TEST: Eventide Mixing Link

 Let’s face it, we all love stomp boxes, right? A more or less large floorboard at the front of the stage and the ambitious guitarist and his four- to five-string friend on the other side of the stage conjure up a wide variety of sound worlds from a simple, single-channel amplifier, from spacey, fuzzy down to bitterly evil and deeply dark, depending on the equipment. But what does the weakest link in the chain do, which also forms the center of the action on stage? Shouldn't the man/woman at the microphone also be allowed to use small aids to bring his/her skills into the right sonic frame in the form of comparatively simple stage cabling? Have fun searching!

Anyone who has ever made the effort to find a simple control center in the form of stomp boxes for vocals will soon give up, comparatively disillusioned. Either you have to deal with complex multi-FX pedals and the corresponding sales prices, or you can try to torture your symmetrical microphone signal with the unbalanced guitar effects. All in all very unsatisfactory.

To counteract this, the company Eventide has launched the Mixing Link (I love this play on words), a multifunctional stompbox manufactured in the USA, which, in the function of a Swiss army knife, solves all problems in terms of level, loop, and want to solve connection variants. That smells like an ambitious concept!


Construction

In keeping with the intended use, the Eventide Mixing Link has been designed as a pure foot pedal. Weighing only 430 grams with dimensions (HxWxD): 91 mm x 67 mm x 38 mm, it takes up no more space than a standard distorter. The product can also be operated easily on smooth surfaces using the four adhesive feet provided, but as with any floor pedal, it is recommended to fix the pedal on a floorboard.

The central function of the Eventide Mixing Link is signal processing through the internal microphone preamplifier, in combination with the integration of external FX floor pedals, or the feeding of 2 completely different signals into one input. The times when only 19 inch devices delivered official effect sounds while the floor department struggled with inferior simulations, especially in the reverb area, are long gone. Therefore, a product like this makes a lot of sense, especially from the point of view of transportability. The product receives its operating voltage via the included 9V power supply or via an internally placed 9V battery, which, however, requires unscrewing the base plate to install.

In order to be able to integrate as many third-party manufacturers as possible, the Eventide Mixing Link has a diverse number of inputs and outputs. Starting with a balanced combination socket that accepts both XLR and TRS plugs for line signals. If necessary, 48V phantom power can be added, and the microphone input sensitivity can also be adjusted using a pressure switch. Two LEDs provide information about the level present, while a separate jack input also enables the connection of an instrument. A ground lift helps with devices that are already grounded, such as a guitar preamp. In addition, an AUX signal can be fed in via a stereo jack and headphones can be connected via another stereo mini jack.

Practice

If you list the entire range of uses of the Eventide Mixing Link, you come to the following possible uses:

DI box with ground lift
A/B box between 2 guitar amps
Input signal router
Output signal switcher
Microphone preamp
Smartphone recording interface
Control center floor pedals
Headphone amplifier

In terms of sound, the microphone amplifier is impressive, especially since it pushes even weak output levels to a decent level with up to 65 dB of catch-up gain. The entire product is very quiet and therefore cuts a fine figure in the studio. If noises occur, they are probably to be found in the connected peripherals.


Conclusion

With the Eventide Mixing Link, the American manufacturer has a kind of Swiss Army knife on the market for under 300 euros, which is quite something. In addition to a high-quality microphone preamplifier, the product can be used to carry out at least seven other actions in terms of input and output management that would otherwise require their own tool.

A great product that deserves a closer look!

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Additional Informations:

The Evolution of Direct Injection (DI) Boxes: A Comprehensive History

Introduction:
In the realm of audio engineering and live sound reinforcement, direct injection (DI) boxes play a pivotal role in signal processing and connectivity. These indispensable devices have a rich and storied history, evolving from rudimentary solutions to sophisticated tools used by professionals worldwide. This article delves into the fascinating journey of DI boxes, tracing their origins, technological advancements, and enduring relevance in modern audio production.

Origins:
The genesis of DI boxes can be traced back to the mid-20th century when audio engineers grappled with the challenges of interfacing high-impedance instruments, such as electric guitars and keyboards, with low-impedance audio systems. The advent of electric instruments posed a conundrum, as their unbalanced outputs often resulted in signal degradation and impedance mismatches when connected directly to mixing consoles or amplifiers.

Early Solutions:
To address these impedance issues, engineers devised rudimentary impedance matching transformers, which served as precursors to modern DI boxes. These transformers effectively converted the high-impedance signal of instruments like electric guitars into a low-impedance signal suitable for direct connection to audio systems. While these early solutions were effective to some extent, they lacked the versatility and functionality of contemporary DI boxes.

Pioneering Innovations:
The evolution of DI boxes gained momentum in the 1960s and 1970s, driven by advancements in audio technology and the burgeoning demand for improved signal fidelity. Engineers and manufacturers began experimenting with active electronics, incorporating preamplifiers and equalization circuitry into DI box designs. These innovations not only addressed impedance issues but also provided greater control over signal levels and tone shaping.

Rise of Professional Audio:
The proliferation of professional audio systems in recording studios, live venues, and broadcast facilities during the latter half of the 20th century further propelled the evolution of DI boxes. As the demand for high-quality audio reproduction soared, manufacturers responded by refining and enhancing the capabilities of DI boxes to meet the exacting standards of audio professionals. This period witnessed the emergence of renowned DI box manufacturers and brands that remain influential today.

Technological Advancements:
The turn of the 21st century ushered in a new era of technological innovation in the field of audio engineering, with DI boxes evolving to incorporate digital signal processing (DSP) and other advanced features. Digital DI boxes offered unparalleled versatility, allowing users to emulate various amplifier and cabinet configurations, apply effects processing, and seamlessly integrate with digital audio workstations (DAWs) and software-based recording systems.

Diverse Applications:
The versatility and functionality of modern DI boxes have expanded their applications beyond traditional instrument connectivity. In addition to instrument-level signals, DI boxes are commonly used to interface line-level signals from audio sources such as mixers, DJ equipment, and media players. Furthermore, DI boxes equipped with ground lift switches and phase inversion capabilities are indispensable tools for troubleshooting and eliminating common audio issues, such as ground loops and phase cancellations.

Live Sound and Studio Environments:
In live sound reinforcement settings, DI boxes are indispensable for connecting instruments and audio sources to mixing consoles, amplifiers, and signal processors. Their robust construction, reliable performance, and ability to withstand the rigors of touring make DI boxes indispensable companions for live sound engineers and touring musicians. In recording studios, DI boxes serve a dual purpose, facilitating direct recording of instruments while also serving as essential tools for re-amping and signal routing.

Continued Innovation and Adaptation:
As audio technology continues to evolve, so too will the design and functionality of DI boxes. Manufacturers are constantly innovating to meet the evolving needs of audio professionals, incorporating features such as impedance matching switches, transformer emulation, digital connectivity, and wireless transmission capabilities. Moreover, the proliferation of compact and portable DI box designs has made them essential accessories for musicians, audio engineers, and content creators alike.

Conclusion:
The evolution of DI boxes epitomizes the ingenuity and adaptability of the audio engineering community in addressing the ever-changing needs of the industry. From humble beginnings as impedance matching transformers to sophisticated signal processing tools, DI boxes have traversed a remarkable journey of innovation and refinement. As they continue to play a vital role in audio production, DI boxes remain a testament to the enduring legacy of technological advancement and creative ingenuity in the realm of sound reinforcement and recording.


Headphone amplifiers, or headphone amps, have become essential components in the realm of audio playback, providing enhanced audio quality and driving power to headphones and earphones. The evolution of headphone amplifiers is a testament to the pursuit of audio excellence and the ever-changing landscape of audio technology. This article traces the origins, technological advancements, and enduring significance of headphone amplifiers in the realm of audio reproduction.

Origins:
The history of headphone amplifiers can be traced back to the early days of audio playback technology when headphones were primarily used in telephone communication and radio broadcasting. As audio fidelity became a paramount concern, engineers began exploring ways to amplify headphone signals to achieve greater clarity and volume. Early headphone amplifiers were rudimentary in design, often employing vacuum tubes and simple amplification circuits to boost audio signals.

Emergence of High-Fidelity Audio:
The post-World War II era witnessed a surge in demand for high-fidelity audio equipment, driven by the growing popularity of home audio systems and hi-fi enthusiasts. Headphones emerged as a preferred listening option for audiophiles seeking immersive audio experiences without disturbing others. Manufacturers responded by developing dedicated headphone amplifiers designed to deliver pristine audio quality and ample power to drive headphones with varying impedance levels.

Transition to Solid-State Technology:
The advent of solid-state electronics in the 1960s marked a significant milestone in the evolution of headphone amplifiers. Solid-state amplifiers, characterized by transistors and integrated circuits, offered several advantages over their vacuum tube counterparts, including greater reliability, efficiency, and compactness. This transition to solid-state technology paved the way for the development of smaller, more portable headphone amplifiers suitable for personal audio devices and portable music players.

Rise of Portable Audio:
The proliferation of portable audio devices, such as Walkmans and portable CD players, in the 1980s and 1990s fueled the demand for compact headphone amplifiers capable of delivering high-quality audio on the go. Manufacturers responded by introducing portable headphone amplifiers with built-in rechargeable batteries, allowing users to enjoy superior audio fidelity without being tethered to stationary audio systems. These portable headphone amps became indispensable accessories for audiophiles and music enthusiasts alike.

Integration with Digital Audio Players:
The dawn of the digital age brought about a paradigm shift in audio playback technology, with the rise of digital audio players (DAPs) and digital-to-analog converters (DACs). Headphone amplifiers evolved to integrate seamlessly with DAPs and DACs, serving as intermediary devices to enhance audio quality and drive high-impedance headphones with precision and finesse. The synergy between headphone amplifiers and digital audio sources revolutionized portable audio playback, allowing users to experience studio-quality sound on the go.

Specialized Applications:
In addition to consumer audio playback, headphone amplifiers found applications in professional audio monitoring, recording, and mastering environments. Studio-grade headphone amplifiers equipped with multiple headphone outputs, individual volume controls, and pristine signal paths became essential tools for audio engineers, producers, and musicians. These specialized headphone amplifiers ensured accurate monitoring and precise sound reproduction during critical recording and mixing sessions.

Audiophile Culture and Customization:
The resurgence of audiophile culture in the 21st century fueled a renaissance in headphone amplifier design and customization. Enthusiasts and hobbyists began experimenting with DIY headphone amplifier kits, modifying existing designs, and exploring alternative amplification topologies to tailor their listening experiences to personal preferences. This DIY ethos gave rise to a vibrant community of headphone amplifier enthusiasts, sharing knowledge, insights, and passion for audio excellence.

Continued Innovation and Diversification:
As consumer demand for high-quality audio continues to grow, headphone amplifier manufacturers are pushing the boundaries of innovation and diversification. Modern headphone amplifiers boast a myriad of features, including balanced headphone outputs, impedance matching switches, digital signal processing (DSP), wireless connectivity, and advanced amplification technologies such as Class-A, Class-AB, and Class-D amplifiers. Furthermore, the integration of smart features and app-based controls has transformed headphone amplifiers into versatile audio companions for discerning listeners.

Conclusion:
The evolution of headphone amplifiers reflects the dynamic interplay between technological innovation, consumer demand, and audiophile culture. From humble beginnings as rudimentary amplification circuits to sophisticated audio playback solutions, headphone amplifiers have evolved into indispensable components of modern audio systems. As they continue to shape the landscape of audio reproduction, headphone amplifiers stand as a testament to the enduring pursuit of audio excellence and the transformative power of innovation in the realm of sound.

TEST: AIAIAI Unit-4

 As soon as you start thinking about portable monitoring, all systems currently on the market have the same problem. We are talking about a more or less large layer of cable, which is necessarily attached to the monitor boxes for connecting interfaces, speakers, power supplies or similar. The company AIAIAI has now brought a loudspeaker system onto the market for the first time, which is intended to work in studio quality and does not require any cables. We are talking about the AIAIAI Unit-4, which is developed in Denmark, built in China and I am very excited about the result of the test.

The concept of AIAIAI Unit-4

The basic principle of the AIAIAI Unit-4 can be found in the use of the so-called wireless link technology. The system is delivered with a transmitter, which is connected via USB-C and can either output the signal at 44.1kHz / 16bit via WLAN with a latency of only 16 ms thanks to 2 antennas, or you can use the built-in mini jack socket. Alternatively, you can also output the signal used via Bluetooth, although, as is well known, the same standard cannot be used for professional applications due to the lack of signal security and in particular due to the high latency of 80 ms and more. The range for the transmitter is stated to be 12 meters, which should be more than sufficient for regular studio use.

The first impression

Anyone who is happy about the generally visually attractive packaging range of Apple products will be very pleased with the delivery of the AIAIAI Unit-4. The two boxes come in a very nice box, which is also divided into two individual boxes in which the speakers are packed in a small fabric bag. The boxes can be used horizontally and vertically, although they have small rubber strips on the sides for both horizontal and vertical operation, which are intended to prevent the boxes from slipping. According to the manufacturer, only recycled plastic was used to make the case, which gives you a better feeling about the environmental aspect.

Due to the trapezoidal shape of the housing, the speakers are automatically slightly slanted in the horizontal position, whereby you can choose between using tweeters on the outside or tweeters on the inside. For my part, in such a company the tweeters are always on the outside. Due to the absence of any cables, it is extremely easy to try out different positions of the speakers. Especially when horizontal, you can find out very quickly whether you might want to have the tweeter on the inside. A very big advantage if you work without any cables.

However, you can also purchase additional rubber pads for vertical operation, with which you can change the angle of attack of the speakers to suit human hearing. To protect the loudspeakers, two magnetic loudspeaker grilles are included, which protect the high and low tones from haptic influences from outside, which is particularly noticeable during transport.

The housing of the monitors is made of plastic and the manufacturer explicitly points out that the design of the system is modular and that all components of the system can be accessed by loosening just two screws. This should make the system very easy to repair and individual parts should be very easy to replace. In addition to the boxes and the transmitter, the scope of delivery includes a charging power supply plus the necessary cables and a simple manual.

You can immediately tell that the manufacturer attaches great importance to the visual appearance, which it achieves across the entire range. The low tones are enclosed in an LED light ring, which signals whether the system is activated or switched off during operation as well as in shutdown and turn-on mode. There are three push buttons on the top of the case, one to turn the product on and off and a plus and minus button for the general volume of the product. The brightness of the LED ring can also be adjusted via a mobile app.

The performance data of the AIAIAI Unit-4

As you can tell from the product name, the AIAIAI Unit-4 has a 4" woofer and 1" silk dome tweeter. The Class D amplifier delivers a power of 2x 30 watts in continuous power and 2x 80 watts peak. If necessary, you can also control the speakers traditionally via TRS cable or mini jack, but this of course takes away a lot of the wireless appeal.

You can also use the mobile app to set different sound presets or you can put together your own setup. There are five frequency bands called Sub, Bass, Mid, Upper Mid and Treble, which can be raised or lowered. The frequency response is specified as 50 - 20,000 Hz, the crossover frequency is 3 kHz and the system should be able to generate a maximum SPL of 105 dB.

When it comes to operating time, the internally installed batteries are very impressive. The normal operating time is given as 20 hours, but this refers to continuous playback and of course also depends on the volume you use. Normally, the speakers should last for several days before they need to be charged again. In any case, I didn't feel the need to charge the product again during the test operation.

The AIAIAI Unit-4 in practice

When you look at the performance data of the AIAIAI Unit-4, it quickly becomes clear that the system was primarily designed for portable operation. Of course, you can also use these speakers as a second or third listener in a project studio or similar, but the focus on the small dimensions with maximum sound reproduction is always a sign of the portable operation approach. This operation can of course also be used as a small monitor during live shows. For example, they can be used as monitor boxes for DJs, keyboard players or other stationary artists. Because, it's hard to believe, despite their small dimensions and clear performance data, the speakers have a very large headroom and offer a comparatively balanced sound, especially in the lower and medium volume ranges.

In a neutral EQ setting, the speakers sound comparatively unspectacular. However, if you intervene a little in the sound control, the speakers are much more pleasing than is the case in the basic setting. Personally, I find the sub-band a bit pretentious, as in this range only the lower limit frequencies of the speakers are touched upon. However, the bass control is comparatively strong in its presence.

Due to the dimensions of the woofer, the speakers cannot really develop a high thrust. However, the woofer impresses with its relatively soft suspension in combination with the sophisticated bass reflex opening with an above-average definition of the bass range. Personally, I would be a little careful with the height control. If you give it a little more responsibility, the tweeter tends to sound relatively harsh, which can quickly ruin the otherwise well-balanced sound of the speaker.

Of course, you can never reflect the sound quality of the speakers in a test report, but you can compare them with other speaker designs. Compared to other portable monitor systems such as the KRK GoAux series, the AIAIAI Unit-4 really performs extremely well. Not only does the system impress in terms of sound with a somewhat more open reproduction, but also in terms of the elegance of the appearance, it is much more fun to work with loudspeakers with this look than with the sometimes somewhat clumsy micro speakers, which are also usually small The connecting cables on the back of the housing are pumped up to the limit.

However, with near-field studio speakers with a similar size specification such as the SC-204 from EVE Audio, the system inevitably has to lose out, as the AIAIAI Unit-4 speakers reach their limits here, especially in terms of their bass reproduction. The tweeter is also inferior to the Eve Audio speakers in terms of resolution. However, you can compensate for the bass range accordingly by using an additional subwoofer for the low bass range, which is probably what you generally do when working with satellites in the 4 inch woofer department.

However, you should always keep in mind that the price of the AIAIAI Unit-4 system includes an additional interface of the highest quality, which must be purchased additionally when purchasing another traditional near-field monitor system, unless you use the mini-jack output port, which is very sensitive to the touch of the Macbook want to use.

Conclusion

With the AIAIAI Unit-4, the Danish manufacturer has a wireless system in its portfolio that impresses with its elegant look, no-brainer handling and good basic sound. For me personally, it's an excellent choice for portable operation, as it requires extremely little space thanks to the included mini-interface and a simple, rudimentary travel case already offers enough protection for the system.

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Additional Informations:

AIAIAI stands as a beacon of innovation in the realm of audio technology. The journey of this remarkable company traces back to its humble beginnings, driven by a passion for sound excellence and a relentless pursuit of innovation. This article delves into the enthralling saga of AIAIAI, exploring its inception, evolution, and the pivotal milestones that have shaped its trajectory.

Origins:
The story of AIAIAI commenced in Copenhagen, Denmark, where a group of audio enthusiasts and design aficionados converged with a singular vision—to redefine the landscape of audio equipment. In 2006, this vision materialized into reality when Frederik Jorgensen, Christian B. Lorentzen, and Kasper Moth-Poulsen founded AIAIAI. The founders shared a common belief in the power of collaboration, drawing inspiration from the vibrant creative community of Copenhagen.

Early Years:
In its nascent stages, AIAIAI carved a niche for itself by blending Scandinavian design principles with cutting-edge audio technology. The company's maiden product, the "Tracks" headphone, garnered widespread acclaim for its sleek aesthetics and superior sound quality. This initial success laid the foundation for AIAIAI's ascent in the competitive audio market.

Collaborative Culture:
AIAIAI's ethos revolves around collaboration—a cornerstone that distinguishes it from its counterparts. The company forged strategic partnerships with renowned artists, DJs, and musicians, fostering a culture of co-creation and experimentation. These collaborations yielded groundbreaking products tailored to the unique needs of professionals and audiophiles alike.

Innovation and Design Excellence:
At the heart of AIAIAI's success lies its unwavering commitment to innovation and design excellence. The company's R&D team continuously pushes the boundaries of possibility, leveraging advanced acoustics, materials science, and ergonomic design to engineer state-of-the-art audio solutions. AIAIAI's product lineup reflects a harmonious fusion of form and function, embodying the Scandinavian ethos of minimalist sophistication.

Expansion and Global Reach:
Fuelled by its early triumphs, AIAIAI embarked on a journey of expansion, gradually establishing its presence across global markets. The company's strategic foresight and customer-centric approach enabled it to resonate with diverse demographics, from professional DJs seeking unparalleled performance to everyday consumers craving immersive audio experiences. Today, AIAIAI boasts a global footprint, with its products adorning the shelves of leading retailers worldwide.

Flagship Products:
AIAIAI's product portfolio encompasses an array of flagship offerings that have garnered accolades for their innovation and performance. The "TMA-2" modular headphone system stands as a testament to the company's modular design philosophy, allowing users to customize every aspect of their listening experience. Similarly, the "H05" Bluetooth headband exemplifies AIAIAI's embrace of wireless technology without compromising on audio fidelity.

Sustainability and Ethical Practices:
In an era marked by environmental consciousness, AIAIAI remains steadfast in its commitment to sustainability and ethical practices. The company prioritizes eco-friendly materials, recyclability, and responsible manufacturing processes, minimizing its ecological footprint. Furthermore, AIAIAI champions fair labor practices, ensuring that its supply chain adheres to stringent ethical standards.

Cultural Impact:
Beyond its commercial success, AIAIAI has exerted a profound cultural impact, transcending the realm of audio technology. The company's collaborations with avant-garde artists, fashion designers, and cultural icons have catalyzed creative dialogue and inspired cross-disciplinary innovation. AIAIAI's products have become synonymous with artistic expression, serving as canvases for self-expression and individuality.

Future Prospects:
As AIAIAI embarks on the next phase of its journey, the company remains poised to spearhead innovation in the audio industry. With a steadfast focus on technological advancement, design ingenuity, and sustainability, AIAIAI is primed to redefine the future of audio experiences. By staying true to its core values and embracing the spirit of collaboration, AIAIAI continues to shape the sonic landscape for generations to come.

Conclusion:
The saga of AIAIAI exemplifies the transformative power of vision, creativity, and collaboration. From its humble origins to its global stature, the company has blazed a trail of innovation, leaving an indelible mark on the audio industry. As AIAIAI charts a course towards the future, its commitment to excellence and ingenuity ensures that the world will continue to resonate with its harmonious symphony of sound.

TEST: Eve Audio TS112

 In the end, quality prevails, or something like that you could summarize the career of the Berlin company Eve Audio in a very succinct statement. If you had asked me about this company almost 8 years ago, I would ultimately have had to pass, but my interest was piqued to the highest degree with my first test of this company's monitors. Eve Audio now has an impressive portfolio, from portable home recording nearfield monitors to powerful midfield “shooters”, which reach into the 1 KW range per loudspeaker box. It almost goes without saying that such a company also has appropriate subwoofers, which is why today we are taking a look at the “powerhouse” of the TS line, the EVE Audio TS112, which is the battleship in the deep bass range in terms of power output.

The conception of the EVE Audio TS112

The fact that a 12 inch woofer is installed in the EVE Audio TS112 gives an idea of the woofer's intended use. In contrast to live sound reinforcement, where a 12-inch speaker covers the low-mid range or even a classic 412 guitar cabinet, which uses a 12-inch speaker as a broadband speaker, with very few exceptions the same speaker size is the maximum you can expect in terms of subwoofer dimensions recording studio. In addition, the woofer has a peak power of almost 400 watts, so that the system can be positioned in the midfield area with the appropriate satellite equipment. If you are considering using a woofer and have a control room of up to approx. 20 square meters, you can actually save yourself the rest of this test report, as the physical conditions of the EVE Audio TS112 would exceed the possible uses in terms of the radiation behavior of a small control room.

As already mentioned, the playback is based on a single 12 inch speaker, which is clamped comparatively tightly due to the high power peaks, rests very firmly in its starting position due to the strong magnet and is equipped with a very massive surround. The membrane and dome are made of a very torsion-resistant material, which enables a frequency response of 24 - 300 Hz and a max. SPL @ 1m of 112 dB.

A major special feature of the Eve Audio subwoofer series, which is also present in the TS 112, is located on the underside of the housing. If you take a closer look at the pictures of the EVE Audio TS112, you will notice that the housing stands on four comparatively high feet, the unusual height of which immediately makes sense when you look at it from below. Perhaps some of the readers have noticed that the EVE Audio TS112 does not have a bass reflex opening. This “boost” solution from other manufacturers, which can sometimes generate a little wind noise when the loudspeaker is deflected higher, is achieved in the EVE Audio TS112 by means of a passive membrane, which is embedded horizontally in the bottom of the housing and of course has a certain amount of light for smooth operation Height required. Strictly speaking, the EVE Audio TS112 has two speakers, of which only one is actively operated.

  The back of the EVE Audio TS112

All connections of the Eve Audio TS112 are located on the back of the housing and are, as expected, in XLR symmetrical throughout, consisting of L / R - In / Out and LFE In / Out. A small extension of the labeling, but which makes it incredibly easier in practice, is the use of a regular and an upside-down labeling, where you can also read the labels if you lean over the woofer from the front to the back. Depending on the room, you may not always be able to walk around the woofer to carry out the correct cabling and in such situations a little thing like this is very helpful.


Furthermore, the woofer has 3 DIP switches, which can be used to activate various additional functions, such as:

Filter Lock: Securing the filters set on the front.
Volume Lock: Locks the volume set on the front.
Max. Input: Input sensitivity switchable between +8dBu and for studios with very high output levels +22dBu.

Finally, on the back of the housing there is the power plug, a voltage selector switch (220 - 240 V / 100 - 120 V) and the mains fuse.


The front of the Eve Audio TS112

The front of the Eve Audio TS112 is dominated by 2 rotary controls, which use a push function to guide you through the system's very extensive menu. In addition, 3 small LEDs provide information about different circuit states.

The lower rotary control takes over the function of the subwoofer volume in relation to the complete set and mutes the woofer using the push function. The LED ring around the controller works with an adapted mode of operation, which means that each LED has the following control depending on the volume:

-80dB (minimum) to -48dB: 2dB
-48dB to -20dB: 1dB
-20dB to 0dB (Maximum): 0.5dB

This useful logarithmic control allows a much more sensitive adjustment of the volume at high levels, while this fineness is not needed at low volumes. However, the sound control becomes really flexible when you use the upper control. The same controller takes over the overall control of the satellites and the woofer in terms of volume. First of all, it may be necessary to limit the satellites in the high pass so that the woofer is not put under too much strain on small satellites. Eve Audio recommends the crossover at 80 Hz, which is set as default. The same applies to the low pass of the woofer, which either transmits at 60 Hz up to 140 Hz or in LFE mode allows everything it can transmit.

In addition, the phase of the signal can be rotated if the room acoustics result in a disproportionately thin or booming sound due to phase cancellations. As with the other representatives of the TS class, Eve Audio has included an infrared remote control with the system, with which all functions can be controlled remotely from the control station. Especially when setting up the system for the first time, you can shorten the laborious “set-set-listen-get-up-go-change” repeat procedure and achieve significantly more effectiveness in a direct A/B comparison.

In practice

“That’s what I call a real deep bass,” these were the first words that came to mind when the first notes came from the EVE Audio TS112, but everything in order. Anyone who has previously worked with subwoofers with a diameter of up to approx. 8 inches may have to get used to the sound of the EVE Audio TS112, as the strengths of the woofer can only be measured on the second listening impression. Anyone approaching the situation expecting a higher volume due to the massive appearance of the woofer will be disappointed. At first impression, the subjective perception doesn't seem to differ that much from smaller woofers until you switch the woofer to standby and only hear the satellites alone.

Only now do you realize what the EVE Audio TS112 covers in the low and especially in the ultra-low bass range. Based on the strongly vibrating membrane, you could also visually see that a lot of air was being moved, but it was only in the A/B comparison that the woofer really came into its own. So how is it that this colossus is so incredibly subtle and discreet? In my opinion, the solution can largely be found in the passive membrane. As expected, the radiation behavior is still more or less circular, but the sound differs massively from a solution using a bass reflex opening. The sound of the EVE Audio TS112 is incredibly warm and unobtrusive, coupled with extreme headroom. If necessary, you can achieve the level of a real live sound system, which also allows you to test a club sound system at “real level” in the control room. In addition, there is a transmission that doesn't run out of steam even at 40 Hz, so that you can keep a perfect overview of the level, especially with bass-heavy music.

However, what should be very well coordinated is the crossover frequency with the satellites, which you should take a lot of time with. It can be assumed that if you use a 12-inch speaker in the bass range, you won't finish off with 4 or 5-inch speakers in the satellite range, as the "kink" in the linearity will be a little too strong. You can counteract the effect by having the woofer pass at 100 or 120 Hz, for example, but you should always be aware of the inertia of the bass speaker. Personally, I would complement this “jacket” with at least 6-inch, better still 8-inch bass speakers in the satellite range, which already provide a good bass foundation and add the EVE Audio TS112 as the ultimate bass controller.

Overall, you definitely have to give the EVE Audio TS112 the top rating, simply because there are no weak points in the system and the woofer holds up with incredible aplomb in all areas where a woofer can get sweaty. An absolutely top class subwoofer!


Conclusion

With the Eve Audio TS112, the Berlin company has a high-end studio subwoofer in its portfolio. The system has extreme power reserves, sounds incredibly discreet/subtle and, thanks to the passive membrane, produces a very unobtrusive basic sound with an outstanding deep bass reproduction, which extends right down to the very bottom of the frequency spectrum.

A professional subwoofer that consistently delivers even in large control rooms, hence top marks in all areas!

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Additional Informations:

**Introduction**

Eve Audio is a German manufacturer of professional studio monitors. The company was founded in 2011 by Roland Stenz, and it is currently headquartered in Berlin. Eve Audio monitors are known for their high quality and accuracy, and they are used by a wide range of professional audio engineers, musicians, and producers.

**The Early Years**

Roland Stenz was born in Germany in 1963. He developed an interest in audio at a young age, and he began working in the audio industry in the early 1980s. Stenz worked for a number of different audio companies, including Sennheiser and Neumann, before founding Eve Audio in 2011.

**The Founding of Eve Audio**

Stenz founded Eve Audio with the goal of creating high-quality studio monitors that were affordable for professional audio engineers and musicians. The company's first product was the SC203 nearfield monitor, which was released in 2011. The SC203 was well-received by critics and audio professionals, and it helped to establish Eve Audio as a leading manufacturer of studio monitors.

**The Growth of Eve Audio**

Eve Audio has continued to grow and expand since its founding in 2011. The company has released a number of new products, including the TS112 subwoofer, the AM5 active monitor, and the Lynx 50 active monitor. Eve Audio monitors have been used by a wide range of professional audio engineers, musicians, and producers, including Grammy-winning engineer Andrew Scheps and multi-platinum producer Mike Elizondo.

**Eve Audio Today**

Today, Eve Audio is one of the leading manufacturers of studio monitors in the world. The company's products are sold in over 50 countries, and they are used by a wide range of professional audio engineers, musicians, and producers. Eve Audio is committed to providing high-quality, affordable studio monitors that help audio professionals achieve their creative goals.

**Eve Audio: A Timeline**

* 2011: Roland Stenz founds Eve Audio in Berlin, Germany.
* 2011: Eve Audio releases its first product, the SC203 nearfield monitor.
* 2012: Eve Audio releases the TS112 subwoofer.
* 2013: Eve Audio releases the AM5 active monitor.
* 2014: Eve Audio releases the Lynx 50 active monitor.
* 2015: Eve Audio celebrates its 5th anniversary.
* 2016: Eve Audio releases the Opal active monitor.
* 2017: Eve Audio releases the Sphere active monitor.
* 2018: Eve Audio releases the Studio 208 active monitor.
* 2019: Eve Audio celebrates its 10th anniversary.
* 2020: Eve Audio releases the EVO 207 active monitor.

**Eve Audio: A Look at the Future**

Eve Audio is a company with a rich history and a bright future. The company has come a long way since its humble beginnings in a small Berlin workshop. Today, Eve Audio is one of the leading manufacturers of studio monitors in the world. The company's products are used by a wide range of professional audio engineers, musicians, and producers. Eve Audio is committed to providing high-quality, affordable studio monitors that help audio professionals achieve their creative goals.

The company is constantly innovating and developing new products. Eve Audio is also committed to providing its customers with the best possible service. The company has a team of experienced and knowledgeable staff who are always happy to help customers find the right monitor for their needs.

**Conclusion**

Eve Audio is a company that is passionate about audio. The company is committed to providing audio professionals with the tools they need to create great music. Eve Audio monitors are known for their quality, accuracy, and affordability. They are the instruments of choice for a wide range of professional audio engineers, musicians, and producers.

TEST: Eve Audio TS107

 The general public only became aware of them with the establishment of the surround sound system; today they can be found in almost every recording studio that does not work in a midfield monitor or larger area. We are talking about subwoofers that cover the sub-bass range for control purposes, which for physical reasons cannot be covered by nearfield monitors. For testing we have the smallest representative of the Berlin manufacturer Eve Audio, which is called the Eve Audio TS107 and could cause a lot of interest with a large number of special features.

The special features of subwoofer operation

Even though most users are likely to be familiar with the special features of subwoofer operation, here is a brief introduction for interested newcomers. While huge discussions are sometimes made about the placement of near-field monitors and the associated optimization of the stereo triangle (and rightly so), the optimal placement of a subwoofer is approached in a comparatively relaxed manner. Even a placement beyond the stereo center is still viewed very loosely, depending on the reflection surface near the woofer, as long as the actual area of ​​application of the system is not ruined by an unfavorable phase problem.

Why is that? The main reason is that the human ear no longer perceives any spatial location below approx. 300 Hz. It is therefore negligible whether the subwoofer is in the middle or to the side of the room, unless the unfavorable geometry of the room causes standing waves or something similar. The stereo image is formed exclusively by the satellites of the nearfiled monitors, especially since in almost all woofers the stereo signal is summarized in mono.

The advantage of a subwoofer lies particularly in the space-saving variant, as high-quality woofer operation allows you to achieve a deep bass that can otherwise only be achieved with very good and expensive midfield monitors, which also require medium to very large control rooms in order to exploit their full potential can. The danger of using a woofer, on the other hand, lies in the unoptimized coordination with the satellites, which then leads to an undifferentiated reproduction of the bass range and worsens rather than improves the sound reproduction. A good subwoofer is therefore not only characterized by an outstanding sound, but also by as many setting options as possible to ensure optimal cooperation with the satellites.

The construction of the Eve Audio TS107

The Eve Audio company has a total of 4 subwoofers in its portfolio, with the Eve Audio TS107 with its 6.5-inch bass loudspeaker being the smallest variant in the series. The softly suspended yet magnetically tight speaker offers an output power of 100 watts and has an internal limiter. According to the manufacturer, the frequency range is 33 - 300 Hz, whereby the woofer with dimensions of 230 mm x 355 mm x 300 mm and a weight of only 8.2 kg can be described as very handy. The maximum SPL is @ 1m: 102 dB. Like all other Eve Audio products, the Eve Audio TS107 is perfectly manufactured and offers no cause for criticism.

What I noticed when unpacking the product were the unusually high and massive feet on which the Eve Audio TS107 stands. A look at the underside of the case provides the explanation. Instead of, as is usual with almost all subwoofers, Eve Audio does without the bass reflex channel and instead uses a passive membrane, which compensates for the movements of the front speaker and the associated compression of the internal air, as well as working as a kind of second speaker. The result is a significantly tighter and more defined bass than the bass reproduction via the bass reflex channel, which sometimes tends to “slouch”. The flow noise caused by occasional air turbulence is also eliminated.

The connection panel of the Eve Audio TS107

All connections of the Eve Audio TS107 are located on the back of the housing and, apart from the unbalanced RCA connection, which was set up for the Eve Audio SC203 master/slave system, are symmetrical in XLR, consisting of L / R - In / Out and LFE In/Out. Various additional functions can be activated via 4 DIP switches, such as:

Filter Lock: Securing the filters set on the front.
Volume Lock: Locks the volume set on the front.
Auto On/Off: Auto standby mode if there is no signal at the input for longer than 10 minutes.
Max. Input: Input sensitivity switchable between +8dBu and for studios with very high output levels +22dBu.

The power plug is also located on the back of the housing.

The front of the Eve Audio TS107

The front of the Eve Audio TS107 is dominated by 2 rotary controls, which use a push function to guide you through the system's very extensive menu. In addition, 3 small LEDs provide information about different circuit states.

The lower rotary control takes over the function of the subwoofer volume relative to the complete set and mutes the woofer using the push function. The LED ring around the controller works with an adapted mode of operation, which means that each LED has the following control depending on the volume:

-80dB (minimum) to -48dB: 2dB
-48dB to -20dB: 1dB
-20dB to 0dB (Maximum): 0.5dB

This useful logarithmic control allows a much more sensitive adjustment of the volume at high levels, while this fineness is not needed at low volumes.

However, things only get really interesting when you take a look at the upper control. The same controller takes over the overall control of the satellites and the woofer in terms of volume. First of all, it may be necessary to limit the satellites in the high pass so that the woofer is not put under too much strain on small satellites. Eve Audio recommends the crossover at 80 Hz, which is set as default. The same applies to the low pass of the woofer, which transmits at 60 Hz up to 140 Hz or, in LFE mode, allows everything it can transmit.

In addition, the signal can be phased if the room acoustics result in a disproportionately thin sound. As a real luxury in this price range, Eve Audio has included an infrared remote control with the system, with which all functions can be controlled remotely from the control room. Especially when setting up the system for the first time, you can shorten the laborious “set-set-listen-get-up-go-change” repeat procedure and achieve significantly more effectiveness in a direct A/B comparison.

In this video, company founder Roland Stenz explains how the Eve Audio TS107 works:


The Eve Audio TS107 in practice

I am lucky enough to be able to use one of the satellite pairs recommended by Eve Audio in the test in my broadcast studio, the Eve Audio SC204, which is recommended for both stereo and surround sound. You can view a corresponding test here.

I chose the default settings with crossover at 80 Hz as the basic setting and was immediately impressed. The resulting sound turns out to be extremely voluminous, always defined and very discreet in terms of intrusiveness. However, the bass was a bit too subtle for me, especially since the SC204 can no longer deliver very strong acoustics above 80 Hz without additional boost functions. I therefore decided to separate the woofer at 140 Hz, which resulted in an incredible improvement in the bass and low-mid range.

The sound in this setting can really only be described as excellent, especially when you take the dimensions of the components into account. Especially in the project or home recording studio area, where every meter of space is important, the combination of small satellites, e.g. B. the SC204 and the TS107 generate a very mature sound, which is extremely rare given these dimensions. The combination of 2x SC204 and a TS107 costs less than €1,000, which seems downright ridiculous for this sound output.

Just for fun, I also set the woofer to LFE mode, but this was at the expense of the stereo image with the satellites because there was too much overlap in the midrange. After all, a 6.5 inch speaker is fast enough to transmit low mids from the guitar and keyboard sector well.

Conclusion

With the Eve Audio TS107, the Berlin manufacturer led by Roland Stenz has achieved a really big success. The extremely handy subwoofer impresses with extensive setting options, perfect workmanship and sophisticated detailed solutions, such as: B. a passive membrane, across the board and is therefore at the forefront when it comes to big sound solutions in the smallest of spaces.

Be sure to test it out and take your time setting it up individually, it's worth it!

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Additional Informations:

Introduction:
In the realm of professional audio equipment, Eve Audio stands as a beacon of excellence, renowned for its precision-crafted studio monitors that deliver unparalleled sound quality and accuracy. Founded on a vision of pushing the boundaries of audio reproduction, Eve Audio has emerged as a leader in the industry, catering to the exacting demands of music producers, engineers, and enthusiasts worldwide. This article delves into the fascinating journey of Eve Audio, tracing its origins, milestones, and contributions to the world of studio monitoring.

Genesis of Eve Audio:
The story of Eve Audio begins in Berlin, Germany, in the early 21st century, amidst a thriving music scene pulsating with creativity and innovation. In 2011, a team of seasoned audio engineers and enthusiasts came together with a shared vision of revolutionizing studio monitoring technology. Fuelled by a passion for sonic excellence and a commitment to uncompromising quality, they embarked on a journey to create studio monitors that would redefine the standards of accuracy and transparency.

Founding Principles and Philosophy:
At the heart of Eve Audio's philosophy lies a relentless pursuit of sonic perfection. The company's founders were driven by a deep understanding of the importance of accurate monitoring in the audio production process. They recognized that every element of a recording – from the subtle nuances of tone to the spatial imaging of instruments – must be faithfully reproduced to ensure the integrity of the final mix. With this in mind, Eve Audio set out to develop monitors that would provide engineers with an unfiltered window into their music, allowing them to make informed decisions with confidence.

Innovation and Technology:
From the outset, Eve Audio differentiated itself through its unwavering commitment to innovation and technological advancement. Central to this ethos was the development of proprietary technologies that would set Eve Audio monitors apart from the competition. One such innovation was the incorporation of Air Motion Transformer (AMT) tweeters, which offered superior transient response and extended high-frequency reproduction compared to traditional dome tweeters. This breakthrough technology allowed Eve Audio monitors to achieve unparalleled clarity and detail in the upper register, capturing every nuance of the music with precision.

Another key innovation pioneered by Eve Audio was the implementation of DSP (Digital Signal Processing) technology in its monitors. By harnessing the power of digital processing, Eve Audio was able to fine-tune the frequency response, phase coherence, and dispersion characteristics of its monitors with unprecedented accuracy. This level of control empowered engineers to tailor the sound of their monitors to suit their listening environment and personal preferences, ensuring optimal performance in any studio setting.

Product Development and Expansion:
In the years following its founding, Eve Audio rapidly expanded its product lineup to encompass a wide range of studio monitors catering to various applications and budgets. The company's flagship SC series, featuring the renowned SC307 and SC407 models, garnered widespread acclaim for their exceptional accuracy, transient response, and wide frequency range. These monitors became the go-to choice for professional studios, mastering engineers, and discerning audiophiles seeking uncompromising sonic fidelity.

In addition to its flagship models, Eve Audio introduced the highly acclaimed TS series, which offered a more compact footprint without sacrificing performance. The TS108 and TS110 subwoofers complemented the TS series monitors, providing extended low-frequency reproduction and enhanced bass response for critical listening applications.

Eve Audio's commitment to innovation and excellence was further underscored by its collaboration with renowned audio engineers and producers in the development of signature models. The SC3070, co-designed with legendary producer Chris Lord-Alge, and the SC3070m, created in partnership with multi-Grammy-winning engineer/mixer Michael Brauer, exemplified Eve Audio's dedication to meeting the exacting standards of industry professionals.

Global Recognition and Acclaim:
As Eve Audio's reputation for uncompromising quality and precision spread, the company garnered widespread recognition and acclaim on the global stage. Its monitors found favor in leading recording studios, broadcast facilities, and mastering labs around the world, earning the trust of top-tier professionals in the audio industry.

Eve Audio's commitment to excellence was reflected in its numerous accolades and awards, including prestigious honors such as the TEC Award for Outstanding Technical Achievement in Studio Monitors. These accolades served as a testament to the company's dedication to pushing the boundaries of audio technology and setting new standards of excellence in studio monitoring.

Looking Ahead:
As Eve Audio looks to the future, its commitment to innovation, quality, and sonic excellence remains unwavering. The company continues to push the boundaries of studio monitor technology, exploring new frontiers in digital signal processing, driver design, and acoustic optimization. With a steadfast dedication to meeting the evolving needs of audio professionals and enthusiasts alike, Eve Audio is poised to continue shaping the future of studio monitoring for years to come.

Conclusion:
The journey of Eve Audio from its humble beginnings to its current status as a global leader in studio monitoring is a testament to the power of vision, innovation, and unwavering dedication to excellence. By combining cutting-edge technology with a deep understanding of the art and science of audio reproduction, Eve Audio has earned its place at the forefront of the industry, inspiring generations of musicians, engineers, and producers to create with confidence and clarity. As the company looks ahead to the next chapter of its evolution, one thing remains certain: the legacy of Eve Audio will continue to resonate in studios and listening rooms around the world, shaping the way we experience music for years to come.

TEST: ESP Will Adler Warbird

As a guitarist, it's not necessarily easy with the last name Adler. If the name in question is mentioned in a conversation with musicians, a respectful smile immediately spreads across the faces of drummers, especially if they have a connection to modern metal drumming. What is meant is the association with one of the current top 10 drummers in this segment, Chris Adler. Only a few people know his brother Will Adler, who was the rhythm guitarist in the band “Lamb Of God” and played with his brother in the same band for several years. Particularly due to its high level of popularity in the USA, the guitarist has several custom / signature models, of which we have by far the most expensive model, the ESP Will Adler Warbird Custom Shop Distressed, available for testing.

The concept of the ESP Will Adler Warbird Custom Shop Distressed

As with the other models made for Will Adler, the Warbird model is optically a Les Paul copy, which, however, differs significantly from the original in some details. The look of the test instrument in particular stands out due to its very distressed character and the huge “bone bird” sticker. However, the instrument has no claim to realistic wear and tear on the paintwork, as occurs with real vintage instruments; in fact, the paintwork was only very badly scratched.

The varnish was also artificially removed where no wear occurs during normal playing and the edges of the body binding, which should be smeared round at the armrest after such playing, are sharp-edged like those of a factory-new instrument. The hardware has been aged much more authentically. The pickup caps in particular have been beautifully trimmed to look old in terms of the uneven oxidation under and next to the strings, although here too the two caps were only copied and turned. A true vintage instrument will always have more wear and oxidation on the rear pickup cap of the bridge than that of the neck pickup.

What is a little strange given the massively used design of the instrument is the fact that, in contrast to the heavily scratched body and headstock, the neck is brand new and completely untouched. Somehow these two parts don't really fit together visually, but as always, it's all a matter of taste.

With a retail price of just under €7,500, the instrument is well outside the segment where one can speak of a realistic equivalent value even in metal; in fact, it is already very much in the enthusiast and fan section. But you should never forget that such visually unusual Custom Shop versions always represent a great advertising effect for the entire product range of an instrument type, i.e. even the lower-priced versions of the Warbird benefit enormously in terms of sales from the presence of an optical driving force.

The technical details

In the modern metal segment, there has been a clear shift in recent decades from the dominance of the solo guitarist to the appreciation of the rhythm guitarist. Just as current metal production is almost exclusively based on the principle of pressure, pressure and even more pressure, the current song material of many bands only focuses on powerful riff cascades, almost always in down or drop tuning. Where previously a wide carpet was rolled out for the soloist, who impressed the listener with an individual tone and extravagant scales in the high-speed range, today a guitar sound is usually generated that gets the maximum mass out of the high gain, sometimes so fat that it is already I have problems even being able to identify a bassist in the sound of a record production or a live show.

With the same in mind, Will Adler's tools are tailored to his function within his band, meaning the highest possible transparency even with maximum gain, good string separation within the riffing and a solid construction that can handle even harder attacks without intonation problems . The basis for this claim is the instrument's continuous, three-piece maple neck, which has glued-on mahogany wings and a maple top and, as expected, offers an extremely long sustain. Perfect for a strong solo tone, but unfortunately just a nice bonus in Will Adler’s role.

The fingerboard is made of ebony and has a scale length of 24.75". The shaping of the neck was dubbed “Thin U”, which sums it up quite well. The neck is quite slim and comparatively wide, fits well in the hand and will suit most players in terms of handling. All hardware was finished in “yellowed” gold, giving a sort of bronze feel to the base color scheme. Very nicely crafted, if the oxidation weren't so absolutely uniform, the look would be very close to real vintage hardware. If my interpretation is correct, small “warbirds” were used as fingerboard inlays.

6 Sperzel mechanics with locking function were used as tuners, which fulfill their function absolutely evenly and smoothly. Normal pins were used as belt pins, which will probably be exchanged very quickly by the user for locking mechanisms. In keeping with his function as a rhythm guitarist, a vibrato system was omitted; instead, the guitar comes with a classic bridge and a stop tailpiece. In order to avoid Gibson's legal letters, they didn't even try to use something bell-shaped as a truss rod cover, but instead opted for an oversized, cut-off "reverse bell".

Two Fishman Fluence pickups are used, which are manufactured according to Will Adler's specifications. Unfortunately, it was not possible to find out whether these are technical changes that also influence the Klamg, or whether it is just the visual aspect that creates the signature character. Like all Fishman Fluence pickups, the pickups here have 2 different sound characteristics, with one being slightly more active and the other being more passive. These are switched using a push/pull potentiometer, in this case it is the tone control on the guitar. In addition, each pickup has its own volume control.

The power supply for the pickups is a special feature. As with other manufacturers who offer their instruments in the high price segment, the pickups are powered by a battery, which is charged via the combination of USB plug / mobile power supply. A good thing, which reduces battery waste, although the built-in battery will of course have to be disposed of at some point.

The ESP Will Adler Warbird Custom Shop Distressed in practice

It is questionable whether the ESP Will Adler Warbird Custom Shop Distressed will ever be connected to a clean channel, which actually turns out to be a shame. Depending on the setting used, the instrument can also generate very pearly, clear sounds in the various pickup constellations, especially if you use passive emulation of the pickups.

But it is also a fact that every orchestra leader or even the buddies from the local jazz quartet would get green pimples if they dared to appear at a public performance with an instrument that has these optical qualities. In return, anyone who deals with truncated half-waves will at least be left with a respectful “Oha” as soon as you take the instrument out of the supplied case.

How much of the unusual finish will reach the audience in the dark stage light is another matter, but in terms of sound, the ESP Will Adler Warbird Custom Shop Distressed delivers exactly what the optics promise. The entire construction delivers a differentiated sound even at maximum gain, combined with excellent vibration behavior. The touch more maple generated by the continuous neck also ensures a touch more freshness in the basic sound than the mostly low-mid-based sound generated by the classic mahogany neck / mahogany body combination.

Conclusion

With the ESP Will Adler Warbird Custom Shop Distressed, the Japanese company delivers an instrument that acoustically and, above all, visually meets almost all the trademarks that a high gain protagonist should fulfill. Anyone who likes to spend time in modern metal realms will find this instrument an excellent tool that shines with clean string separation, great assertiveness and outstanding sustain.

The fact that the artificial aging of the instrument only serves coolness factors and in no way corresponds to real wear and tear should be noted just as coolly and be happy for the enthusiastic owner. After all, this is not about an authentic blues tool, but rather a visually and acoustically outstanding instrument for the ambitious metalhead. In addition, anyone who can lighten their wallet by almost €7,500 for a single instrument is a very happy person anyway.

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Additional Informations:


ESP Guitars is a Japanese manufacturer of electric guitars, basses, and accessories. The company was founded in 1975 by Hisatake Shibuya, and it is currently headquartered in Tokyo. ESP guitars are known for their high quality and craftsmanship, and they are used by a wide range of professional musicians, including James Hetfield, Kirk Hammett, and Dave Mustaine.

**The Early Years**

Hisatake Shibuya was born in Japan in 1937. He developed an interest in guitars at a young age, and he began building his own instruments in his teens. In 1975, Shibuya founded ESP (Electric Sound Products) as a small workshop in Tokyo. The company initially specialized in repairing and modifying guitars, and it also sold imported guitar parts.

In the early 1980s, ESP began to produce its own line of guitars. The company's first guitars were based on popular Fender and Gibson models, but they quickly developed their own unique sound and style. ESP guitars were soon adopted by a number of Japanese metal bands, and they quickly became the go-to brand for heavy metal guitarists.

**The Rise of ESP Guitars**

In the late 1980s and early 1990s, ESP guitars began to gain popularity outside of Japan. The company's signature models, such as the LTD Viper and the ESP Horizon, were embraced by metal guitarists around the world. ESP also began to produce guitars for a number of high-profile artists, including James Hetfield, Kirk Hammett, and Dave Mustaine.

**ESP Guitars Today**

Today, ESP is one of the leading manufacturers of electric guitars in the world. The company offers a wide range of models, from entry-level guitars to high-end custom instruments. ESP guitars are used by a wide range of musicians, from metalheads to blues players.

ESP is also a major force in the guitar industry. The company owns a number of other guitar brands, including LTD, Edwards, and Schecter. ESP also produces a wide range of guitar accessories, including pickups, strings, and effects pedals.

**The ESP Legacy**

ESP Guitars has had a major impact on the world of music. The company's guitars have been used by some of the biggest names in rock and metal, and they have helped to define the sound of modern music. ESP guitars are known for their quality, craftsmanship, and performance, and they are sure to continue to be popular for many years to come.

**ESP Guitars: A Timeline**

* 1975: Hisatake Shibuya founds ESP (Electric Sound Products) in Tokyo.
* 1983: ESP begins producing its own line of guitars.
* 1984: ESP opens its first US office in Los Angeles.
* 1986: ESP introduces the LTD Viper, one of its most popular models.
* 1990: ESP introduces the ESP Horizon, another popular model.
* 1996: ESP opens a custom shop in Japan.
* 2000: ESP introduces the ESP Edwards line of guitars.
* 2002: ESP introduces the ESP Schecter line of guitars.
* 2005: ESP celebrates its 30th anniversary.
* 2010: ESP opens a new factory in Indonesia.
* 2015: ESP celebrates its 40th anniversary.
* 2020: ESP celebrates its 45th anniversary.

**ESP Guitars: A Look at the Future**

ESP Guitars is a company with a rich history and a bright future. The company has come a long way since its humble beginnings in a small Tokyo workshop. Today, ESP is one of the leading manufacturers of electric guitars in the world. The company's guitars are used by a wide range of musicians, from metalheads to blues players. ESP is also a major force in the guitar industry. The company owns a number of other guitar brands, including LTD, Edwards, and Schecter. ESP also produces a wide range of guitar accessories, including pickups, strings, and effects pedals.

ESP Guitars is a company that is always looking to the future. The company is constantly innovating and developing new products. ESP is also committed to providing its customers with the best possible service. The company has a team of experienced and knowledgeable staff who are always happy to help customers find the right guitar for their needs.

ESP Guitars is a company that is passionate about music. The company is committed to providing musicians with the tools they need to create great music. ESP guitars are known for their quality, craftsmanship, and performance.

TEST: ESP Eclipse QM

 Some test instruments seem to have an air of something special about them, simply because there is hardly any information material about the instrument. So I'm holding the ESP Eclipse QM TEASB Duncan in my hands and both the look and a few brashly played chords suggest that it's a very special instrument. I am excited.

The construction of the ESP Eclipse QM TEASB Duncan

“Another Paula copy” I can already hear the first complainers saying and yes, you can't dismiss the fact, the instrument is actually a very clear one, apart from a few details that were changed out of fear of the Nashville lawyer armada Copy of one of the largest trademarks in the field of electric guitars. But wait, some points don't seem to correspond to the larger model. Let's take a closer look.

Let's start with the typical features of a Les Paul, e.g. B. the body, which, as expected, was made of mahogany. According to internet research, the body is “chambered”, meaning that cutouts have been made in the body to reduce the weight. As a rule, I am not a fan of these measures, especially since Gibson has made a big mistake with this measure in recent years, as the resonance behavior of instruments of this design has deteriorated significantly. With the ESP Eclipse QM TEASB Duncan, however, this behavior cannot be observed, especially since the instrument still weighs just under 4 kg. Without the hollows we would probably have arrived in the good old early eighties, where a Paula weighed over 5 kg. I love these menhirs, but that's another topic.

Normally, a glued neck made of mahogany would now appear on the screen, but this does not match the grain of the neck base at all. And in fact, the instrument is based on a continuous, three-part neck, which sits in a pocket throughout, so that the bottom of the ESP Eclipse QM TEASB Duncan is still around 1.5 cm continuous and not the body wings as with comparable instruments were completely glued on. By the way, the body is in one piece, as far as the grain pattern suggests. The result of this unusual construction is an almost unbelievable sustain, which even the cutouts in the body cannot harm.

Another special feature of the ESP Eclipse QM TEASB Duncan is the shaping of the body, which significantly increases the playing comfort compared to the hard edges of a Paula in the belly fat area. The ceiling used is an exceptionally beautiful, two-part bookmatched maple top from the brand “Wölkchenahorn”, which allows for an almost three-dimensional resolution depending on the angle of incidence of the light. The same look was continued on the top of the headstock. The fingerboard is made of ebony and offers the classic short scale length of 24.75 inches / 629 mm with 22 frets from the JESCAR FW57110 XJ Stainless brand. In order to increase the stability of the neck against the infamous “skull base fracture” compared to the saddle due to the structural weakening caused by the truss rod, the classic “knubble” was created at the transition to the headstock.

Curved block inlays are used as fingerboard markings and in order to underline the origin of the otherwise mainly made in Japan, the characters “ESP USA” were embedded in the 12th fret, which also explains the ambitious price of around €4,200. No savings were made on the hardware either; instead, in addition to locking mechanisms from Sperzel, they were used as a bridge/tailpiece. The currently very popular TonePros T3BT Locking TOM with T1Z Locking Tailpiece is used. The strap pins were once again provided by Schaller, the corresponding counterparts for the strap are included with the instrument. Everyone has to decide for themselves whether the bones of dead animals will still have to be used as saddles in 2020.

The pickups used were Seymour Duncan pickups, unfortunately I couldn't find out which model was used. Due to the price segment, it could be Alnico Pro-II humbuckers, but this statement is only an estimate. The instrument has 2 volume controls and a tone control, the latter of which is available as a push/pull version and the humbucker can be switched to single coil. The instrument comes with an upscale molded case.

In practice

I admit, there are rarely moments when I, as a tester, get excited before the instrument has even been connected to the amplifier, but here we have such a case again. It's incredible what sustain the instrument delivers even in the dry dock. Whether single tones or chords, the extremely fast response and the almost endless decay behavior immediately captivates me, especially since my personal main instruments throughout my life have been either Les Pauls or comparable instruments such as: B. my current Framus Panthera custom guitars were, or are. Even if you were to install the cheapest Far East pickups on this instrument, it would be difficult to mess up the excellent basic sound of the instrument.

The playability of the ESP Eclipse QM TEASB Duncan, as well as the weight reduction, have once again been trimmed towards “comfort”, i.e. the neck profile has been optimized towards a “Thin U”, which clearly benefits the instrument’s comfort. ESP has really cleverly implemented this approach. Normally, a solid body and a correspondingly “meaty” neck have an effect on the sustain behavior of the instrument. However, if the construction already exhibits such high-quality vibration behavior, you can still remove some of the wood fibers from the instrument to make it easier to handle.

The factory settings of the instrument were so well done that nothing had to be readjusted. The set of strings was a standard 10 (010 - 046), which suits the instrument well. In general, I am of the opinion that classical guitar types should be equipped with at least a set of 10, the dynamics and volume will thank you for it. 009 or similar should be reserved for the Floyd Rose Dive Bomb camp.

I was curious to see whether the ESP Eclipse QM TEASB Duncan could also convey the excellent, unamplified sound through the loudspeaker and experienced one or two surprises. To be honest, in my opinion the nameless Seymour Duncan pickups can't quite maintain the construction quality, which surprises me even more since I've always been a big SD fan. Both the neck and bridge pickups offer a much tighter treble response than one would generally expect from an LP copy. The result is not bad, but offers a comparatively “bitchy” sound in humbucker mode. Whether you like this basic sound is purely a matter of taste, so I would like to ask every interested musician to form their own opinion.

What didn't convince me, however, was the single coil circuit of the pickups. Of course, the output power of a single coil pickup is usually lower than that of a humbucker, but the amount of power lost here is quite striking. It feels like 50% of the signal falls by the wayside and not only leaves a significant drop in volume, but unfortunately also an associated thin and pointed sound that does not do justice to the quality of the instrument.

In any case, nobody would think of joining a chic tribute band with an instrument of this design, but in this case, in my opinion, various points come together that stand in the way of high-quality single coil operation. The choice of wood, the short scale length and the somewhat unfortunate choice of pickup don't really make this sonic extension shine. It would therefore be worth considering whether this circuit should not be discarded entirely, especially since the reduced circuit effort would benefit the general sound of the instrument.

Otherwise, the ESP Eclipse QM TEASB Duncan impresses across the board with the vibration properties already mentioned. The solo tone swings out very nicely and can score particularly well in the crunch and lead areas. Higher levels of distortion up to the high gain range are possible, but are not necessarily one of the best things about the ESP Eclipse QM TEASB Duncan.

Conclusion

With the ESP Eclipse QM TEASB Duncan, the Japanese manufacturer offers a top-class instrument in terms of vibration technology. The sustain and general vibration behavior are of the highest quality, the workmanship is flawless, and the appearance is appealing.

Depending on the area of application, the customer may need to check the pickups based on their personal taste, which sound by no means bad, but very special in the overall context.

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Additional Informations:

Introduction:
In the dynamic world of musical instruments, few companies have left as indelible a mark as ESP Guitars. Renowned for their exceptional craftsmanship, innovative designs, and unwavering dedication to musicians' needs, ESP has carved out a significant niche in the guitar market. However, the journey of ESP Guitars from a humble repair shop to an international icon is a story rich in history, perseverance, and passion.

Early Beginnings:
The origins of ESP Guitars can be traced back to the bustling streets of Tokyo, Japan, in the late 1960s. It was during this time that Hisatake Shibuya, a skilled luthier with a deep appreciation for quality craftsmanship, established a small shop called Electric Sound Products (ESP). Initially, the company focused on providing custom guitar repairs and modifications, catering to the burgeoning rock and roll scene in Japan.

The Rise of Customization:
As the demand for customized guitars grew, ESP quickly gained a reputation for its meticulous attention to detail and willingness to accommodate the unique preferences of musicians. This commitment to customization became the cornerstone of ESP's identity and set them apart from other guitar manufacturers of the time. Musicians flocked to ESP for bespoke instruments tailored to their specific playing styles and aesthetic preferences.

Collaborations with Iconic Artists:
One pivotal moment in ESP's history came in the late 1970s when the company forged partnerships with influential Japanese musicians, including Japanese rock icons such as Char and KISS frontman Paul Stanley. These collaborations not only elevated ESP's profile but also solidified its reputation for quality and innovation within the music industry.

Expansion and International Recognition:
Throughout the 1980s, ESP continued to expand its reach both domestically and internationally. The company's reputation for crafting high-quality instruments caught the attention of musicians around the world, leading to an increase in demand for ESP guitars beyond Japan's borders. This prompted ESP to establish distribution networks in key markets such as the United States, Europe, and Southeast Asia.

One of the defining moments for ESP's international recognition came in the mid-1980s when Metallica's lead guitarist, Kirk Hammett, began using ESP guitars. Hammett's endorsement of ESP solidified the brand's association with heavy metal music and propelled its popularity among metal guitarists worldwide. Other notable artists who endorsed ESP during this period include George Lynch of Dokken and Bruce Kulick of KISS, further cementing ESP's status as a premier guitar manufacturer.

Innovations in Design and Technology:
ESP's commitment to innovation has been a driving force behind its success over the years. The company has continually pushed the boundaries of guitar design and technology, introducing groundbreaking features that cater to the evolving needs of musicians.

One such innovation was the introduction of the ESP Horizon series in the late 1980s. The Horizon series showcased ESP's expertise in crafting high-performance guitars with sleek, modern designs. These guitars featured innovative hardware, such as Floyd Rose tremolo systems and EMG pickups, which appealed to shredders and heavy metal guitarists seeking maximum playability and tone.

In addition to its electric guitars, ESP also made significant strides in the development of bass guitars. The ESP Precision Bass and Jazz Bass models became popular choices among bassists for their exceptional tone, playability, and durability.

ESP's commitment to innovation extended beyond instrument design to include advancements in manufacturing techniques and materials. The company invested in state-of-the-art facilities and employed cutting-edge production methods to ensure consistent quality and precision in every instrument.

Diversification and Acquisitions:
As ESP Guitars continued to grow, the company diversified its product offerings to cater to a broader range of musicians. In addition to its high-end custom shop instruments, ESP introduced more affordable lines such as the LTD series, which offered similar quality and craftsmanship at a lower price point.

In 2014, ESP Guitars made a strategic move to expand its presence in the acoustic guitar market by acquiring Takamine, a renowned Japanese acoustic guitar manufacturer. This acquisition allowed ESP to leverage Takamine's expertise in acoustic guitar craftsmanship while maintaining its commitment to quality and innovation.

Environmental and Social Responsibility:
In recent years, ESP Guitars has also demonstrated a commitment to environmental and social responsibility. The company has implemented eco-friendly practices in its manufacturing processes, such as using sustainable materials and reducing waste. Additionally, ESP has supported various charitable initiatives and community projects aimed at promoting music education and supporting aspiring musicians.

Conclusion:
The evolution of ESP Guitars from a small repair shop to a global powerhouse is a testament to the company's unwavering dedication to craftsmanship, innovation, and meeting the needs of musicians. With a rich history spanning over five decades, ESP continues to push the boundaries of guitar design and technology while maintaining its commitment to quality and excellence. As the company looks towards the future, it is poised to remain a leading force in the world of electric guitars, inspiring musicians and shaping the sound of generations to come.

TEST: ESI uniK Plus

 OK, I admit it, I'm a fan of product care. In my opinion, it simply makes more sense to optimize a product that is running well in the second or third attempt and to respond to customer suggestions than to repeatedly bring new product series onto the market in comparatively short time intervals. Those responsible for ESI probably thought of the same and brought the ESI uniK 05 plus, the successor to the normal 05 series, onto the market.

In order to justify the four letters behind the product name to the user, much more than just optical cosmetics was carried out, but everything in order.


construction

The monitor looks pretty. The combination of the colors black and copper in combination with the matt, rounded front is definitely pleasing to the eye. The type designations and the white lettering on the back are also in this color, which creates a touch of corporate identity. Tastefully! The box comes with 4 rubber feet, which are not only intended to decouple the housing, but can also adjust the angle of inclination upwards and downwards using appropriate screw axes.

ESI really doesn't make it easy for itself, as the monitor series, with a retail price of around €189 and Chinese production, is in a broad segment of competitors in the budget class. In order to stand out from the competition, you need a lot of special features to get the buyer's attention. With the dimensions (W x H x D): 190 x 265 x 210 mm and a weight of just under 4.4 kilograms, they are still in the normal range and the beautiful, copper-colored 5 inch Kevlar woofer is not too noticeable either very out of the norm, but wait, the tweeter doesn't just differ visually from the usual dome tweeters.


extravagant tweeter

Anyone who feels briefly reminded of the competitor ADAM Audio is ahead. As with the aforementioned competitor, the ESI uniK 05 plus uses a ribbon tweeter, the equivalent of a ribbon microphone. As with the microphone version, the tweeter is characterized by extremely good impulse behavior due to its very low mass. Unfortunately, the tweeter also shares the same problems as a ribbon microphone. Both are known for their high sensitivity to external mechanical influences. In order to protect the tweeter as comprehensively as possible, ESI not only placed a steel grille on the front, but also installed a fine-meshed net, which is also intended to counteract moisture and fine dirt.


upgraded back

In order to reinforce the difference to its predecessor, ESI has dedicated the Plus variant in particular to optimizing the room acoustics. The product has an unusually large selection of optimization points in this price range, starting with a two-band tone control, which has an amplification factor of +/- 5 dB each. The preamplifier, on the other hand, even allows +/- 14 dB, which means the system can be adapted to pretty much any output voltage. What is really unusual, however, is the “Character” control, which allows you to seamlessly raise or lower the entire frequency spectrum from approx. 50 Hz by +/- 6 dB. The manufacturer refers to these control paths as “Smooth” or “Bright”

Due to the recessed arrangement of the potentiometers, all settings are made using a mini slotted screwdriver, which was included in the box. Applicable signals can be fed in via XLR or TRS via the combination socket, which should be sufficient for 90 percent of all applications. The switchable standby function saves energy and puts the box into sleep mode after several minutes without a signal. A ground lift is also available for ground loops or inadequate power supply abroad.

ESI has come up with another special feature for the reflex opening. The opening again on the top edge of the housing can be completely closed with a tightly fitting foam plug. This is to ensure that the speaker is not prone to the infamous booming frequencies in the bass range when placed near a wall, or even worse in a corner of the room. Interesting detailed solution.


Practice

According to the enclosed operating instructions, the ESI uniK plus has a frequency response of 49 Hz - 25 kHz. Even if the values do not allow for a real evaluation, you can still see the system's preferences. No one expects “real” bass from a 5-inch bass speaker without subwoofer support, but you should keep in mind that in this case an approximately linear bass transmission only begins at around 70 Hz. Therefore, please do not give in to the misconception that the system can reproduce bass guitars, kick drums or electronic instruments in the bass range in a balanced manner.

I also strongly advise against misusing the two-band tone control as a booster in the bass range; unfortunately the limits of physics cannot be exceeded. Increasing it using the bass control only resulted in more choking in the impulse behavior, which even the fast and stiff Kevlar speaker couldn't absorb. If you don't succumb to this malpractice, you will get a well-defined bass tone that can be located very well, but nothing more. The system cannot develop a real punch.

There are no complaints to note in the midrange. Rather, I liked that the crossover frequency of 3.2 kHz was well chosen and that the infamous center hole did not appear in the crossover. In terms of sound, the box tends to produce a tight reproduction without too much harshness, but also without the flattering effect that is reserved for the next higher price ranges. The stereo imaging of the system, on the other hand, is excellent; if the speakers are positioned optimally, nothing is left to be desired in terms of depth and location behavior.

Yes, and then there is the highlight of the system, the treble reproduction of the ribbon tweeter. I would like to do this again show an analogy to the ribbon microphone. Just as the sound of the microphone type of the same name divides users into two camps, this type of tweeter will also cause never-ending discussions. As expected, the tweeter is characterized by extremely fast reproduction and is also largely responsible for the very good stereo positioning.

In return, the tweeter sounds significantly sharper than the average dome tweeter, which allows the user to reach for the high-mid control relatively quickly and also reduces fatigue while listening. A considerable amount of listening time is necessary to get used to the system's frequency curve. Unfortunately, it is not the “whispering” highs above 10 kHz that would possibly lead to excessive shimmering, but rather the “biting” high-mids above the 4 kHz limit, to which the human ear is already hypersensitive.

However, if you are aware of these points and have adjusted your hearing accordingly, you can work with the ESI uniK plus in a very practical way. The plus points clearly outweigh the negatives and make the system a good second/third listening device or a high-quality first listening device at the DAW station in the project studio.



Conclusion

With the ESI unik plus, the system receives a high-quality upgrade compared to its predecessor. A lavish sound control in combination with several well thought-out detailed solutions makes the visually sophisticated box a real asset in the project studio.

Everyone has to decide for themselves whether they like the sound of the ribbon tweeter, but the comparatively harsh tweeter reproduction is matched by extreme impulse fidelity and excellent stereo positioning.

Definitely worth checking out in person!

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Additional Informations:

ESI Audio, also known as Electronic Sounds Inc., stands as a testament to the ingenuity and entrepreneurial spirit that drives the world of professional audio. Since its inception, ESI has been committed to delivering cutting-edge audio solutions that empower musicians, producers, and audio engineers to unleash their creative potential. Let's embark on a journey through the captivating history of ESI Audio, tracing its origins, key milestones, and enduring legacy in the realm of pro audio.

**Founding Years:**

The story of ESI Audio begins in the late 1990s, amidst a burgeoning digital revolution that was reshaping the landscape of music production and recording. In 1999, a team of passionate audio enthusiasts and engineers came together with a shared vision: to develop innovative audio interfaces and solutions that catered to the evolving needs of the modern music industry.

Founded in Germany, ESI Audio quickly established itself as a pioneering force in the realm of digital audio technology. Drawing upon the country's rich tradition of engineering excellence and precision craftsmanship, the company set out to redefine the standards of audio quality, performance, and affordability.

**Innovations and Breakthroughs:**

From the outset, ESI Audio distinguished itself through a relentless pursuit of innovation and excellence. The company's early product offerings, including audio interfaces, MIDI controllers, and studio monitors, garnered acclaim for their superior sound quality, robust build, and intuitive design.

One of ESI's notable contributions to the industry was the development of the renowned U24 XL USB audio interface, which quickly became a staple in home studios and professional setups alike. With its compact form factor, low-latency performance, and versatile connectivity options, the U24 XL exemplified ESI's commitment to delivering practical, user-friendly solutions that didn't compromise on audio fidelity.

**Expansion and Global Reach:**

As demand for ESI's products grew, the company expanded its reach beyond the European market, establishing distribution networks and partnerships across the globe. With offices and representatives in key markets such as North America, Asia, and South America, ESI Audio solidified its position as a leading player in the international pro audio landscape.

The company's commitment to customer satisfaction and support further enhanced its reputation, earning the trust and loyalty of musicians, producers, and audio professionals worldwide. Whether it was providing technical assistance, software updates, or user guides, ESI demonstrated a steadfast dedication to ensuring that its customers could make the most of their audio solutions.

**Diversification and Adaptation:**

In response to the ever-evolving needs of its clientele, ESI Audio diversified its product portfolio to encompass a wide range of audio solutions tailored to different applications and environments. From portable audio interfaces for mobile recording to studio-grade monitors for professional mixing and mastering, ESI's catalog continued to expand, offering something for every stage of the audio production process.

Moreover, ESI remained at the forefront of technological advancements, embracing emerging trends such as wireless connectivity, digital signal processing, and immersive audio formats. By staying ahead of the curve and anticipating industry trends, ESI ensured that its products remained relevant and cutting-edge in a rapidly evolving market.

**Legacy and Future Outlook:**

Today, ESI Audio stands as a beacon of innovation, quality, and reliability in the world of professional audio. With a diverse lineup of products that cater to the needs of musicians, producers, and audio engineers across the globe, ESI continues to push the boundaries of what's possible in sound recording, production, and playback.

As the company looks towards the future, it remains committed to its core principles of innovation, excellence, and customer satisfaction. With an unwavering focus on advancing technology, expanding its product range, and maintaining the highest standards of quality, ESI Audio is poised to continue shaping the future of audio for years to come.

In conclusion, the journey of ESI Audio is a testament to the transformative power of passion, creativity, and ingenuity. From its humble beginnings to its current standing as a global leader in pro audio, ESI's story serves as an inspiration to aspiring innovators and audio enthusiasts alike. With a legacy built on innovation, excellence, and a relentless pursuit of perfection, ESI Audio remains firmly entrenched in the annals of audio history, leaving an indelible mark on the world of sound.