TEST: Audeze LCD-X

 What always fascinates me is the fact that new, mostly small companies regularly break into a seemingly saturated market in order to use unusual details to exploit an area that they believe has previously been underrepresented. This is also the case for the company Audeze, which was only founded in the USA in 2008. With its Audeze LCD-X, it has brought a heavyweight onto the market that is worth seeing in every respect and wants to cause a sensation using unusual driver technology.

The concept of the Audeze LCD-X

In order to stand out from many other headphones in terms of sound, the Audeze LCD-X uses magnetostatic drivers, which have recently gained a very good reputation in the scene, but also have a massive problem in the truest sense of the word. Anyone who holds the Audeze LCD-X in their hand for the first time will be overwhelmed by the structural dimensions and, above all, by the very high weight of almost 700 grams. The subsequent practical test will show to what extent this has an impact on wearing comfort.

The relatively low impedance of just 20 ohms is unusual for headphones in this price range. Audeze explicitly points out that it is important to be able to use the headphones on almost any device. As is probably well known, competitors in the “600” ohm class can e.g. B. can hardly be operated on an iOS device or comparable, but instead require a high-quality headphone amplifier. Although this is definitely an upgrade in terms of sound reproduction, in practice it is sometimes associated with some limitations. On the other hand, every producer/sound engineer who is prepared to pay a retail price of just under €1,400 will probably also own a separate headphone amplifier.

The additional technical data of the Audeze LCD-X read very impressively, although the frequency response of 5 - 50,000 Hz with "usable sound level components" now, at least for me, is more intimidating than exciting. The manufacturers' constant pontificating of numbers above 20,000 Hz is now extremely tiring, especially since it has no benefit whatsoever for human hearing. Perhaps high-end manufacturers in particular should keep in mind that they are devaluing their product rather than upgrading it, as this behavior is usually practiced by the low-end department in order to give their mostly inferior products a better look.

The construction of the Audeze LCD-X

The headphones have an open design and therefore share the well-known advantages and disadvantages of this design with many competitors. On the one hand, this design does not completely isolate the user from the outside world and can be used very well at moderate ambient noise levels, but on the other hand, loud instruments such as e.g. B. Drums the functionality of the listener. Since the Audeze LCD-X was designed for use in mixing and mastering, there is no need for further considerations regarding the area of application.

With headphones of these dimensions, the question of transport naturally arises. The Audeze LCD-X does not have a special transport folding device, but you can use a screwdriver to loosen the cross screws on the side support rods and thus disassemble the headphones into three parts. This means that the receiver can also be transported in comparatively small, rectangular containers. Otherwise, only the packaging box would remain, which, however, takes up a lot of space with dimensions of 31 cm x 19 cm x 26 cm, or the optional transport case, which also visually brings back memories of Peli Cases.

In terms of workmanship and presentation, the Audeze LCD-X sometimes reminds me of Soviet tank drivers who always wore these huge headphones in the typical American blockbusters of the Cold War, which were almost indestructible. The Audeze LCD-X also has similar attributes. Its workmanship is extremely solid for headphones and suggests a very long service life. Depending on the order, ear pads and headbands are made from vegan Alcantara or the skin of a dead animal.

The accessories of the Audeze LCD-X

Just as the headphones themselves are robust, so too is the production of the accessories. The cables, which are routed on both sides, have a 4-pin mini XLR plug and, thanks to their braided and painted design, give the impression that they can easily withstand even massive kicks. All components give the impression that they were designed for heavy field operations in Afghanistan rather than for relaxed operation in the control room.

The cable length is approximately 2.5 meters and ends in a gold-plated 6.35 mm TRS connector. In order to also cover the consumer sector, which likes to work with a 3.5 mm jack, the headphones also come with an approx. 20 cm long adapter cable, which also has a gold-plated stereo mini jack plug.

Practice

As expected, the open design of the Audeze LCD-X makes it suitable for mixing and mastering. Operation in the recording room, separate from the instrument group, is limited by the interference of external sound sources and also by the very high weight, which brings us directly to the biggest problem with the Audeze LCD-X. Of course, every head shape and every wearing comfort requirement is individual, but the enormous weight of the headphones makes multiple possible uses difficult.

On the one hand, the weight puts a lot of pressure on the throat and neck, which makes a longer, continuous session impossible, at least for me. However, what is even more important to me personally is the fact that as soon as you lower your head, the listener, for example, B. to concentrate when typing on the keyboard, slips completely from the head due to the weight. Even adjusting the carrying handle couldn't help. Rhythmic head movements, such as B. some of which are done unconsciously by a musician during recording are completely impossible with the Audeze LCD-X.

I even caught myself literally balancing the headphones on my head while listening to the test so as not to tilt backwards or forwards, which unfortunately didn't make it possible to work in a relaxed manner. However, I would like to point out again that these are purely subjective impressions that can be completely different depending on the user. I can therefore only recommend that every interested user complete a personal wearing test. I, on the other hand, unfortunately cannot use these headphones due to their weight, as I got a headache after just 15 minutes due to neck tension.

Now let's come to the good side of the Audeze LCD-X. Audeze writes in a package insert that the headphones are “burned in” (played in) and do not require any further treatment. I don't want to discuss further whether these treatments produce a significant difference in sound or whether it is just the user's longing for an effect comparable to playing a wooden instrument; everyone should make their own judgment here.

The Audeze LCD-X was powered by my SPL Phonitor Mini headphone amplifier and had to compete against my Beyerdynamic T1, which has been my reference in the studio for many years. In addition to the usual test tones, several test mixes from our own and external production were used.

The first listening impression was very positive, as the basic sound of the Audeze LCD-X was very similar to the Beyerdynamic, although several details were drawn differently. In terms of frequency, the Audeze appeared a little more powerful in the low bass range, but also made the high frequency range a bit sharper. Overall, the sound of the Audeze LCD-X can be described as very powerful and balanced without any over or under emphasis.

When it comes to impulse behavior and spatial imaging, the Audeze LCD-X can only be given top marks. The response is excellent, the depth adjustment is beyond any point of criticism. Even the finest differences in the sound are resolved very finely and allow a clear assessment in the mix.

Conclusion

The Audeze LCD-X leaves a mixed impression, oscillating between excellent sound characteristics and unbearable “wearing comfort”. With top-class spatial resolution, voluminous basic sound and excellent impulse response, the headphones are one of the best the market currently has to offer, but this is negated by their weight of just under 700 grams and a wobbly and strenuous fit on the head.

It is advisable to complete a long session with the product in order to then decide individually whether you can withstand the strain. In terms of sound, the Audeze LCD-X is definitely worth the torture.

———————-

Additional Informations:

Audeze Audio, a prominent name in the high-end audio market, specializes in producing premium headphones with a focus on planar magnetic technology. Founded in 2008 in Southern California, Audeze started as a company with a passion for innovation and quality in audio reproduction, quickly gaining a reputation for their exceptional sound quality and craftsmanship.

### Beginnings and Foundational Philosophy

Audeze's story began when founders Sankar Thiagasamudram and Alexander Rosson met engineer Pete Uka, who introduced them to his advancements in planar magnetic technology. Recognizing the potential for this technology in headphones, they embarked on a journey to create high-end audio products. Audeze's philosophy hinges on a commitment to innovation, uncompromising quality, and the delivery of a truly immersive listening experience. This ethos is evident in their early product lines and continues to be the driving force behind their newer models.

### Planar Magnetic Technology: The Core of Audeze's Products

Planar magnetic drivers, the hallmark of Audeze headphones, set them apart from typical dynamic driver headphones. These drivers use a thin, lightweight diaphragm suspended between arrays of precisely arranged magnets. The result is minimal distortion, better accuracy, and a highly dynamic response. Audeze continuously refines this technology, striving for thinner diaphragms and more effective magnetic structures to enhance the listening experience.

### Product Range: From Audiophiles to Professionals and Gamers

Audeze's product line spans several categories:

1. **Audiophile Headphones**: The LCD series, including the LCD-2 and LCD-3, are renowned for their clarity, deep bass, and spacious soundstage. These are often used by audiophiles in home listening environments.

2. **Professional Audio**: Audeze has made inroads into the studio market with products like the LCD-X, known for its neutral sound profile and precision, making them ideal for mixing and mastering professionals.

3. **Gaming Headphones**: Recognizing the growing market for high-quality gaming audio, Audeze introduced the Mobius and Penrose headphones, offering 3D audio and wireless connectivity, appealing to both casual and competitive gamers.

4. **In-Ear Monitors**: Expanding their product line, Audeze also offers in-ear models like the iSINE series, which brings their planar magnetic technology to a more portable form.

### Innovation and Partnerships

Audeze’s commitment to innovation is not just confined to product development. They have also engaged in various partnerships to enhance their technology. Collaborations with music artists, gaming companies, and software developers have led to specialized products and features, such as integrated head tracking technology in their gaming headphones.

### Environmental and Social Responsibility

Audeze is also aware of its environmental impact. They use sustainable materials where possible and aim to create durable products that stand the test of time. Additionally, Audeze contributes to social causes, recognizing the importance of giving back to the community.

### Challenges and Future Outlook

Like any company, Audeze faces challenges, including competition from other high-end audio manufacturers and the need to continually innovate in a fast-paced industry. However, their commitment to quality and the loyal customer base they have built position them well for the future.

Audeze continues to explore new technologies and market niches. With the rise of virtual reality and augmented reality, there are opportunities for Audeze to integrate their audio solutions into these emerging fields, potentially offering even more immersive audio experiences.

### Conclusion

Audeze stands as a beacon of quality and innovation in the high-end audio industry. Their dedication to planar magnetic technology, combined with a deep understanding of their audience’s needs, has established them as a leader in the field. As they continue to push the boundaries of what is possible in headphone sound quality, Audeze is well-poised to remain at the forefront of the audio technology landscape for years to come.

TEST: ART USB MIx

 „Ist der niedlich“. Ich weiss, das ist nicht unbedingt eine professionelle Einleitung für einen Testbericht, aber ich muss zugeben dass ich am liebsten noch „was willst du denn mal werden wenn du groß bist?“ dahinter hängen möchte. Das Angebot an Kleinstmischern, respektive Interfaces, hat sich sich in den letzten Jahren vervielfacht, nicht ohne Grund wie jeder weiss.

Mittlerweile wird ein Großteil von Budget-Produktion mit mobilem Equipment wie Notebook oder Tablet Computer aufgenommen, Fotokameras greifen in Video-Bereiche ein, die früher nur von amtlichen Filmkameras geschultert werden konnten und alle benötigen ein möglichst kleines, transportables, geräuscharmes Interface, ausgestattet mit den nötigen Ein-/Ausgängen, was möglichst die Abmessungen eines iPad Mini nicht übersteigen soll. Dabei teilt sich der Markt in den reinen Wandler Bereich, der neben einem Vorverstärker und einem rudimentären Ein- und Ausgangsbereich keine weiteren Funktionen bietet und winzige Mischpulte, welche zwar auch die Filter aussparen, aber neben mehreren Eingängen auch ein flexibles Monitoring ermöglichen.

Zur letzten Gruppe gehört das in China gefertigte ART USB Mix Computer Interface, welches trotz Zwergenabmessungen von der Haptik her ganz wie ein „echtes“ Mischpult daher kommt. Na ja, sagen wir fast ...

Konstruktion

Wie die meisten USB Pulte bis 16 Kanäle kommt auch der ART USB Mix in typischer Desktop Ausrichtung daher, will heissen abgerundete Kante vorne, glatte Fläche mit Drehreglern und zur Stirn hin eine leichte Erhöhung für die jeweiligen Steckverbindungen. Nur werden oben genannte Kontrollelemente auf gerade mal 41 mm x 101 mm x 121 mm (HxBxT) untergebracht, wobei der Winzling mit gerade mal 500 Gramm Gewicht zu Buche schlägt. Damit das Interface sich dennoch auch auf glatten Flächen halten kann, werden dem Produkt vier kleine aufklebbare Füsse aus Kunststoff beigelegt.

Der erste Eindruck des Interfaces bezüglich der Verarbeitung ist wirklich sehr gut. Das Gehäuse wurde aus massivem Stahlblech gefertigt, die Buchsen sind am Gehäuse gekontert und verfügen trotz enger Abstände untereinander über genügend Platz als dass auch massive Neutrik Stecker verwendet werden können. Der Mischer ist dreikanalig ausgelegt, was sich in Form eines Mikrofoneingangs ausgeführt als Kombibuchse und eines Stereo-Lineeingang nieder schlägt. Ein Druckschalter verwandelt den Mikrofoneingang in ein hochohmigen Inputverwalter, der Stereoklinkeneingang kann wahlweise auch als 2 Mono Kanäle betrieben werden und verträgt sowohl symmetrische als auch unsymmetrische Signalführung.

Als Ausgänge stehen zwei Klinkenbuchsen als Main Mix Out und eine Kopfhörerbuchse zur Verfügung, welche einen eigenen Signalregler aufweist. Über einen Druckschalter lässt sich das USB Playback Signal auf die Kanäle 2 und 3 routen um die erstellte Aufnahme gleichzeitig zu kontrollieren. Das Gerät verfügt des Weiteren über eine zuschaltbare 48V Phantomspeisung, zwei Clip-LEDs (Channel 1 / Summe) und eine grüne Betriebsleuchte. Den Strom holt sich das Produkt bei Anschluss an den Computer über den USB Port, oder aber bei reiner Mischerfunktion über ein mitgeliefertes Netzteil, welches ebenfalls an den USB Hub angeschlossen wird.

Software-seitig liegt dem Produkt eine Version von Audacity bei, ein Tool, welches sich bereits als Freeware Version für alle Computer Plattformen in den letzten Jahren einen hervorragenden Ruf erarbeitet hat. Für den Windows Bereich liegen alle nötigen Treiber bei, bei Apple muss wie fast immer gar nichts installiert werden, lediglich im Bereich der Ton-Systemfelder muss USB Audio Codec für Ein- und Ausgänge gewählt werden. Selbst Mac OS 9 wird noch unterstützt. Gewandelt wird wahlweise bei 44.1 oder 48 kHz, allerdings nur mit 16 Bit.


Praxis

Aufgrund seiner geringen Größe lädt das ART USV Mix auf den ersten Blick zum fleißigen Transportieren ein, auf den zweiten Blick jedoch liegt der stationäre Betrieb noch etwas näher. Aufgrund der vier vergleichsweise hohen Potentiometerköpfe ist es meines Erachtens nur eine Frage der Zeit bis einer oder mehrere der Regler durch ungewollte Belastung in einem Koffer, Tasche oder Ähnlichem einen Haarriss auf der Platine verursachen oder aber ganz abbrechen. Diese These wird auch dadurch untermauert, dass besagte Regler nicht wie die Buchsen der Anschlussperipherie durch Muttern am Gehäuse gekontert sind, sondern direkt auf der Platine aufsitzen.

Eine gute Lösung hierfür bietet jedoch das Verpackungsmaterial, in dem das Produkt ausgeliefert wird. Es beinhaltet unter anderem eine passgenaue Schaumstoffwanne, welche die Seitenwände über die Potentiometerachsen hinaus zieht und so für einen guten Schutz während des Transportes sorgt.

Während der Verkabelung wird schnell deutlich dass ART ein besonderes Augenmerk auf die Verarbeitung gelegt hat. Ich persönlich freue mich immer wenn ein TRS Stecker ordentlich gepackt wird und nach der Arretierung sich nicht weiter bewegen lässt. Glücklicherweise sucht man beim USB Mix die schlabberigen Plastikbuchsen, wie sie sonst gerne in diesem Preissegment vertreten sind, vergebens. Einmal gesteckt ist eine gesicherte Signalführung in trockenen Tüchern und brauch in Sachen Qualität sich auch nicht vor deutlich teureren Produkten zu verstecken.

Überhaupt glänzt der Vorverstärker mit einem sehr geringen Nebengeräuschpegel, auch bei relativ hoher Signalanhebung. Alle Bedienungselemente sind selbsterklärend und mittels weniger Handgriffe zu bedienen. Man könnte den ART USB Mix als eine Art Deluxe-Version der zumeist bereits am Rechner vorhandenen Anschlüsse bezeichnen. USB Kabel rein und endlich kann man mit einem „ordentlichen“ Kabel einen „ordentlichen“ Pegel in einer „ordentlichen“ Signalführung übertragen.

Das Produkt richtet sich primär an Benutzer, welche letztendlich nur das Signal möglichst hochwertig in den Rechner gewandelt haben wollen, um dieses dort mit den jeweiligen Plug-Ins weiter zu bearbeiten. Klangregelung, Aux-Wege oder weiterführendes Routing sucht man hier vergebens, was aufgrund des Einsatzgebietes aber absolut Sinn ergibt.


Fazit

Um sich in der Masse der Kleinst-Interfaces hervor zu tun, bedarf es heutzutage schon etwas mehr als einfach nur die Features der Konkurrenz zu kopieren und sein Produkt mit einem anderen Logo zu versehen. Dem scheint sich auch die Firma ART bewusst zu sein und hat genau in den Bereichen Verarbeitung und Hardware den Booster angesetzt, eben den Bereichen, die gerne in Sachen Qualität der Kalkulation zum Opfer fallen.

Das Gehäuse ist für dieses Preissegment über Gebühr massiv, die Buchsen packen kräftig zu, die allgemeine Verarbeitung ist sehr gut. Wer ein preiswertes, gut verarbeitetes, gut klingendes und leicht zu transportierendes Interface sucht, sollte den ART USB Mix auf jeden Fall einmal antesten.

————————


Additional Informations:

ART Audio, established in 1988 by Tom Willis, is a brand that stands as a paragon in the high-fidelity audio equipment industry, primarily celebrated for its commitment to the nuanced and intricate world of valve amplifier technology. This article delves into the technical and aesthetic philosophy of ART Audio, exploring its product range, manufacturing excellence, and its position within the audio market.

### The Underlying Technical Philosophy

ART Audio's dedication to valve amplifiers is deeply entrenched in a profound understanding of their acoustic properties. The brand’s preference for valve technology over solid-state alternatives is rooted in the valves' unique ability to produce a sound that is perceived as warmer and more lifelike. This preference is not merely a nod to tradition but a strategic choice influenced by the valves’ nonlinear response to electrical signals, introducing harmonics that add a desirable quality to the audio.

#### Valve Technology: A Deep Dive
Valve amplifiers use vacuum tubes to amplify the sound. These tubes, also known as thermionic valves, work by controlling the electric current between electrodes in an evacuated envelope. The intricate design of these valves plays a crucial role in the overall sound output, affecting aspects like harmonic distortion, frequency response, and soundstage depth. Unlike solid-state amplifiers that can sometimes impart a certain harshness or sterility to the sound, valve amplifiers are known for their ability to produce a richer, more resonant audio experience.

### Comprehensive Product Range

ART Audio’s product lineup is a testament to their commitment to high-quality audio reproduction and technical superiority.

1. **Tube Amplifiers and Preamps**: These products are at the heart of ART Audio's lineup. Each model is designed with specific tube types, like the 845, EL34, and KT88, chosen for their distinct sonic characteristics. The Art Audio Carissa SET 845, for instance, uses the 845 power tube renowned for its robust output and rich tonal quality, making it a preferred choice for audiophiles seeking a profound listening experience.

2. **Phono Stages and Turntables**: Recognizing the resurgence of vinyl, ART Audio’s phono stages are engineered to amplify the delicate signals from vinyl records with minimal distortion, ensuring the analog warmth and richness are faithfully preserved.

3. **Mono-Block and Stereo Power Amplifiers**: These amplifiers represent the pinnacle of ART Audio’s commitment to sound clarity and power. Mono-block amplifiers, such as the Art Audio Veloce, offer individual amplification for each stereo channel, enhancing sound separation and reducing crosstalk, whereas stereo amplifiers provide a compact yet powerful solution.

4. **Integrated Amplifiers**: ART Audio's integrated amplifiers like the Art Audio PX25 MKii combine preamplifier and power amplifier functions in one unit. These amplifiers are designed with sophisticated circuitry to maintain signal integrity and ensure high-quality sound reproduction.

### Artisanal Manufacturing and Customization

Every ART Audio product is handcrafted in the UK, adhering to stringent quality control standards. This artisanal approach to manufacturing allows for meticulous attention to detail, ensuring that each product not only meets the technical specifications but also embodies the brand’s aesthetic values. The handcrafted nature of these products also opens avenues for customization, allowing audiophiles to tailor their equipment to their specific sound preferences.

### The Technical Listening Experience

ART Audio equipment is engineered to deliver a sound experience that transcends the ordinary. This is achieved through a wider dynamic range, lower distortion levels, and an accurate representation of the original recording. The result is an immersive and emotionally engaging listening experience that resonates with audiophiles who seek more than just sound reproduction – they seek a sound experience.

### Target Audience and Market Position

ART Audio caters to a niche market of audiophiles and sound professionals who value the intricacies and quality of sound. Their products are not mass-produced but are instead crafted as high-end, bespoke audio solutions. This positioning in the market underscores ART Audio’s commitment to quality over quantity and their dedication to serving the needs of serious audio enthusiasts.

### Innovation and Future Perspectives

ART Audio continues to push the boundaries of audio technology, integrating modern advancements with traditional valve technology. This includes exploring innovative circuit designs, incorporating digital technologies where beneficial, and continually refining their valve amplification techniques. This balance of tradition and innovation ensures that ART Audio remains at the forefront of the high-fidelity audio equipment industry, poised to meet the evolving demands of the audiophile community.

In summary, ART Audio is more than just a manufacturer of high-quality audio equipment; it is a brand that represents the zenith of audio engineering, combining traditional craftsmanship with modern technological advancements. Their commitment to technical excellence, coupled with a profound understanding of the emotional impact of music, positions them as a distinguished entity in the realm of high-fidelity audio.

TEST: ART Tubemix

 When it comes to handy, analog desktop mixers with an interface integration, the name ART is probably familiar to many users. Anyone who can handle a manageable number of inputs when it comes to podcasts or home recording will certainly have noticed the American manufacturer with production in China when researching new equipment.

In order to stay in the conversation, the manufacturer is installing a tube in its latest product, the ART TubeMix, which is probably the most analogue component since control elements have been around, in this case the ever-popular 12AX7 / ECC83. Tube consoles are as old as recording technology itself, although most interested users are more familiar with them from recording temples in the 1960s such as Abbey Road Studios, rather than from current console technology. Let's see whether the beloved "non-linearity" of this component in the form of "heat", compression and saturation also comes into its own in the small mixer.

Construction and construction

The ART TubeMix is a 5-channel mixer in which channels 3 and 4 have been combined to form a stereo signal. The same stereo channel strip can also be operated in mono via a jack input, but does not have any adjustable pre-amplification in the form of a gain control. However, these can be found on channels 1, 2 and 5, whereby the first two channels in the input section can choose between jack and XLR, while channel 5 only has a high-impedance jack input.

While the first two channels have a control range of -7 dB to 33 dB (Line) or 0 dB to 43 dB (XLR), channel 5 has the option of processing the applied signal from -12 dB to 26 dB. In general, channel 5 quickly attracts attention because, in addition to purely high-impedance signal management, an amp simulation can be switched to the channel using a pressure switch. The practical test will show whether this is really an amp simulator or a much more useful speaker simulator.

To save space, all controls on the surface of the housing are designed as rotary controls. In addition to a three-band EQ (80 Hz, 2.5 kHz and 12 kHz), each channel has 2 AUX controls (left / right), a peak LED, a panorama control and a level control. The AUX channel is available as a TRS stereo circuit in/out, and the mixer also has a left/right control room out and a left/right main output. The TRS signal routing allows you to manage mono effects using a simple jack plug and corresponding stereo effects using a Y-whip.

In order to visually support the analogue character of the ART TubeMix, the mixer has two VU meters, which, with their natural inertia, always bring a certain relaxedness to the level control. Fast-paced LEDs may provide instant level control, but the more “musical” solution is still VU meters.

In the master area you can also use pressure switches to switch the signal from the VU meter, the 2x 6-digit LED display, phantom power and the different assignments of the signal to the control room and main mix. Except for the input socket of the included power supply and the USB connection socket, all connections are located on the top of the housing.

The device itself is very solid, which can be seen in the comparatively small dimensions (H x W x D): 82 mm x 195 mm x 245 mm by the hefty weight of 2.5 kilograms. The extent to which you can become comfortable with the “rustic oak” side panels depends on your personal level of suffering.

Tube circuit and USB

Anyone hoping for fat saturation in the style of a guitar amplifier will unfortunately have to lower their expectations. In terms of circuitry, the tube was placed behind the gain control and in front of the filters, so that it can only color the applied signal. The tube can be switched to either the first two channels or channel 5; the stereo channel 3/4 is left out completely.

According to the manual, the USB 2 interface used (16-bit / 48 kHz) is recognized by all modern PCs (from Windows 7) and Macs (from OSX 10.9) computers; no driver installation is required. The mixer also comes with an installation CD which contains a manual, the recording software Audacity 2.1.3 and an ART Asio driver. The very unusual 18 V / 1000 mA AC power supply is of course also included.

Practice

When you switch on the ART TubeMix, the first thing you do is check whether the power plug has not been plugged in correctly. Why? Well, the product does not have a power LED. Not even the VU meters are illuminated, i.e. H. You can't tell what level is present in dim lighting. Without an applied signal that activates the LED chains, you can only activate the 48 V phantom power and rely on the LED for the operating voltage, which is definitely not in the spirit of the inventor and you also run the risk of, e.g. B. to send a passive ribbon microphone to the eternal hunting grounds in no time. No offense, but in my opinion something like that is not possible.

When it comes to feel, however, the ART TubeMix scores well. The controls run evenly, have a pleasant resistance and, with the exception of the volume controls such as level, main level, control room and the AUX channels, have a 0 grid, which also makes blind operation easier. Unfortunately, this cannot be said about the Amp Simulator, Tube Assign and Meter-USB Source pressure switches. Black switch on a black background with a short stroke, and also without a status LED, forcing the user to concentrate on which status he has just activated.

First, let's take a closer look at the filters. The corner frequencies adopted from the early Mackie desks do a good job, although I personally like the mostly neglected mid filter the best. The 12K comes across a little harsh, while the 80 Hz boosts the bass range in a somewhat undefined way. All in all, however, the EQ does its job quite well. Now let's take a look at the two highlights of the ART TubeMix, the tube circuit and the amp simulator.

What could already be assumed based on the key technical data is also immediately noticeable in practice. Understandably, given its reputation when it comes to tube preamps, ART would like to sell the TubeMix as a tube mixer, but unfortunately this is not so easy to implement. In order to adequately integrate a preamp tube into the sound process, an anode voltage of approx. 170 - 250 volts is required, which must be generated via appropriate transformers. An 18 volt power supply cannot do this, so you shouldn't have too high expectations when it comes to tube circuitry.

Activating the tube in the signal path creates a clearly perceptible compression of the signal with a slight low-mid/bass boost, which is much more sophisticated than the EQ's bass control. At the same time, however, the transparency of the signal also decreases, so that solo monitoring benefits from the tube circuit, but in the sum mix the signal decreases in its succinctness. The extent to which this is an advantage or disadvantage depends on the source material and the total mix. Everyone has to have their own experiences here.

Due to the circuitry, you cannot change the saturation of the tube using the gain control, so activating the tube is equivalent to a kind of booster function in terms of volume, compression and filter behavior. Here too, personal taste decides.

Finally, the amp simulator still has to flex its muscles. To do this, I played an electric guitar directly into the desk via a Pushking Overdrive. It is noticeable that even with the Amp Simulator circuit deactivated, the high-impedance input is designed to have significantly lower treble than the other channels. The infamous scratching above 4K, which creates a distorted guitar, can hardly be heard here and only increases significantly when the tube circuit is activated.

Activating the Amp Simulator is supposed to create an emulation of guitar amplifier and speaker simulation, but only extends to a targeted increase/decrease of typical frequencies. The circuit cannot reproduce the dynamic and tonal behavior of a classic amplifier/loudspeaker combination. This input may be useful for quickly capturing a compositional idea, but it can never replace high-quality hardware emulation or even professional microphone recording.

Conclusion

The ART TubeMix is a handy yet massive mixer/USB interface on the market that attracts attention with two unusual features. A manually activated tube circuit and an amp simulator increase the flexibility of the product, which easily and quickly transports almost all signals into the DAW and out again.

I hope I no longer have to complain about the lack of any operating displays and the unlit VU meters with the 2.0 edition of the product.

——————————

Additional Informations:

ART Audio, established in 1988 by the visionary Tom Willis, stands as a testament to the fusion of technical ingenuity and the profound love for music. This company, steeped in the tradition of high-fidelity audio craftsmanship, has dedicated itself to elevating the listening experience of recorded music to an art form.

### The Core Philosophy: A Symphony of Tubes and Technology
At the heart of ART Audio's ethos is a deep-seated reverence for valve amplifiers. In an era dominated by digital advancements, ART Audio swims against the current, championing the rich and warm sound that only valve technology can produce. This deliberate choice is not just a nod to nostalgia but a well-considered decision to harness the unique ability of valve amplifiers to imbue digital sound sources with a more organic and less abrasive quality.

### Expansive Product Landscape: Crafting Sonic Masterpieces
ART Audio's catalogue is a veritable cornucopia of auditory delights, each product meticulously designed and handcrafted to deliver an unparalleled auditory experience:

1. **Eloquent Tube Amplifiers and Preamps**: The crux of their offering lies in their range of tube amplifiers and preamps, such as the lauded Art Audio Carissa SET 845 and the Art Audio PX25 MKii. These devices are not just equipment but conduits of pure, unadulterated sound.

2. **Turntables and Phono Stages**: For the vinyl aficionados, ART Audio extends its craftsmanship to turntables and phono stages, ensuring that the warmth of analog sound is captured in its most pristine form.

3. **Mono-Block and Stereo Power Amplifiers**: From the robust power of their mono-block amplifiers to the compact efficiency of their stereo amplifiers, each model is a testament to ART Audio's commitment to excellence in sound reproduction.

4. **Integrated Amplifiers**: Merging the functionality of preamplifiers and power amplifiers, their integrated amplifiers offer a harmonious blend of convenience and top-tier audio performance.

### The Artisanal Touch: Handmade in the UK
Every piece of ART Audio equipment is a labor of love, hand-assembled in the UK with an unwavering attention to detail. This artisanal approach ensures that each product is not just a piece of technology but a masterpiece of audio engineering.

### The ART Audio Experience: Beyond Listening
Owning an ART Audio product is not merely about listening to music; it’s about experiencing it. The company strives to create a deeper connection between the listener and the music, transcending the mere act of listening to create an immersive, emotional experience.

### The Audience: A Loyal Following
ART Audio has garnered a dedicated following among those who appreciate the finer nuances of sound. Their products are a staple in high-end audio setups, revered by audiophiles and music lovers alike for their ability to bring recorded music to life.

### Looking to the Horizon: Innovating While Honoring Tradition
ART Audio stands at the crossroads of tradition and innovation, continuously evolving to meet the demands of the modern audiophile while staying true to its heritage. This balance ensures that ART Audio remains at the forefront of the high-fidelity audio equipment industry, now and in the future.

In essence, ART Audio is more than just a manufacturer of high-quality audio equipment; it is a purveyor of musical experiences, a bridge between the past and the future of sound technology. The company's unwavering dedication to quality, coupled with a deep understanding of the emotional power of music, firmly positions it as an illustrious name in the realm of high-fidelity audio.

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.

———————-

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.

————————

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!

———————

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!

———————

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.