TEST: Eventide Space

 So if someone had told me a few years ago that I would find Eventide products lying at my feet in the form of a stompbox, at best they would have elicited a slight smile from me. The grand master of 19 inch studio technology in intimate company with Mr. Boss, Ibanez or Zoom? No, that would have exceeded my imagination.

One of the American company's current product ranges shows just how wrong you can be. Designed in the USA, built in China, the developers have once again tried the housing shape of the already well-known Pitchfactor, Modfactor and Timefactor from 2008 to design a digital reverb device, the Space (nothing Spacefactor......not a fun factor ......LOL).

Years ago, sophisticated reverb algorithms could only be handled by specially bred CPUs in the form of external outboard gear due to the complex computing process. Nowadays, theoretically, every home computer has enough taste to calculate the corresponding room simulations in real time. Therefore, more and more providers such as Eventide are looking for and finding the gap between user practicality and company experience in order to sell their products.

So why not a high-end stompbox for foot operation, where many guitarists already use a three-way wet-dry-wet system on stage in order to generate not only their basic sound but also the Fx component in the stereo image exactly according to their own specifications? Well, the selling price of just under €500 at least sets a whole new bar, which many guitarists are probably not used to from a single stompbox. The sub-name “Reverb And Beyond” already indicates a further purpose such as studio use.


construction

The Eventide Space, like its nephews from the factor department, measures 12.2 cm x 19 cm x 5.4 cm and weighs just under one kilogram. The robust metal housing with a large non-slip rubber pad on the bottom of the housing is also identical. Even if the entire structure is very stable, you just don't want to throw it in a backpack with the other mines, the respect for the name is too great.

The device has 12 Eventide Reverb algorithms, which are managed accordingly with a total of 11 controls. The preset controller is the only endless controller in the setup, the remaining 10 controllers have a pleasantly high quality and are difficult to move (always very important in a stop box due to the risk of the controller twisting). The manufacturer provides 100 presets, whose internal names are shown on a 12-digit, easy-to-read display.

Three massive and high-quality true-bypass foot switches manage the areas on/off, presets, banks and tap functions through multiple assignments, in turn supported by three LEDs. There are MIDI In and Thru/Out attached to the side of the housing for external control. There are mono/stereo in/outs on the back, with two mini switches used to switch the input and output levels between the high-impedance areas such as guitar/bass or high-level instruments such as keyboards. An external expression pedal, an aux switch and a USB cable can also be connected to install operating system updates.

Unfortunately, due to the components used, battery operation is not possible, so the product is delivered with an external 9V power supply. Interestingly, according to the label on the case, the product requires a current flow of 1200 mA, but the included power supply works perfectly even with just 500 mA output.


Practice

When testing a product for the first time, the user usually uses the standard procedure, i.e. skips through the factory presets. If you do the same, you should actually have the very good operating instructions, which are only available in English, at your fingertips at the beginning of the procedure. Even at least a rudimentary knowledge of reverb algorithms will make it much easier to access one or another sound structure.

The 12 algorithms are divided into the tried and tested groups Hall, Room, Plate, Spring and Reverse, all of which are self-explanatory in their area of application and each have subtle modulation. If you want to go for more effects, Space offers experimental sounds from the Shimmer, ModEchoVerb, DualVerb, TremoloVerb, Dynaverb, Blackhole and MangledVerb categories.

This is where a reverb specialist like Eventide differs from a PC plugin, regardless of how much computing power the desktop offers. The algorithms offered quickly reveal the fathers of the calculation steps, including the sound components of the highly valued house brands Eclipse or even the H8000FW in one or the other preset. Here you can hear the decades in which Eventide has developed a wide range of specialist knowledge, a basis that cannot be replaced by any CPU overkill.

The 9 different controls plus a mix control allow you to massively influence the sound of the individual sounds. In order not to completely lose track, you actually need the help of the manual mentioned above. Of course, you can also be happy about the crazy sounds you can create with the Space by fiddling around with the respective controls, but in order to use it in a targeted manner, you can't avoid musing and concentration.

Once you understand this, you will be rewarded in return with what is definitely the best reverb device among the mines! The depth effect of the processed signal is far beyond what other pedals offer and there is no need to shy away from entering the studio. The quality offered here is usually only found in corresponding 19 inch racks.




Conclusion

Sometimes there are situations during a test where you don't know whether you should be happy or sad. On the one hand, I fear that due to the high price and the complex user interface, the Eventide Space is a bit too high for the classic stopbox user. Only by intensively engaging with the product does the user realize what kind of quality he ultimately has on his hands and let's not kid ourselves, guitarists are anything but patient, introverted and "subtle" people (I know what I'm talking about.. .:-)

On the other hand, the Eventide Space creates a gap between itself and the rest of all other stompbox reverbs due to its outstanding signal quality. In my opinion, no other stompbox can currently hold a candle to the Eventide in the area of reverb algorithms; the difference in terms of fine resolution and spatial graduation is too great.

However, it is ultimately up to the user to decide whether this is even necessary for a guitar system due to its frequent transmission gap and whether a stomp box can be used in the studio. It definitely deserves its use due to its high quality!

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Additional Informations:


In the realm of audio processing, the development of digital reverb devices stands as a watershed moment, revolutionizing the way sound is manipulated and shaped. From the early experiments in digital signal processing to the sophisticated algorithms employed in modern reverbs, this article delves into the rich history and evolution of digital audio reverb devices, tracing their origins, key milestones, and enduring impact on music production and sound engineering.

Origins of Digital Signal Processing:
The journey of digital audio reverbs begins with the advent of digital signal processing (DSP) technology. In the late 1960s and early 1970s, engineers and researchers explored the possibilities of manipulating audio signals using digital computation, laying the groundwork for a paradigm shift in audio processing.

One of the pioneering figures in this field was Manfred Schroeder, whose groundbreaking work in digital reverberation algorithms paved the way for the development of early digital reverb devices. Schroeder's research into artificial reverberation led to the creation of algorithms based on feedback delay networks (FDNs), which simulated the complex reflections and decay characteristics of acoustic spaces.

Early Digital Reverb Devices:
The first commercial digital reverb device emerged in the late 1970s with the release of the EMT 250, developed by the German company Elektro-Mess-Technik (EMT). The EMT 250 utilized Schroeder's reverberation algorithms to generate lush, realistic reverbs, marking a significant departure from the mechanical reverberation chambers and spring reverbs of the past.

The EMT 250's compact size and versatility made it a hit among recording engineers, studios, and artists, setting a new standard for reverb processing in the professional audio industry. Its success spurred further innovation and competition, leading to the development of a diverse range of digital reverb units from companies such as Lexicon, AMS Neve, and Yamaha.

Advancements in Algorithm Design:
As digital audio technology continued to evolve, so too did the sophistication of reverb algorithms. Engineers and researchers explored new techniques for modeling acoustic spaces, refining algorithms to achieve greater realism and flexibility in reverberation processing.

One notable advancement came with the introduction of convolution reverb in the 1990s. Convolution reverb employed impulse response measurements of real acoustic spaces to create highly accurate simulations of room acoustics. This breakthrough allowed for unprecedented realism in digital reverbs, enabling users to recreate the ambience of renowned concert halls, studios, and cathedrals with unparalleled accuracy.

Parallel to convolution reverb, algorithmic reverbs continued to evolve, incorporating advanced features such as modulation, diffusion, and early reflections to enhance spatial imaging and create immersive soundscapes. Companies like TC Electronic, Eventide, and Bricasti Design pushed the boundaries of reverb processing with innovative designs and algorithms, catering to the diverse needs of recording studios, live sound engineers, and multimedia producers.

Integration into Digital Audio Workstations:
The widespread adoption of digital audio workstations (DAWs) in the late 20th and early 21st centuries further propelled the popularity of digital reverb devices. DAWs offered seamless integration of reverb plugins, allowing users to access a vast array of reverbs and effects within their digital audio environment.

Plugin developers responded to this demand by creating an extensive range of reverb plugins, ranging from emulations of classic hardware units to cutting-edge algorithmic and convolution reverbs. This democratization of reverb processing empowered musicians, producers, and sound designers to experiment with different reverbs and create immersive sonic landscapes with unprecedented ease and flexibility.

Conclusion:
The evolution of digital audio reverbs represents a remarkable journey of innovation, creativity, and technological advancement. From humble beginnings as experimental algorithms to indispensable tools in modern music production and sound engineering, digital reverbs have transformed the way we perceive and manipulate audio.

As we look to the future, the legacy of digital reverb devices continues to inspire new generations of musicians, engineers, and researchers to push the boundaries of sonic possibility. Whether recreating the acoustics of legendary concert halls or crafting otherworldly soundscapes, digital reverbs remain an essential component of the audio production toolkit, shaping the sounds of today and tomorrow.

The realm of music and audio processing has seen a continuous evolution, driven by technological advancements and musicians' quest for new sounds and capabilities. Among the myriad innovations, digital audio foot pedals stand out as a significant development, offering guitarists and other instrumentalists unprecedented control over their sound. This article embarks on a detailed journey through the origins, key milestones, and enduring impact of digital audio foot pedals, tracing their evolution from humble beginnings to indispensable tools in modern music-making.

Early Experiments and Analog Predecessors:
The concept of effects pedals dates back to the early days of electric guitar amplification, with pioneers like Les Paul experimenting with tape echo and other rudimentary effects. However, it was not until the 1960s that the first commercially available effects pedals began to emerge. These early pedals, such as the Maestro Fuzz-Tone and the Vox V846 Wah-Wah, relied on analog circuitry to modify the guitar signal, introducing distortion, filtering, and other effects.

The transition to digital audio processing gained momentum in the late 20th century, driven by advancements in digital signal processing (DSP) technology. Digital effects processors offered greater flexibility, fidelity, and programmability compared to their analog counterparts, laying the groundwork for the development of digital audio foot pedals.

Pioneering Digital Foot Pedals:
One of the earliest digital foot pedals to gain widespread acclaim was the ADA Flanger, introduced in the early 1980s. Developed by Analog Digital Associates (ADA), the Flanger utilized digital signal processing to create lush, swirling modulation effects, marking a significant departure from analog flanger pedals of the time. The ADA Flanger's ability to produce complex, dynamic modulation effects quickly made it a favorite among guitarists seeking to expand their sonic palette.

Following the success of the ADA Flanger, other manufacturers began to explore the possibilities of digital audio foot pedals. Companies like Boss, Digitech, and Line 6 introduced a range of digital effects pedals, including delays, reverbs, choruses, and multi-effects units, each harnessing the power of digital signal processing to offer unprecedented versatility and control.

Integration of MIDI and Preset Functionality:
One of the key advancements in digital audio foot pedals was the integration of MIDI (Musical Instrument Digital Interface) technology. MIDI allowed foot pedals to communicate with other MIDI-compatible devices, opening up new possibilities for automation, synchronization, and control. MIDI-enabled pedals could be used to trigger presets, change parameters, and even switch between different effects chains with a single footswitch press, enhancing the performance and workflow of musicians.

Furthermore, digital foot pedals began to incorporate preset functionality, allowing users to store and recall their favorite settings effortlessly. This feature proved invaluable for live performance, as musicians could switch between different sounds and effects instantaneously, without the need for manual adjustments or pedal rearrangement.

Expanding Horizons with Modeling and Hybrid Designs:
As digital audio technology continued to evolve, so too did the capabilities of digital foot pedals. Manufacturers began to incorporate modeling technology, which emulated the characteristics of classic amplifiers, cabinets, and effects pedals. This allowed guitarists to access a vast array of tones and textures within a single pedal, eliminating the need for cumbersome gear setups and facilitating experimentation with different sounds.

Hybrid designs also emerged, combining analog and digital circuitry to harness the strengths of both worlds. Pedals like the Strymon Timeline and Eventide H9 featured a blend of analog signal paths and digital processing, offering the warmth and responsiveness of analog circuitry alongside the versatility and precision of digital technology.

Modern Innovations and Connectivity:
In recent years, digital audio foot pedals have continued to push the boundaries of innovation, incorporating advanced features and connectivity options. Wi-Fi and Bluetooth connectivity allow pedals to communicate wirelessly with smartphones, tablets, and computers, opening up new avenues for control, editing, and firmware updates.

Furthermore, digital foot pedals have embraced the trend towards integration with software-based amp simulators and digital audio workstations (DAWs). Pedals like the Neural DSP Quad Cortex and Line 6 Helix offer seamless integration with amp modeling software, allowing users to access a vast library of virtual amps, cabinets, and effects directly from their pedalboard.

Conclusion:
The evolution of digital audio foot pedals represents a remarkable journey of innovation, creativity, and technological advancement. From the early experiments with digital signal processing to the sophisticated, feature-rich pedals of today, digital foot pedals have transformed the way musicians approach effects processing and sound design.

As we look to the future, the legacy of digital audio foot pedals continues to inspire new generations of musicians, engineers, and innovators to push the boundaries of creativity and expression. Whether crafting intricate soundscapes in the studio or unleashing blistering solos on stage, digital foot pedals remain indispensable tools for musicians seeking to shape their sonic identity and captivate audiences around the world.

TEST: Eventide Riptide

 Only very few guitar effects have ever made it into the great hall of fame of the great guitar sounds. These are mostly effects pedals that were created in the early days of the electric guitar, simply because at that time the gain factor was still significantly lower and effects had a much better basis to come into their own and on the other hand others, because at that time people had a completely different way of listening to music and even the smallest details in the sound had a big effect. One such product was the Uni-Vibe, which was developed in 1960 by Fumio Mieda for the Japanese company Shin-ei and represented a legendary combination of phaser and vibrato, known from titles such as Robin Trower's "Bridge of Sighs" , Jimi Hendrix's "Machine Gun" and Pink Floyd's "Breathe". Since the price for an original Uni-Vibe is currently no less than 3,000 USD, there are several providers who copy and, if necessary, expand the legendary product. This also includes the Eventide Riptide test device, which has a few very interesting additional features.

The concept of the Eventide Riptide

The Eventide Riptide is a stompbox pedal that contains two different effects. On the one hand there is a copy of the legendary Uni-Vibe, on the other hand the product also includes an additional overdrive, whose distortion reserves extend well into the distortion range. The Eventide Riptide, developed in the USA and built in China, has a very well-made, solid case with dimensions (W x D x H): 102 mm x 108 mm x 43 mm, has a weight of: 812 grams and has a matching color kept in an attractive turquoise to suggest waves.

The product includes a power supply with various attachments, a USB cable, an Eventide sticker, an instruction manual and four stick-on rubber feet. The multi-voltage power supply, which works from 100 volts to 240 volts, is a 9 volt DC power supply, which, however, outputs a relatively high value of 620 mA. As with most Eventide products, it is important to ensure that, in the best case scenario, you use the original power supply to power the product. For my part, I have had problems in this regard when I wanted to connect Eventide products to a multiple power supply that was located under the floorboard.

As I said, the Eventide Riptide pedal is divided into two effects, each of which can be accessed in two different sound areas and the order of which can be switched. Both effects each have three controls to choose from (Uni-Vibe: Vibe, Speed, Intensity - Overdrive: Drive, Tone, Level), with the controls being pleasantly stiff and of high quality. The sound switching as well as the order of the effects is carried out by pressing the three LEDs, which are located above the Drive and Vibe footswitches or next to the intensity control.

Furthermore, five presets can be loaded and adjusted using the Eventide Device Manager (EDM) software, with 5 LEDs on the left edge of the housing providing information about the respective use of the preset. Unfortunately, the presets can only be accessed via an external expression pedal, which is plugged into the front of the housing via a 6.35 mm jack connection. Next to the expression input there is also a mono in and a stereo out, which can of course also be used in mono. Below the sockets there are two mini switches where you can adjust between mono and stereo operation or the input level between guitar and external line signals or for use in an FX loop. Finally, on the outside on the right there is a USB 2 port plus the connection socket for the power supply.

The Eventide Riptide in practice

Right at the beginning of the test phase, the first question that arises is of course how you want to place the Eventide Riptide in the signal path. In its function as an overdrive, it naturally belongs in front of the amp or preamplifier. Using the Uni-Vibe effect, on the other hand, may also allow operation in the amplifier's effects loop. However, if you consider which decade the original Uni-Vibe came from, the question of an effects loop becomes unnecessary. No amplifiers built at that time had any kind of interruption in the signal path between the preamplifier and the power amplifier. Therefore, all effects pedals that were used at the time were placed between the guitar and the amplifier, i.e. in front of the amplifier. The idea can also be transferred to the Eventide Riptide, because the classic Uni-Vibe sound only comes into play in combination with the amplifier's possibly slightly distorting input, especially since you can of course create this effect in the device with the built-in overdrive. It can therefore be assumed that the effects pedal achieves its best sound results with an all-tube amplifier that is set as cleanly as possible in the style of a Sound City or Hiwatt amplifier. In order to follow this approach, I also recorded all the sound files with a Sound City Master One Hundred (https://www.amazona.de/test-sound-city-master-one-hundred-vollroehren-topteil/).

As already mentioned, I really like the Eventide Riptide case in terms of its visual appearance and workmanship, but the layout offers a slight starting point for criticism. Due to the compact dimensions of the housing, the footswitches for the overdrive and Uni-Vibe units are located comparatively close to the controls of the distortion unit, which, as I said, are very high-quality and stiff, but protrude relatively far up from the housing, so that they even sit approx. 2-3 mm above the highest point of the footswitch. This means that you can only activate or deactivate the respective effects with the top toe of the shoe, otherwise you run the risk of either adjusting the controls of the overdrive unit or, in a very unfavorable situation, even damaging the controls. A small metal bracket would have been enough to protect the potentiometers accordingly.

In terms of sound, however, the product impresses from the first notes. It is probably well known that an overdrive with only three controls is very easy to use. I'm a little surprised that the Uni-Vibe unit does an excellent job with only three controls, but it shows once again that with a good basic sound, only a few control options are needed to produce a very good sound. Depending on the control setting, the Uni-Vibe unit produces light, spherical and subtly modulating basic sounds, which leave a very good impression, especially in the clean range, through to heavy, shimmering sounds that are sometimes reminiscent of a helicopter, which have a real effect in the truest sense of the word represents.

The Uni-Vibe adaptation of the Eventide Riptide always retains the original basic sound of this modulation effect device, which creates a typical 60s sound in a combination of phaser and vibrato, which can be achieved with the individual effects in the form of a single phaser or a single vibrato. Can't reach pedals. Anyone who thinks that with the overdrive you don't get much more than a bonus from Eventide is seriously mistaken, although you wouldn't mention the name Eventide in the same breath as the leading overdrive pedal manufacturers in the world. However, the overdrive pedal sounds very transparent, very adult, never has an artificial sound and is at the forefront when it comes to intensive and characteristic sounds, especially when interacting with the Uni-Vibe unit. In particular, the possibility of swapping the order of the effects offers, when it comes to the intensity of the Uni-Vibe, an additional opportunity to bring the sound to the foreground and make it even more audible in the band's feel.

In summary, the Eventide Riptide offers an independent, very well-adapted vintage sound, which can set refreshing accents depending on the style of music and is still always based on the typical sound of a guitar. From ultra-clean to wide gain, the pedal offers a real enrichment for the classic stompbox fan, especially when connected in front of a full tube amp.
Fazit

With the Eventide Riptide, the manufacturer has a very good adaptation of the legendary Uni-Vibe pedal in its ranks, which has also been supplemented with an overdrive pedal. This makes it possible to switch the pedal in front of a clean amp and, depending on the constellation, use an expression pedal to call up five different presets in the best vintage style.

If you love stompboxes and have a penchant for guitar sounds from the 60s and 70s, you should definitely give the pedal a listen.

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Additional Informations:

The world of music is rife with innovation, and perhaps one of the most iconic creations to emerge in the realm of guitar effects is the Univibe pedal. With its unmistakable swirling, pulsating sound, the Univibe has left an indelible mark on the landscape of rock, blues, and psychedelic music. But where did this beloved effect originate? To answer this question, we embark on a comprehensive exploration of the Univibe's fascinating genesis, tracing its roots from conception to its enduring legacy in the music industry.

Birth of the Vibe:
The Univibe effect pedal owes its inception to the quest for sonic experimentation that characterized the late 1960s. As guitarists sought to push the boundaries of their sound, engineers endeavored to meet this demand with innovative solutions.

The Uni-Vibe utilized a unique circuitry comprising light-dependent resistors (LDRs) and incandescent bulbs to modulate the guitar signal, producing its distinctive, warbling effect. Unlike traditional vibrato circuits, which modulate the pitch of the signal, the Uni-Vibe altered the amplitude, resulting in a more pronounced, three-dimensional sound reminiscent of a rotating speaker.

Evolution and Endorsements:
Following its introduction, the Uni-Vibe gained traction among prominent guitarists of the era, solidifying its status as a staple in the burgeoning psychedelic and rock scenes. One of the earliest adopters was Jimi Hendrix, whose pioneering use of the pedal on tracks like "Machine Gun" and "Star Spangled Banner" catapulted the Univibe to prominence.

Hendrix's endorsement significantly boosted the pedal's visibility, attracting the attention of musicians seeking to emulate his distinctive tone. Other luminaries, including Robin Trower, David Gilmour, and Robin Trower, further popularized the Univibe, cementing its reputation as an essential tool for crafting ethereal, atmospheric sounds.

Despite its initial success, the Uni-Vibe faced challenges in the wake of Shin-ei's closure in the early 1970s. However, its legacy endured through various iterations and clones produced by other manufacturers keen to capitalize on its iconic sound.

Modern Resurgence:
In recent years, the Univibe has experienced a resurgence in popularity, fueled by a renewed interest in vintage gear and classic tones. Boutique pedal makers have revived the spirit of the original Uni-Vibe, offering faithful recreations and updated interpretations that capture the essence of this timeless effect.

Additionally, advancements in technology have enabled digital emulations of the Univibe, providing guitarists with unprecedented flexibility and convenience. These digital recreations offer an authentic replication of the Univibe's sound while incorporating modern features such as preset storage, expression pedal compatibility, and stereo outputs.

Conclusion:
The Univibe effect pedal stands as a testament to the enduring allure of analog craftsmanship and sonic experimentation. From its humble beginnings as an attempt to mimic the Leslie speaker's distinctive sound to its status as a revered icon of guitar effects, the Univibe has left an indelible mark on the musical landscape.

As musicians continue to seek new ways to express themselves creatively, the Univibe remains a timeless tool for crafting rich, immersive tones that transcend genres and generations. Whether in the hands of a seasoned virtuoso or a budding enthusiast, the Univibe continues to inspire awe and ignite the imagination, ensuring its place in the pantheon of legendary guitar effects for years to come.

TEST: Eventide Pitchfactor

 Quiz question, extremely short: Harmonizer? Answer: Eventide! OK, maybe one or two people who haven't yet reached the age of 30 may have hesitated a bit when it came to answering, but colleagues beyond this threshold will have needed a few milliseconds to think about their answer.

For colleagues in my genre, the thinking time will even be 0 milliseconds, because when I first worked in high-end studios such as the Wisselloord Studio in Hilversum, there was no manufacturer of harmonizers other than Eventide. Both expressions were inseparably merged, similar to the Tempo handkerchief, Harmonizer = Eventide!

Products like the legendary H3000 were something like the legitimacy of being able to charge a daily studio price of 1000 DM and more (an incredible amount of money at the time), since there was absolutely NOTHING at the time in terms of computing speed that even came close to Eventide's algorithms the water could suffice. While the grumpy colleagues from the octaver area were happy to allow three-digit milliseconds to pass between the original and the effect signal, Eventide set them to work in the single-digit (!) range. The ultimate Formula 1 racing car for the second voice.

Eventide finally received maximum respect in 1990, when Steve Vai recorded the best-selling instrumental album of all time with his solo album “Passion And Warfare” and largely degenerated it into a kind of “product presentation CD” for the H3000. The piff-puff-puff-babble-bubble that was used here in terms of electric guitar effect sounds and some songs were literally composed for the H3000, went beyond any imagination at the time and broke a lot of records in many ways.

When it comes to CPU performance, a lot has of course changed due to the quantum leaps over the last few decades and the top dog from New Jersey can't complain about the lack of competition. Nevertheless, there is a slight crackle in the air among experts when the name Eventide is mentioned; the heritage that is associated with the product range is too great to simply “just” acknowledge it.

Today, no company can rest on their laurels, no matter how big the wreaths they once woven may have been. Eventide is therefore setting out to transfer its 19 inch experience to the stompbox area in order to win new customers in terms of both handling and price.

I have the “Pitchfactor” for testing, which, according to the product information, is about to pack the usual Eventide studio quality in terms of sound and computing speed into a floor pedal. Well roared, Leo, we're curious to see whether this target can be met.


construction

The PitchFactor has dimensions of 12.2 cm x 19 cm x 5.4 cm and weighs just under one kilogram. Packed in a robust metal housing and equipped with a large non-slip rubber pad on the bottom of the housing, the external impression promises a long device life.

The device has 10 pitch algorithms, which can be changed in many ways with a total of 11 controls. 100 presets are available from the factory. In addition to the pitch shifter effects, which are usually created in two forms, various delay effects are used, which are particularly used in the more complex presets.

Three high-quality foot switches manage the areas on/off, presets, banks, tap functions and tuner through multiple assignment, supported by three LEDs. MIDI In and Thru/Out are located on the side of the housing. All ins and outs are located on the back, with the device being completely stereo if required. Two mini switches are used to switch the input and output levels between guitar/bass or high-level instruments such as keyboards.

An expression pedal, an aux switch and a USB cable can also be connected to install an operating system update.



Practice

If you look at the PitchFactor, it will actually become clear after just a second which manufacturer it is. It's rare enough that in the FX processor segment the tester is jumped out at by a trademark, but that's the case here.

As usual with the Studio Elite, the processor works at an incredible speed. Even with the four-part excursions of the Quadravox setting, it only takes a few milliseconds for the algorithms to generate the harmonically adequate intervals and with an outstanding sound quality.

In terms of effects, the PitchFactor offers the entire range of harmonic modulation, be it just a subtle thickening in the micropitch range to a heavy Punch and Judy show, where hitting a single note generates tons of tonally adjusted repetitions replicated using echo.

Even if the sophisticated effect batteries a la “Crystals” make the biggest impression at first listening impression, in practice it is the “subtle” presets a la Micropitch that offer the user a greater range of possible uses. How often does it happen, especially with the classic rock trio line-up of guitar, bass, drums, that the guitar, despite clean playing and accurate performance, does not manage to generate the necessary tonal fullness.

Van Halen, from the 1990s onwards, used the classic approach of placing the original guitar in the panorama all the way to the left and a slightly pitched and delayed FX signal to the right, thereby “broadening” the guitar’s sound without having to double it. A setting that I personally like to use as a producer for small ensembles with just one guitar. The micropitch effect can work wonders here, as there are almost no delays due to its high performance.

However, what you should always keep in mind and what is often forgotten is that anyone who does not have at least basic harmonic training and who loses their joy of playing at the mere idea of an augmented fifth or diatonic should keep their hands off the pitch factor. The sonic possibilities only open up to musicians who know what they are doing harmonically, or are at least willing to acquire this knowledge immediately. Without this knowledge, the harmonic playing under the aegis of the PitchFactor is like a pitiful poke around in the tonal swamp of chance and is only occasionally interrupted by melodious intervals, which represents an imposition on both the “creator” and especially the listener.


Conclusion

In times of barker advertising, which has unfortunately also reached the instrumental sector, it is becoming increasingly rare that an announcement actually comes true. Therefore, the joy is even greater when flowery descriptions of one's own performance hit the mark. With the announcement that it is transferring the studio quality of its own house brand into a stompbox, Eventide is making a big mess, but it can justifiably claim this.

With the PitchFactor, the traditional company has a pedal on offer that is in no way inferior to its studio predecessors from the 19 inch range and shines in almost all areas in terms of sound and performance. The possible variations are diverse, the presets are comprehensive and the artist's sound design opens up completely new possibilities.

A really high quality stompbox!


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Additional Informations:

Harmonizer effects pedals have revolutionized the world of music, offering musicians the ability to create rich, harmonically layered sounds and emulate the sound of multiple instruments with a single instrument. From their humble beginnings as experimental studio tools to their widespread use in live performances and recording studios, harmonizer pedals have left an indelible mark on the landscape of modern music. This article explores the origins, technological advancements, and enduring impact of harmonizer effects pedals.

Origins:
The genesis of harmonizer effects pedals can be traced back to the pioneering work of audio engineers and inventors in the mid-20th century. The desire to create harmony and enhance musical arrangements led to the development of early harmonizer devices, which utilized analog circuitry to manipulate audio signals and generate harmonically related tones. These early devices laid the groundwork for the creation of dedicated harmonizer effects pedals.

Early Innovations:
One of the earliest and most influential harmonizer devices was the Eventide H910 Harmonizer, introduced in the 1970s. Developed by Eventide Inc., the H910 was a groundbreaking audio processor that utilized digital signal processing (DSP) technology to shift the pitch of audio signals and create harmonies in real time. The H910 allowed musicians and engineers to achieve previously unattainable musical effects, including pitch shifting, harmonization, and time-based effects.

Adoption in the Music Industry:
The Eventide H910 and subsequent harmonizer devices quickly gained popularity among recording engineers and musicians, who embraced the creative possibilities offered by these innovative tools. Artists ranging from pop icons like Michael Jackson and David Bowie to experimental musicians like Brian Eno and Kraftwerk incorporated harmonizer effects into their music, contributing to the widespread adoption of harmonizer technology in the music industry.

Technological Advancements:
Throughout the 1980s and 1990s, advancements in digital signal processing and microelectronics fueled the evolution of harmonizer effects pedals. Manufacturers began incorporating digital algorithms and programmable parameters into pedal designs, allowing for greater flexibility and control over the harmonization process. This digital revolution expanded the sonic capabilities of harmonizer pedals, enabling musicians to create complex, multi-layered harmonies with precision and ease.

Integration with Guitar Effects:
One of the key developments in the evolution of harmonizer effects pedals was their integration with guitar effects pedals and pedalboard setups. Manufacturers such as Boss, Electro-Harmonix, and Digitech introduced harmonizer pedals specifically designed for use with electric guitars, providing guitarists with a convenient way to add harmonized melodies, intervals, and chords to their playing. These guitar-centric harmonizer pedals became essential tools for guitarists seeking to expand their sonic palette and create lush, harmonically rich sounds.

Live Performance and Studio Recording:
Harmonizer effects pedals found widespread use in both live performance and studio recording environments, where they became indispensable tools for musicians, producers, and engineers alike. In live settings, harmonizer pedals allowed performers to recreate studio-quality harmonies and layered textures on stage, enhancing the depth and richness of their sound. In the studio, harmonizer pedals were used to create intricate vocal harmonies, embellish instrumental tracks, and add depth and dimension to recordings.

Specialized Applications:
In addition to their use in general music production, harmonizer effects pedals found specialized applications in various musical genres and contexts. In the realm of electronic music, harmonizer pedals were used to create unique soundscapes, manipulate audio textures, and explore experimental sonic territories. In jazz and fusion music, harmonizer pedals were employed to create intricate chord voicings, simulate horn sections, and add complexity to solo performances.

Continued Innovation and Versatility:
As technology continues to evolve, harmonizer effects pedals have evolved to offer an unprecedented level of versatility and functionality. Modern harmonizer pedals feature a wide range of programmable parameters, including pitch correction, interval selection, scale quantization, and harmonization modes. Some pedals even incorporate built-in looper functionality, allowing musicians to create layered harmonies and musical arrangements in real time.

Conclusion:
The evolution of harmonizer effects pedals represents a fascinating journey of technological innovation, creative exploration, and musical expression. From their humble beginnings as experimental studio tools to their widespread use in live performance and studio recording, harmonizer pedals have become indispensable tools for musicians and audio professionals alike. As they continue to evolve and adapt to the changing needs of musicians and the music industry, harmonizer effects pedals will undoubtedly remain at the forefront of creative innovation in the realm of musical effects and audio processing.

TEST: Eventide Modfactor

 Eventide goes stompbox! One more time! In the spirit of the foot pedal, Eventide has come up with a triumvirate, all in the same outfit with slightly different colored applications. While to this day the name has mainly echoed through the rooms of the 19 inch outgear racks of various studio complexes, Eventide is now preparing to conquer the floors of various pedalboards.

In addition to a harmonizer and room effect counterpart, the American manufacturer also offers a protagonist for the modulation area called “ModFactor”.


construction

Like its two brothers, the ModFactor comes in the same solid steel housing with dimensions of 12.2 cm x 19 cm x 5.4 cm and a weight of just under one kilogram. Conceptually, we once again find the philosophy “Designed in the USA, assembled in China” at Eventide.

Conceptually, you can already see from the stereo signal routing listed on the back that it is not just a stompbox in the classic guitarist style, but rather a studio-suitable device, packaged in a stompbox concept. Components such as MIDI control and USB ports for software updates are very rare in pure modulation effect devices and immediately convey the urge to achieve something higher than a comparatively spartan Phase 90 within the Van Halen solo.

The sales figures of the product will show whether this is not ultimately intended to be a bit unattainable for both target groups. For my part, I am afraid that stompboxes in studio outgear will not be able to conceptually assert themselves against the established 19-inch range in terms of cable routing and room placement, regardless of the effect quality, and that high-quality stereo signal routing can only be implemented within complex guitar systems . But anyone who doesn't shy away from the expense of Robert Fripp or David Gilmour will definitely enjoy the ModFactor's signal routing.

In order to optimally adapt the signal to its intended use in terms of signal strength, two mini switches regulate the input and output levels between a guitar or a studio setup. As an additional interaction option, the connections for an expression pedal and aux switch are available.

In total, the ModFactor has 10 different effect modes, including Chorus, Phaser, Q-Wah, Flanger, Modfilter, Tremolo/Pan, Rotor Cabinet, Vibrato, Undulator and Ring Modulator. The individual effects are divided into up to four basic types, which can then be adjusted using a total of 11 controls on the front of the device. Nobody can really complain about the lack of setting and control options here, especially since the management via MIDI and expression pedal allows interaction with the parameters in real time.



The ModFactor has two LFOs to manage its effects. Said 11 controls are divided into two rows, with the top row managing the more common parameters such as effect amount, effect intensity, modulation stroke and speed, while the bottom row manages the second modulator in terms of speed and effect depth.

The product is switched via three very high-quality, top-class switches, which, among other things, provide a real bypass. You can also navigate through the banks using the switches or activate different effect speeds within the memory locations.


Practice

According to a floor pedal, the ModFactor does not have a real power switch. So when we place the very massive power supply from the “Brettwanze De Luxe” brand, we are greeted with a funny luminous punk retro look, which, due to its design, has its problems when it comes to displaying curves within the font. A “D” inevitably turns into a rectangle, but you get used to the font relatively quickly.

To put it bluntly, anyone who needs a simple chorus for a U2 tribute band will almost find the ModFactor's variation options a threat. However, anyone who is looking for unusual, sometimes crazy sounds in addition to the standard equipment in terms of modulation and wants to give free rein to their instinct to play in the spirit of the seventies (remember Keith Emerson, jumping around wildly live in front of his oscillator cable wall). are in good hands with this product.

Whether as a “refiner” of an inconsequential basic sound, whether as the icing on the cake of a “catchy hookline” or as a tool for a sound designer of the interdisciplinary species, once you start working here, you lose all sense of time. However, you should always consider the source material before arranging the final product. It makes little sense to overload the individual instruments with heavily wobbling and excessive modulation effects within a highly complex, rhythmically intricate arrangement. When it comes to sound design, film music or even ambient passages, the product can show its full strength, once again “playing” with the emphasis on the syllables.



Conclusion

The ModFactor from Eventide is very neat, provided you as an artist know exactly what you want. This refers in particular to the sound to be created, which is put together in the head of the respective musician.

I will be careful not to start the fundamental discussion of digital versus analogue here, as quite a few others have already gone overboard without ever coming to an even remotely satisfactory result, but one should never forget that a digital one The product can only reproduce the “digital” sound really well.

Even if the manufacturer sometimes makes an effort to push the “clean” signal into the retro corner with various presets, the ModFactor is and remains a digital tool with all its advantages and disadvantages. So don't start crying afterwards if the range of effects is clear and bright and doesn't have the flair of the slightly grumpy vintage boom.

Excellent in terms of sound, concept and processing technology, the ModFactor offers the complete range of all common modulation effects, from subtle to exalted, from soft to rock-hard in real studio quality. Whoever has been able to bring creativity and joy of playing into the sometimes bleak world of the music industry or whoever lets the heat of innovation germinate within them, the ModFactor is the right choice for them.

However, everyone has to decide for themselves whether they are willing to pay the understandable but still comparatively high price. Even if the quality of the effects offered is of very high quality across the entire range, in my opinion a street price of just under €500 could be explained by production in the USA and not in the low-wage country of China.

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Additional Informations:

Modulation effects pedals have played a pivotal role in shaping the sonic landscape of music, from the psychedelic sounds of the 1960s to the contemporary tones of modern music genres. These versatile pedals, capable of imparting a wide range of dynamic and textured effects to electric guitar and other musical instruments, have a rich and storied history. This article traces the origins, technological advancements, and enduring impact of modulation effects pedals on the world of music.

Origins:
The roots of modulation effects pedals can be traced back to the mid-20th century, a time of rapid innovation and experimentation in the realm of electric guitar technology. Guitarists sought new ways to expand their sonic palette, leading to the development of various effects pedals designed to alter the timbre, pitch, and spatial characteristics of the guitar signal. Among these effects, modulation effects stood out for their ability to impart movement and dimension to the sound.

Early Innovations:
The advent of transistor technology in the 1960s marked a significant milestone in the development of modulation effects pedals. Manufacturers began incorporating transistors into pedal designs, replacing bulky vacuum tubes and paving the way for smaller, more portable effects units. The first commercially available modulation effects pedals, such as the Univox Uni-Vibe and the Electro-Harmonix Small Stone, introduced guitarists to iconic effects like vibrato, chorus, and phasing.

Psychedelic Era and Experimental Music:
The late 1960s and early 1970s witnessed a surge in psychedelic rock and experimental music, characterized by bold experimentation with sound and studio effects. Modulation effects pedals played a central role in shaping the otherworldly soundscape of this era, with artists like Jimi Hendrix, Pink Floyd, and The Beatles incorporating effects such as flanging, phasing, and rotary speaker simulation into their music. These pioneering musicians pushed the boundaries of sonic exploration, inspiring generations of guitarists and electronic musicians to come.

Analog vs. Digital:
Throughout the 1970s and 1980s, the debate between analog and digital signal processing raged on in the world of audio effects. Analog modulation effects pedals, characterized by their warm, organic sound and simple circuitry, remained popular among purists and vintage enthusiasts. Meanwhile, digital modulation effects pedals began to gain traction, offering greater versatility, programmability, and precision in effect parameters. This dichotomy between analog warmth and digital precision continues to shape the design and engineering of modulation effects pedals to this day.

Technological Advancements:
The turn of the 21st century brought about a new wave of innovation in modulation effects pedal design, fueled by advancements in digital signal processing, microelectronics, and software algorithms. Manufacturers began integrating digital modeling technology into effects pedals, allowing users to emulate a wide range of classic and contemporary modulation effects with unprecedented accuracy and fidelity. This digital revolution expanded the sonic possibilities of modulation effects pedals, enabling musicians to explore new sonic territories and creative possibilities.

Diversification and Specialization:
As the market for modulation effects pedals grew increasingly saturated, manufacturers began diversifying their product offerings to cater to specific genres, playing styles, and sonic preferences. Boutique pedal builders emerged, offering handcrafted, custom-designed effects pedals tailored to the unique needs of individual musicians. Specialized modulation effects pedals, such as tremolo, rotary speaker simulation, and envelope filters, found favor among discerning players seeking to craft their signature sound.

Integration with Multi-Effects Units:
In recent years, the rise of multi-effects units and digital modeling platforms has reshaped the landscape of modulation effects pedal design and usage. Modern multi-effects units offer a comprehensive suite of modulation effects, alongside other essential effects such as distortion, delay, and reverb, in a compact and user-friendly package. These all-in-one solutions appeal to gigging musicians, studio engineers, and home recording enthusiasts seeking versatility and convenience in their effects setup.

Future Prospects:
As technology continues to evolve, the future of modulation effects pedals holds boundless potential for innovation and creativity. Manufacturers are exploring new frontiers in digital modeling, artificial intelligence, and connectivity, enabling musicians to access a vast universe of modulation effects and sound-shaping tools with unprecedented ease and flexibility. Furthermore, the integration of wireless technology, mobile app control, and cloud-based presets heralds a new era of interconnectedness and customization in the world of effects pedals.

Conclusion:
The evolution of modulation effects pedals mirrors the dynamic interplay between technological innovation, artistic expression, and cultural trends in the world of music. From their humble beginnings as experimental studio tools to their ubiquitous presence on stages and in studios around the world, modulation effects pedals have left an indelible mark on the sonic landscape of music. As they continue to evolve and adapt to the changing needs of musicians and audio enthusiasts, modulation effects pedals stand as enduring symbols of creativity, experimentation, and sonic exploration in the realm of musical expression.

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.