancement capabilities.

- **Adaptation to Digital Technology:** Embracing digital advancements, Aphex integrated digital processing in its analog products, enhancing functionality and compatibility with modern digital recording environments.

### Industry Impact and Contributions

1. **Influence in Studio Recording:** Aphex's products have left an indelible mark on the recording industry, widely used in the creation of numerous acclaimed recordings.

2. **Significance in Broadcasting:** In broadcasting, Aphex processors are renowned for their reliability and effectiveness in managing audio levels and quality.

3. **Presence in Live Sound Reinforcement:** Aphex gear is also prevalent in live sound applications, where it is prized for its ability to enhance clarity and control in challenging live performance environments.

### Market Presence and Brand Perception

- **Professional Acclaim:** The brand is highly respected in the audio industry for its consistent delivery of quality and reliability.
 
- **Global Reach:** Aphex's global presence is a testament to its universal appeal and effectiveness in various audio applications.

### Challenges and Opportunities

1. **Competitive Market Dynamics:** Aphex operates in a highly competitive industry, contending with numerous other manufacturers in the audio equipment space.

2. **Keeping Pace with Technology:** Continuously evolving digital audio technologies and consumer trends pose a challenge, necessitating ongoing innovation and adaptation.

### Corporate Responsibility and Sustainability

- **Adherence to Industry Standards:** Aphex maintains a strong commitment to high standards in manufacturing and product development, ensuring quality and reliability.

- **Environmental Responsibility:** The company is conscious of its environmental footprint, striving to implement sustainable practices in its operations.

### Future Outlook and Strategic Direction

1. **Innovation and Product Development:** Aphex is likely to continue investing in research and development to introduce new products that address the evolving needs of the audio industry.

2. **Adapting to Market Changes:** Embracing new digital technologies and audio streaming trends will be crucial for Aphex's sustained success and relevance.

### Conclusion

Aphex Audio stands as a paragon of innovation in the audio engineering industry. Its dedication to enhancing audio quality has cemented its place in various audio domains, from professional studios to live sound settings. Looking ahead, Aphex Audio is poised to continue influencing the world of sound, driven by its legacy of innovation and a deep understanding of audio technology's evolving landscape.

The Aphex Aural Exciter, a groundbreaking audio processing tool, has played a significant role in the evolution of sound engineering since its inception. This detailed article will explore the origins, development, impact, and legacy of the Aphex Aural Exciter, a device that has become a staple in recording studios, broadcast facilities, and live sound venues worldwide.

### Origins and Early Development

1. **Inception of the Idea:**
   - The concept of the Aural Exciter was developed in the early 1970s by Aphex Systems Ltd., a company known for its innovative approach to audio technology.
   - The initial idea was to create a device that could add brightness and vibrancy to audio signals without the harshness associated with equalization.

2. **Prototype and Experimentation:**
   - The first prototype of the Aural Exciter was built in the mid-1970s.
   - Early models were bulky and primarily used in professional settings due to their complexity and cost.

### Technical Breakthroughs

1. **Unique Processing Technique:**
   - The Aural Exciter's primary innovation lies in its ability to enhance harmonics, particularly in the high-frequency range, making the sound more "alive" and clear.
   - Unlike traditional equalizers, it adds synthesized harmonics to the original signal, giving depth and presence to the audio.

2. **Development of the Technology:**
   - Over the years, Aphex refined the technology, making it more compact, user-friendly, and affordable for a broader range of users.

### Impact on the Music and Recording Industry

1. **Early Adoption by Studios:**
   - The Aural Exciter quickly gained popularity in recording studios. It was a secret weapon for many engineers, used on countless hit records throughout the 1970s and 1980s.

2. **Broadcast and Live Sound Applications:**
   - The device also found a place in radio broadcasting and live sound reinforcement, where clarity and intelligibility of speech and music are crucial.

### Evolution and Model Variations

1. **Enhancements and Refinements:**
   - Over time, Aphex introduced various models of the Aural Exciter, each improving upon its predecessor in terms of sound quality, versatility, and ease of use.

2. **Integration with Other Technologies:**
   - Later versions incorporated additional features like optical compression, further expanding the device's capabilities.

### Industry Reception and Legacy

1. **Critical Acclaim and Adoption:**
   - The Aural Exciter has been praised by audio professionals for its unique ability to enhance sound quality without causing fatigue or introducing unwanted noise.

2. **Influence on Audio Processing:**
   - Its success paved the way for the development of other harmonic enhancement tools and influenced various aspects of sound processing in the industry.

### Challenges and Criticisms

1. **Imitation and Competition:**
   - The success of the Aural Exciter led to the emergence of similar products from competitors, creating a new market segment in audio processing.

2. **Varied Reception:**
   - While widely acclaimed, some audio engineers critiqued the device for its potential to be overused, leading to an unnaturally bright sound in recordings.

### Future Prospects and Continual Innovation

1. **Adaptation to Digital Era:**
   - Aphex has continued to innovate, adapting the Aural Exciter technology for the digital age and integrating it into various digital platforms and devices.

2. **Ongoing Influence:**
   - The Aural Exciter remains relevant in modern audio production, testament to its enduring impact on sound enhancement technology.

### Conclusion

The Aphex Aural Exciter's journey from a novel idea to a staple in audio engineering exemplifies the transformative power of innovation in sound technology. Its enduring legacy in the music and broadcasting industries continues to influence how professionals approach audio enhancement, making it a quintessential tool in the art of sound engineering.

TEST: Ant Uno G8

 I don't really want to use clichés, but Italy and instruments, or electronic instruments? World fame beyond the legendary Amati / Stradivari families? This occurs to me spontaneously. actually just the company Markbass, which has become a respectable player in bass amplifiers in the fusion and jazz sectors.

Well, then it's high time, the company Advanced Native Technologies (ANT) must have said to itself and, in the name of the ant, has brought the Ant Uno G8 onto the market either as a handheld or as a belt pack with production in China. With a retail price of 225 euros, the product hits an already busy market. Let's see whether the concept or possible detailed solutions make the competition sit up and take notice.

First impression

Unfortunately, the Ant Uno G8 is only delivered in cardboard packaging with cut-out foam inserts. A plastic case, which has now become standard, is not included. Experience has shown that the packaging supplied will break down into its individual parts after approx. 2-3 shows, so a transport case should be taken into account when purchasing.

In addition to a receiver half the width of the rack and a dynamic hand-held transmitter, the scope of delivery includes two rack wings, two comparatively stiff, medium-length antennas to be mounted on the back, a multi-voltage power supply (12V - 500 mA), 2 batteries for the hand-held transmitter, and a very simple manual English / Italian, and a simple, unbalanced jack cable. There is no more. Oh yes, 2 plastic caps to close the holes already placed in the rack angle for front-mounted antennas, which brings us to the first point of criticism.

It's clear to me that in the €200 class you have to fight for every euro, but it's not possible to deliver rear-mounted antennas without a BNC antenna converter for front operation. These are penny items to manufacture and anyone who has ever experienced the reduced operation of a receiver installed in a rack with internal antennas knows the problem. Of course, you can purchase corresponding antenna converter cables for less than €30, but in my opinion something like this is included with every radio link that is delivered and is intended to run in rack mode.

The workmanship makes a good impression, clean corners and transitions as well as flawless paintwork. Both the handheld transmitter and the receiver part are housed in a robust metal housing, which suggests a long service life. The antennas are anchored to the housing with bayonet fasteners, which enables quick assembly and disassembly.

Connections and handling of the receiver

When it comes to outputs, the Ant Uno G8 uses the minimum equipment that is usual in this price range, i.e. balanced XLR and unbalanced jack. Simple, but absolutely sufficient for practical use. An additional XLR cable or something similar instead of the simple unbalanced jack cable would be nice, but oh well, see above.

The display of the Ant Uno G8 receiver turns out to be very clear in terms of size and display. In addition to the frequency used, it also provides information about the AF and RF level, the squelch setting, the output level, the antenna reception and, after activating the menu navigation, also about the channel and the group. There is also an ASC infrared receiver on the front panel to pair the handheld transmitter with the receiver.

the handheld transmitter

In terms of color, the handheld transmitter of the Ant Uno G8 comes in a combination of matt black and matt anthracite. One has the impression that almost all manufacturers in this price range have their microphone housings manufactured in the same factory, the structures of the handheld transmitters are so similar. The dynamic capsule, the unscrewable shaft with 2 AA batteries, the color-variable end capsule, all very similar in appearance and feel. According to the manufacturer, the Ant Uno G8 handheld transmitter runs for up to 10 hours on a pair of batteries. The transmission power of the handheld transmitter is 10 mW and is not variable.

And yet there are small differences that can have a big impact. On the one hand, there is the annoying issue of the mute switch. Many of the Ant Uno G8's competitors fail here with a bang because of the exposed position of the switch and the associated unintentional muting during operation. The Ant Uno G8 handheld transmitter stands out pleasantly here. Not only can the transmitter only be muted by explicitly pressing the switch, ideally with your fingernail over a clearly palpable pressure point, a narrow, two-color LED band (green > go, orange > muted) also informs the user about the switch Status of the handheld transmitter. Very nice, very practical!

A small display also provides information about the channel, group and the charge status of the batteries. If you unscrew the shaft of the handheld transmitter, you also gain access to the product's gain control. Here you can increase the transmission power by turning it clockwise and reduce it in the opposite direction. If there are RF disturbances in the signal, the integrated noise gate (squelch) can be activated, with a three-stage setting. The higher the value, the stronger the protection against extraneous noise. However, it should be noted that a squelch value that is too high can also have a negative impact on the audio signal. If the faults cannot be eliminated with the measures described, a channel change is advisable.

When it comes to background noise, you can look at the sensitivity of the handheld transmitter housing from two sides. Due to the solid metal construction, the housing dampens “drumming noises” from the fingertips or other areas of the skin quite well, a big plus point. Unfortunately, due to the high density of the material, the same construct also shows a very high sensitivity to knocking against rings on the fingers, which are reproduced with very loud clicking noises. Unfortunately you can't have everything...


the annoying hustle and bustle of frequencies

When it comes to carrier frequency, the Ant Uno G8 takes a middle path between the 2.4 GHz network, which is permitted everywhere but is contaminated with cell phone frequencies, and the MHz ranges that require a license. With the 1785 - 1805 MHz frequency band you can broadcast unhindered in most Western European countries, although most of the Eastern European area does not provide any information. Only Portugal, England, Croatia and Belgium require licensing, while Norway specifies a maximum transmission power of 20 mW and thus enables the operation of the Ant Uno G8. In addition to Russia and Slovakia, Ireland and Italy, which generally allow a very limited selection of frequencies, are once again turning out to be spoilsports.

Handling and sound

Let's start with the transmission power. The fixed transmission power of 10 mW shows very quickly where things are going. The priority is clearly on long operating times with a clear view of the stage. If you are on a stage that can take on Wacken dimensions, but you have a direct view of your receiver without any obstacles, there should normally be no dropouts in the signal routing. In my personal “garden test”, the transmission power was just under 40-50 meters, which should be sufficient for any standard stage.

However, in indoor areas or with complex stage setups, a safety check must be carried out in advance. At my house it was time for work after the 2nd KS wall, especially since the product, like all transmitters, reacts very sensitively to acute angles due to the risk of reflection. If there is appropriate reinforcement, such as in ceilings or floors, this will likely reduce the transmission power somewhat. Conclusion: try it before the show.

In terms of sound, the Ant Uno G8 leaves a good impression. The dynamic capsule with a cardioid pattern delivers comparatively soft highs and a tight bass, while it tends to slightly “noble” in the midrange. With an intelligently set parametric filter, this point should be able to be managed, especially since the capsule itself sounds very pleasing for this price range.

Conclusion

With the Ant Uno G8, the Italian company is making a good impression in the highly competitive 200 euro class. The workmanship and detailed solutions are very neat, the look is appealing, and the sound is better than the price would suggest. Anyone who is willing to lend an ear to a provider of a lesser-known trademark should give the southern European provider a chance. It might be worth it!

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Additional Informations:

### Hypothetical Overview of ANT Audio

#### Introduction
ANT Audio, if it exists as a company in the audio equipment industry, would likely be involved in the design, manufacturing, and distribution of audio products such as speakers, headphones, microphones, or audio interfaces. The company might aim to cater to a specific segment of the market, such as professional studio equipment, home audio systems, or portable audio devices.

#### History and Development
- **Founding and Origins:** ANT Audio might have been founded by audio enthusiasts or professionals with a passion for sound quality and innovation. The company's inception could have been driven by a desire to fill a gap in the market or to improve upon existing audio technologies.
- **Growth and Expansion:** Over time, ANT Audio could have expanded its product line and market reach, possibly gaining a modest following among audiophiles or professional sound engineers.

#### Product Line and Innovations
- **Speakers and Sound Systems:** ANT Audio might offer a range of speakers, from compact, portable models to high-fidelity home audio systems.
- **Headphones and Earphones:** The company could also produce headphones, focusing on sound quality, durability, and comfort.
- **Professional Audio Equipment:** If catering to the professional market, ANT Audio might manufacture studio microphones, mixers, and audio interfaces, emphasizing precision and clarity.
- **Innovative Features:** ANT Audio's products might incorporate unique features such as advanced noise-cancellation technology, wireless connectivity, or environmentally friendly materials.

#### Manufacturing and Quality Control
- **Production Standards:** The company would likely adhere to high production standards, ensuring that each product meets strict quality control criteria.
- **Sourcing of Materials:** ANT Audio might be committed to using sustainable and high-quality materials, balancing environmental concerns with product durability.

#### Market Presence and Brand Perception
- **Target Audience:** Depending on its product range, ANT Audio's target audience could include audiophiles, professional musicians and sound engineers, and general consumers seeking quality audio experiences.
- **Brand Values:** The company might emphasize values such as innovation, customer satisfaction, and sustainability.

#### Challenges and Opportunities
- **Market Competition:** ANT Audio would face competition from established audio equipment manufacturers and emerging brands.
- **Technological Advancements:** Staying abreast of rapid technological changes and consumer preferences would be crucial for the company's success.

#### Corporate Responsibility and Sustainability
- **Environmental Impact:** ANT Audio might have initiatives to minimize its environmental impact, such as using recyclable materials and promoting sustainable practices.
- **Community Engagement:** The company could engage in community outreach programs, supporting music education and local arts.

#### Future Prospects
- **Research and Development:** Continuous investment in R&D would be essential for ANT Audio to innovate and remain competitive.
- **Market Expansion:** The company might aim to expand its global presence, entering new markets and diversifying its product offerings.

### Conclusion
In summary, while specific details about ANT Audio are not available, a company in the audio equipment industry with this name would likely focus on delivering high-quality audio products, driven by a commitment to innovation, quality, and customer satisfaction. Its success would depend on its ability to navigate a competitive market, stay technologically relevant, and maintain a strong brand identity.

TEST: AMT SS 30

 Russia, a country full of contrasts. Politically a deep black spot in the world political situation and environmentally blessed with tons of legacy issues, the country also produces artists of the genius of Peter Tchaikovsky or detailed technical solutions on a world-class level, see space travel. But the guitar sector has also benefited from Eastern know-how in the last few decades; until a few years ago, for example, Russian tubes were the only remaining standard components available for professional use.

Why did the Russians have the best tubes for years? Well, tubes are the only electrical components that can withstand an EMP (electro-magnetic pulse) from a nuclear bomb detonated in the atmosphere without damage, and during the Cold War, Russia invested huge amounts of money in optimizing tube technology. Tubes exist with an estimated lifespan of 100 years, but that's another story.

But what seems to be inherent in all Russian products is a touch of military suitability, combined with mostly very robust and high-quality workmanship. During the Iron Curtain era, many artists and technicians were forced to live with what socialism had to offer, which gave rise to a history of product longevity with sometimes slightly quirky detailed solutions. Owners of previous Petersburg amps know what I mean. This extremely appreciable penchant for durability, which is in contrast to the Western disposable mentality, seems to radiate even into small products, as can be seen in the AMT SS 30 I have, an almost tiny guitar preamp for floorboard use.


construction

The AMT SS-30 is a three-channel guitar preamp in stompbox format. The small box is very sturdy, the housing is made of thick folded sheet metal and rests on 4 pleasantly soft rubber feet, which provide a secure grip even on smooth surfaces. The dimensions of the product remain less than two packs of cigarettes, but it combines a huge number of connections and switches in this marginal space.

The SS-30 is operated in front of a clean and neutrally set guitar amplifier, the return of the FX loop (better!), a power amplifier with a connected box or, due to a frequency-corrected separate output, in front of an active monitor or a mixer. In order to ensure that the product always has sufficient headroom in signal management, the preamp is operated with two 9V batteries or alternatively an external 18V power supply. In its extremely “clear” operating instructions (2 stapled DIN A4 sheets), AMT recommends operation with batteries, as external power supplies are not very trustworthy. In fact, high-quality 18V power supplies are not easy to find, but should be preferred if possible for environmental reasons alone.

Changing the battery itself is extremely easy. By loosening a knurled screw on the front housing, a slotted metal flap opens, which reveals two battery slots and a view of the inside of the device. Despite the tight space, only the best quality was delivered in terms of workmanship. The circuit boards are neatly installed, the soldering points are precise, everything is nicely tidy and blessed with maximum efficiency in terms of space utilization.

You can choose between the three sound modes Clean, Crunch and Drive using two powerful foot switches. Despite the small dimensions, a total of 12 (!) knobs plus 3 pressure switches for sound shaping were accommodated on only half (!) of the surface. The clean section has a complete 3-band tone control consisting of high, mid and low plus a gain and a level control. Gain and Level also each have the Crunch and Drive channels, but share a common three-band tone control.

The fact that all controls are comparatively easy to reach despite the narrowness is due to the very narrow potentiometer heads, which all protrude upwards from the housing like small projectiles. In order to secure the potentiometer axes against unintentional breakage due to clumsy trampling by the user, a steel bracket was welded between the mode switch and the controller. Looks simple, does its job quite effectively but without any complaints.

However, we are not yet finished when it comes to flexibility. The SS-30 also has its own FX loop and the option of connecting the product to an external MIDI footswitch from the same company called AMT FS-2MIDI via a mini jack socket in order to integrate it into a MIDI network . The SS-30 also has two outputs, a standard output for the power amplifiers and a frequency-corrected one for the mixer.


Practice

And then the tester starts pondering. It would be a great thing if you could fit a full-sized amp in a side pocket of a gig bag. Playing shows with just a guitar under your arm and maybe 2 cables? Weren't there also suitable dwarf power amplifiers? Maybe just ask your colleague at the gig if you can use the 4x12” and the lugging is over? The voltage increases. So let’s get to it.

Starting as usual with the clean channel, the SS-30 performs very well. Even without tubes, the product has a pleasantly high degree of warmth and suppleness. The tone control works smoothly, the clean boost is subtle. Due to their corrugation, the narrow pot heads are actually easy to reach and operate at any time, despite the narrow overall concept.

With a slight tendency towards bass, it goes over into the crunch or drive channel, although the topic of crunch might have to be redefined here. Anyone who only suspects subtle distortions here is wrong. Even without the additional drive boost, the SS-30 is able to push powerful leads and massive power chords out of the floor when turned right and can adjust your personal sound taste with the two switches Tone Shift and Crunch Bright.

With the Drive Channel, the pedal can increase the level of distortion again, but only by a marginal amount. What's nice, however, is that the separate gain and level controls allow you to give the third channel an additional volume boost, which can be advantageous in solo passages, for example.


Conclusion

Small, smaller, AMT. The Russian company's SS-30 is particularly suitable for musicians who are looking for a small, handy and very well-made preamp. Designed as a stompbox, the product can fit even in the smallest gig bag and with a suitable combination of power amplifier and box or, if necessary, directly into the console, the necessary sound reinforcement can be provided.

It has rarely been so easy to transport and manage a preamp.

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Additional Informations:

AMT Electronics, a distinguished name in the world of musical equipment, particularly known for its high-quality guitar pedals, preamps, and other audio processing equipment, stands as a beacon of innovation and craftsmanship in the Russian electronics industry. This comprehensive article aims to explore the various facets of AMT Electronics, including its history, product line, technological innovations, market presence, and future prospects.

### Introduction

**Background:** Established in Russia, AMT Electronics has gained international recognition for producing guitar pedals and audio equipment that blend traditional craftsmanship with modern technology.

### History and Development

1. **Foundation and Early Years:**
   - *Origins:* Founded in [Insert Year], the company started as a small-scale operation focused on creating guitar effects units.
   - *Growth:* AMT Electronics quickly gained a reputation for its high-quality sound and sturdy construction.

2. **Expansion Over the Years:**
   - *Product Line Diversification:* From its initial focus on guitar pedals, the company expanded to include preamps, cabinet simulators, and more.
   - *Global Reach:* Despite its Russian roots, AMT Electronics has established a significant presence in the global market.

### Key Products and Innovations

1. **Guitar Pedals:**
   - *Distortion Pedals:* Known for their rich, dynamic range and versatility.
   - *Overdrive Pedals:* Highly sought after for their warm, tube-like overdrive tones.

2. **Preamps and Cabinet Simulators:**
   - *SS-11 and SS-20 Series:* These have become staples for guitarists seeking a portable yet powerful solution for both studio and live settings.
   - *Cabinet Simulators:* Offer guitarists the ability to replicate various speaker cabinet sounds in a compact, pedal format.

3. **Custom and Signature Series:**
   - *Collaborations with Artists:* AMT Electronics has collaborated with various artists to create signature pedals, catering to specific tonal preferences.

### Technological Advancements and Manufacturing

- **Innovation in Design:** The company is known for its continuous innovation, integrating new technologies while maintaining the integrity of classic analog tones.
- **Quality Manufacturing:** Emphasis on high-quality components and sturdy build, ensuring reliability and durability.

### Market Presence and Brand Perception

- **Domestic Market:** In Russia, AMT Electronics is revered for its contribution to the music scene, supporting both professional and amateur musicians.
- **International Recognition:** The brand has been well-received internationally, with a strong following in Europe, the USA, and Asia.

### Challenges and Opportunities

- **Market Competition:** Facing competition from both established global brands and emerging boutique pedal makers.
- **Opportunities for Growth:** Growing interest in unique, boutique pedals offers significant opportunities for expansion and innovation.

### Corporate Responsibility and Community Engagement

- **Supporting Music Education:** AMT Electronics is involved in supporting music education initiatives, providing equipment and resources for budding musicians.
- **Environmental Considerations:** The company is conscious of its environmental impact, adopting sustainable practices in manufacturing and packaging.

### Future Outlook and Strategy

- **Adapting to Digital Trends:** While maintaining its analog roots, AMT Electronics is also exploring digital technologies to expand its product offerings.
- **Global Market Expansion:** Aiming to strengthen its presence in various international markets through partnerships and enhanced distribution networks.

### Conclusion

AMT Electronics, with its rich history, innovative product line, and commitment to quality, stands as a testament to Russian ingenuity in the field of music technology. The company's blend of traditional analog warmth and modern technological advancements makes it a favorite among musicians worldwide. As it looks to the future, AMT Electronics is well-positioned to continue its legacy of creating groundbreaking audio equipment that resonates with the evolving needs of musicians globally.

The Russian audio floor pedals scene is a fascinating and dynamic segment of the global music equipment industry, marked by a blend of innovative design, technical prowess, and a distinctive cultural flair. This comprehensive article delves into various aspects of this niche yet thriving industry, from its historical development to the current trends, key players, and the unique characteristics that set Russian audio floor pedals apart in the global market.

### Historical Context and Development

1. **Early Beginnings:** The history of Russian audio floor pedals dates back to the Soviet era, where initial developments were often driven by necessity due to the scarcity of Western music equipment. Musicians and technicians often resorted to DIY methods, creating unique sounds and equipment.

2. **Post-Soviet Innovation:** After the fall of the Soviet Union, there was a surge in the availability of technology and information. This period saw the emergence of numerous small-scale manufacturers and enthusiasts who began to explore pedal-making with more sophistication.

### Key Manufacturers and Brands

1. **Sovtek:** Perhaps the most renowned, originally known for producing tubes for audio equipment, Sovtek also gained fame for its Big Muff Pi pedal, favored by musicians worldwide for its distinctive fuzz sound.

2. **Red Sun FX:** A more recent entrant, known for its high-quality, handcrafted pedals that combine classic and modern sounds.

3. **Other Notable Brands:** Include companies like Ego Sonoro, and Spaceman Effects, each contributing uniquely to the Russian pedal scene.

### Technical and Design Innovations

1. **Unique Sound Characteristics:** Russian pedals are often celebrated for their distinctive sounds, ranging from warm, deep distortions to sharp, biting overdrives.

2. **Robust Build Quality:** Many Russian pedals are noted for their durable construction, able to withstand the rigors of heavy touring.

3. **Customizable and Boutique Options:** There's a strong tradition of producing customizable and boutique pedals, catering to musicians seeking unique tones and aesthetics.

### Cultural Influence and Musical Genres

1. **Influence on Various Genres:** Russian pedals have found a place in various music genres, from rock and metal to experimental and indie music.

2. **Cultural Significance:** The pedals often reflect the rich cultural and artistic heritage of Russia, seen in design elements and naming conventions.

### Challenges and Opportunities

1. **Market Challenges:** Russian manufacturers face challenges in terms of international distribution and competition with larger, established Western brands.

2. **Opportunities for Growth:** There's growing interest in unique, boutique pedals in the global market, presenting opportunities for Russian manufacturers.

### The Global Market and Export

1. **International Recognition:** Some Russian pedals have gained cult status among musicians worldwide, praised for their unique tones and build quality.

2. **Export Challenges:** Exporting can be challenging due to regulatory hurdles and logistical issues, but it remains a key goal for many manufacturers.

### The Future of Russian Audio Floor Pedals

1. **Technological Advancements:** Embracing digital technology and new manufacturing techniques while maintaining the distinctive Russian sound character.

2. **Sustainability and Innovation:** Increasing focus on sustainability in manufacturing and continuous innovation to stay competitive in the global market.

### Conclusion

The Russian audio floor pedal scene represents a unique blend of historical development, cultural richness, and technical innovation. While facing challenges, the industry continues to make significant strides, gaining recognition and admiration from musicians and enthusiasts worldwide. With a strong foundation in quality and uniqueness, the future of Russian audio floor pedals looks promising, potentially influencing music and sound creation on a global scale.

TEST: AMT Pangaea VC-16

 The guys from the AMT team are a funny bunch. There must be something in the Russian genes that makes developments in music electronics always turn out a little different than usual. Especially when it comes to haptics, you often get the feeling that Russia builds everything in such a way that it could also survive in front-line operations if necessary. The best example is probably the Russian version of the Big Muff. The dwarf pedal AMT Pangea VC-16 isn't quite as violent, but as has often been the case with AMT, the unusual special solutions are also available this time.

The construction of the AMT Pangea VC-16

What does the dwarf, which weighs only 200 grams and has the almost tiny dimensions of 470 mm x 950 mm x 550 mm, actually do? Well, it once again contributes to the miniaturization of signal management in the guitar sector by offering a 24 bit/48kHz IR speaker simulation / DI box for recording, live performances and playing on headphones. The developers try to bring together a maximum number of functions with a minimum amount of space. To ensure this, you have to use switching functions other than regular rotary potentiometers.

AMT does this by putting together a total of 16 presets using 4 small sliders and 4 notches each, which can also be programmed using software that can be downloaded from the AMT website. A corresponding USB port is located on the left side of the housing. With the AMT Pangea VC-16, AMT is trying to create an amp/speaker simulation so that you can play with your pedals or preamps directly into the simulator. In order to adapt the respective sounds to your personal taste, the AMT software has a very extensive sound processing, which consists of a volume control, a reverb control, a presence control, a low pass, a five-fold semi-parametric EQ, a high pass, an IR deactivation, a own power amp section with various tube presets, a preamp section with its own three-band tone control, a noise gate and a compressor. So there are lots of options to vary the sound accordingly. Admittedly, the UI is hard to beat in terms of ugliness, but let's overlook the whole thing in favor of handling.

Unfortunately, the guys at AMT have somewhat lost sight of compatibility when it comes to the power supply of the AMT Pangea VC-16. 100 mA, wonderful, but unfortunately at 12V, which knocks over 90 percent of all commercially available board bugs out of the ring. Although many multi-voltage power supplies now also have a 12 volt output, this special solution still represents a shortcoming in my opinion, especially since an external power supply is not included in the scope of delivery of the product manufactured in Russia.

To e.g. If you want to jam to an MP3, for example, the AMT Pangea VC-16 has a mini-jack AUX In, which works in conjunction with a headphone out that also has a mini-jack. By the way, the fed AUX In signal is only sent via the headphone output, not via the two outputs, which can be plugged in both symmetrically as TRS and unbalanced via a jack. It is also practical that a DI box is installed at each output, so that you can do without external DI boxes for a direct PA feed or similar.

The only footswitch on the housing switches back and forth between the two presets A and B and seems downright huge due to the tiny housing dimensions. In order not to accidentally adjust the four sliders with your foot in the heat of the stage battle, there is a very solid steel bracket behind the foot switch, which also fixes the switching process on the front tip of your foot. Speaking of sliders, AMT isn't necessarily the first choice here. The switching stages are very close together, sometimes a bit awkward or fiddly. Not really a problem, but not exactly comfortable either.

In order to make the switching process a little more comfortable, the AMT Pangea VC-16 has a feature that works in conjunction with other AMT pedals. The switching process can be carried out in combination with other AMT pedals via a control in/out in the mini jack. It is conceivable, for example, E.g. using 2 distortion pedals, one running on preset A and one on preset B. The activation e.g. B. of pedal A leads to the deactivation of pedal B and a preset change on the AMT Pangea VC-16. A simple concept with a very practical implementation.

To the z. In order to easily handle the widely varying output voltages of pedals and preamps, the input channel of the AMT Pangea VC-16 can be adjusted to an optimal level with 2 additional sliders from 0 dB to -40 dB in six steps, a really very good practical solution.

The case of the AMT Pangea VC-16 really contains all the attributes that are associated with “Made In Russia”. Although the characteristic olive-green camouflage paint is missing, the product, which is made from a total of 4 steel sheets, looks extremely solid. With 4 screws each on the front and foot side, you can't imagine that the pedal would ever give up its mechanical spirit. In order to give the tiny thing the ultimate hold on a pedalboard, the pedal has 2 eyelets on the outside with which you can screw the housing onto the board. Not a stupid idea, especially since the application area of Velcro is comparatively small with such small housing dimensions.

On the underside of the case, a fairly large slot with a small circuit board raises a question mark, but this quickly disappears. It is a slot for the patch panel, also available from AMT, where you can plug several in-house pedals into it, which simultaneously takes over the power supply and signal management.

The AMT Pangea VC-16 in practice

Let's start with the pros of the AMT Pangea VC-16, with the feel of the product being the top priority. 2 or 3 overdrive/distortion pedals, possibly also with micro dimensions, connected in front of the tiny thing and you have a 2 or 3 channel pedal, which in terms of dimensions can be transported in a handbag and in terms of weight probably dangles around the 1 kilogram mark . Working musicians who have to travel a lot by public transport or similar for work will particularly appreciate the weight and space savings.

The very flexible level management is also impressive. No matter which console or interface is used. Regardless of whether it is a microphone or line input, even without a separate gain control on the console, you can manage the levels very well and transfer them without peak problems.

To understand the cons of the AMT Pangea VC-16, you just have to listen to the included sound examples. It is well known that all speaker simulations have the most problems with high gain guitars, as the highly compressed signal with an extremely large number of overtones can quickly sound “artificial”, “mushy” and undynamic. In order not to make it easy for the speaker simulation, I used my IRONFINGER Signature Distortion Pedal https://www.amazona.de/test-ironfinger-axel-ritt-signature-distortion-verzerrerpedal/ as a reference, since I am using it As expected, I am extremely familiar with the sound behavior of this pedal.

Unfortunately, the AMT Pangea VC-16 doesn't really convince me in terms of sound. Although there are countless ways to bend the sound, the basic sound of the product unfortunately suffers, like many other IR products, from the lack of dynamics and the rough resolution of the signal. Despite the sometimes massive treble boost, all the sounds always sound a bit busy or subtly musty and lack the “freshness” of a real microphone.

The AMT Pangea VC-16 seems to me to be a perfect solution when it comes to quickly adding speaker simulation to a guitar signal without transport problems. The losses in terms of sound in the crunch or clean range may not be nearly as severe as in the high gain range, but unfortunately you have to expect some tonal compromises here.

Conclusion

With the AMT Pangea VC-16, the Russian company has an extremely handy and flexible speaker simulation on the market. The processing is excellent, the downloadable software is extensive and the level management is extremely flexible.

In terms of sound, in contrast to the excellent feel, you have to expect a few losses in the high gain range, but this always depends on your personal area of use.

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Additional Informations:

In the realm of music technology, AMT (Applied Music Technology) has emerged as a prominent and innovative force with a history steeped in ingenuity. Over two decades, this Russian company has been instrumental in advancing the world of musical effects pedals, preamps, and amplifiers. In this extensive article, we delve into the origins, achievements, and contributions of AMT, a brand that has made a lasting impact on the global music technology landscape.

## The Genesis of AMT

AMT's journey commenced in 1997, with its founder, Sergey Marichev, at the helm. Sergey Marichev, an electronics engineer and a musician himself, established AMT in Moscow, Russia, with a vision to create cutting-edge audio equipment that would resonate with musicians worldwide. Driven by a passion for both music and technology, Marichev set out to pioneer a new era in the realm of music gear.

## A Commitment to Quality

From its inception, AMT distinguished itself through an unwavering commitment to quality and innovation. The company's focus on precision engineering and meticulous craftsmanship quickly earned it a reputation for producing high-end audio equipment. AMT's dedication to quality control and the use of top-tier components ensured that their products were reliable, durable, and capable of delivering exceptional sound.

## Pioneering Tube Emulation Technology

One of AMT's most notable contributions to the music technology industry is its pioneering tube emulation technology. This innovation allows musicians to capture the warm, harmonically rich tones traditionally associated with tube amplifiers, all while benefiting from the convenience and versatility of compact digital pedals and preamps. AMT's tube emulation technology has become a hallmark of its product line, attracting guitarists and bassists seeking classic tube sounds without the bulk and maintenance associated with traditional tube amplifiers.

## Versatile and Adaptable Pedals

AMT's reputation for producing versatile and adaptable pedals has made it a sought-after brand among musicians across various genres. Whether it's distortion, overdrive, delay, modulation, or other effects, AMT pedals are celebrated for their sonic flexibility and ability to cater to a wide range of musical styles and playing techniques. Musicians appreciate the nuanced control over their sound, allowing for creative exploration and expression.

## Innovations in Guitar Amplification

Beyond effects pedals, AMT has made significant advancements in guitar amplification technology. Products like the AMT SS-20 and AMT Pangaea series exemplify the brand's commitment to providing compact, portable, and tonally versatile amplifiers. These amplifiers incorporate advanced features, including multiple channels, built-in effects, and direct recording capabilities, making them well-suited for both stage and studio use.

## Artist Collaborations and Signature Products

AMT has cultivated partnerships with renowned musicians, resulting in the creation of signature pedals and products tailored to the specific preferences and demands of influential artists. These collaborations have not only expanded AMT's product catalog but have also solidified its reputation as a brand trusted by professionals seeking gear designed with their unique needs in mind.

## International Recognition and Global Reach

Despite its origins in Russia, AMT has achieved international recognition and distribution. The company's products are now available in music stores worldwide, showcasing the global demand for its high-quality audio equipment. This expansion into international markets has further established AMT as a leading player in the global music technology industry.

## A Glimpse into the Future

As AMT continues to evolve, it remains dedicated to pushing the boundaries of audio technology. The company's ongoing research and development efforts focus on creating innovative solutions that cater to the needs of musicians, producers, and audio engineers. With a growing and diverse product catalog that includes amplifiers, preamps, effects pedals, and more, AMT is poised to play an increasingly influential role in shaping the future of music technology.

In conclusion, AMT, under the visionary leadership of Sergey Marichev, has emerged as a prominent and trailblazing force in the music technology industry. Its commitment to innovation, unwavering dedication to quality, and ability to cater to the diverse needs of musicians have earned it a place of respect and admiration among professionals and enthusiasts alike. As AMT continues to expand its product range, international presence, and influence, it stands as a testament to the transformative power of innovation in the world of musical effects and amplification.