TEST: LD Systems MEI 1000

 The radio link is now almost part of every frontman's standard equipment. If you really want to design your performance on stage independently of the spatial conditions and monitoring conditions, you will definitely need the in-ear system in addition to a wireless microphone in order to be able to move freely on stage.

In addition to a more relaxed performance, better tone control is usually accompanied by improved intonation, which benefits both the artist and the entire band. If you exclude the extreme versions of metal, in which it really doesn't matter what sounds the "singer" belches out to the crowd, the bottom line is that there is a clear improvement for everyone involved, as long as the melodies are understandable.

This is particularly offset by the wearing comfort of the earphone system and its fixation, which tends to slip, especially during intensive stage acting. Fortunately, technical problems such as dropouts in the transmission path or the durability of the batteries have been massively sidelined due to constantly improved technology and only occur rudimentarily in the lowest quality league.

It is also often overlooked that radio links were not only designed for singing, but are also used in reporting activities where particular emphasis is placed on resistance to interference.

With the MEI 1000, the manufacturer LD Systems, which is sold by Adam Hall GmbH, offers a product which, with a street price of just under €300 for a complete range of equipment, sets a real competitive price and is a direct competitor to one or two gives rise to a rather unpleasant feeling.




construction

The scope of delivery of the complete system consists of a stereo receiver (body pack), stereo transmitter, a flexible antenna, an antenna extension for rack operation, power supply, a set of earphones with different earplugs, 19 inch rack angle, two batteries for the transmitter and an operating manual, all packed in a sturdy Hard case. The earphones and cable were stored separately in a nice soft case.

For signal transmission, the LD MEI 1000 has two frequency ranges available in the UHF band: 790,850 - 813,800 MHz or 838,850 - 861,800 MHz in the X version. 160 frequencies can be switched, which should easily be enough for normal operation.

As with most other radio links, the LD system transmitter is delivered in half rack format, but can be screwed into a 19 inch rack using the included rack brackets. In this case, the supplied antenna cable ensures that the TNC antenna can be screwed into the front at an angle and does not have to search for its carrier frequency in the deep thicket of the rack's innards. Optionally, the transmitter also has four non-slip rubber feet embedded in the housing so that the system can be operated in stand-alone mode. The housing is made of solid sheet steel and is impeccably processed.

There is a fairly clear control panel on the front of the transmitter unit. Next to the on/off switch there is only a medium-sized display, a menu navigation consisting of three buttons, and the hardware components are an input controller for the input signal and an adjustable headphone output. In addition to the selected transmission frequency, the display also provides information about the input level of the two channels using a six-digit LED chain.

On the back, the receiver has 2 lockable, symmetrical combination sockets for signal input as well as a PAD switch of -12 dB to attenuate high input signals accordingly. The connections for the antenna and the external power supply are also located here. The LD MEI 1000 can handle anything between 12 - 18 volts at 300mA when it comes to voltage delivery.

The body pack has the usual dimensions, but is provided with a kind of “velvet cover”, which gives it additional grip. On the back, the product has a tightly tensioned spring to attach the receiver to the waistband or belt. There are also two contacts on the bottom to allow the product to directly charge internal batteries. Unfortunately, it was not possible to find out where a corresponding charging station could be purchased from the economical operating instructions.

The body pack is also switched on at the same time using the receiver's volume control. Two push buttons on both sides of the housing open the flap for the battery compartment, which offers space for two AA energy dispensers. Two small LEDs provide information about the operating status of the device and the battery level, and two small pushbuttons guide you through the receiver's menu.

A small but easy-to-read display provides information about the carrier frequency, the applied field strength of the signal, battery level, activation of the limiter, use of equalizer (an increase in treble from 10 kHz by 6 dB) and the operating mode (stereo or double mono ), whereby the double mono mode is used to be able to adjust the mixing ratio between your own signal and the remaining signals directly on the receiver. However, an additional AUX path on the mixer is required for this.

The included earphones have three different plastic attachments to accommodate different sized ear canals, with the actual earphones being curved again for an improved fit.


Practice

After activation, the transmitter automatically looks for a free frequency on which it can transmit the signal. Activation also works without any problems on the first try. So far so good. The receiver also immediately establishes contact with the transmitter and works perfectly. Both two massive reinforced concrete ceilings and a distance of over 50 meters did not cause the signal to buckle once. What's more, the field strength meter did not want to fall below 50 percent even under this load.

In terms of sound, the included earphones deliver a healthy average, which means that all signals sound flawless and the basic sound can be described as balanced. With strong impulse signals, the earphones tend to clip a little, but this is still within reason and can be remedied by optimizing the adjustment of the signal present.

Not negative? Well, I know that every artist has an individual ear canal and that you can't make general statements when it comes to wearing comfort, but if I were a "strong performing frontman" with a pronounced physical effort, I wouldn't be able to hold the earphones in my ear canal. No matter what I tried, after the first quick turn of my head, the earphones shifted and caused the sound to collapse.

Unfortunately, even the angled plugs couldn't help, but as I said, this is a purely subjective statement and must be checked by each artist themselves. However, there were no problems with a “body-reduced reporter deployment”.


Conclusion

With the MEI 1000, LD Systems is bringing a product onto the market that has a very good price/performance ratio. Neatly processed, easy to use and with a good basic sound, the product is pleasing to the eye.

Only the earphones supplied should be thoroughly checked by each artist before using them live to see whether they can withstand his range of motion and, if necessary, replaced.

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Additional Informations:

The Evolution of In-Ear Monitoring Wireless Systems: A Comprehensive History

In-ear monitoring wireless systems have revolutionized the way musicians, performers, and audio engineers experience live sound. These sophisticated devices allow for crystal-clear audio transmission without the limitations of traditional stage monitors. The journey of in-ear monitoring wireless systems from concept to essential stage equipment is a fascinating tale of innovation, technological advancements, and the relentless pursuit of audio excellence.

The inception of in-ear monitoring can be traced back to the mid-20th century when performers and musicians began to seek alternatives to traditional stage monitoring systems. Early attempts at in-ear monitoring involved cumbersome and often unreliable wired setups, limiting their practicality and widespread adoption. However, these initial experiments laid the groundwork for future developments in wireless technology.

The breakthrough moment for in-ear monitoring came with the advent of wireless transmission systems in the 1970s. As advancements in radio frequency (RF) technology accelerated, the feasibility of transmitting high-quality audio signals wirelessly became a reality. This paved the way for the development of the first generation of in-ear monitoring wireless systems.

One of the pioneering companies in this field was German audio equipment manufacturer Sennheiser. In the late 1970s, Sennheiser introduced its first wireless monitoring systems, offering performers unprecedented freedom of movement on stage. These early systems utilized VHF and UHF frequencies to transmit audio signals, providing a reliable and relatively interference-free experience for users.

Throughout the 1980s and 1990s, in-ear monitoring wireless systems continued to evolve, driven by advancements in RF technology and a growing demand for more sophisticated audio solutions. Companies like Shure, AKG, and Audio-Technica joined Sennheiser in the market, introducing their own wireless monitoring systems with improved performance and features.

One of the key challenges in the early days of in-ear monitoring was achieving consistent audio quality and reliability, especially in environments with high levels of RF interference. Manufacturers responded to this challenge by refining their wireless transmission technologies, incorporating features such as frequency agility, diversity reception, and advanced signal processing to ensure stable and clear audio transmission.

The turn of the millennium brought significant advancements in digital audio technology, further propelling the evolution of in-ear monitoring wireless systems. Digital transmission offered several advantages over analog systems, including increased signal stability, improved audio fidelity, and enhanced encryption capabilities for secure transmission.

In 2000, Sennheiser introduced its groundbreaking evolution wireless series, which combined the reliability of analog transmission with the flexibility of digital signal processing. This marked a significant milestone in the evolution of in-ear monitoring wireless systems, setting a new standard for performance and reliability in the industry.

As digital technology continued to mature, in-ear monitoring wireless systems became increasingly sophisticated, incorporating features such as networked control and monitoring, multi-channel operation, and compatibility with wireless communication standards like Wi-Fi and Bluetooth. These advancements further enhanced the user experience, allowing performers and audio engineers to achieve precise control over their monitor mixes and customize their monitoring setups to suit their individual preferences.

Today, in-ear monitoring wireless systems have become indispensable tools for professionals in the music and entertainment industry. From stadium concerts to intimate club gigs, artists rely on these systems to deliver pristine audio quality and ensure optimal performance on stage. With advancements in RF technology, digital signal processing, and ergonomic design, in-ear monitoring wireless systems continue to push the boundaries of what is possible in live sound reinforcement.

Looking to the future, the evolution of in-ear monitoring wireless systems shows no signs of slowing down. As technology continues to advance, we can expect to see further innovations in areas such as spectrum efficiency, interoperability, and integration with emerging audio technologies. With their ability to provide unparalleled audio quality, flexibility, and reliability, in-ear monitoring wireless systems will undoubtedly remain essential tools for performers and audio professionals for years to come.

TEST: LD Systems Maui 44

Do you know that? The sprinter drives up, the first, still comparatively small sound element is unloaded and from the back right corner you can hear “Oh God, I hope it won’t be too loud”. The normal company party-goer's fear of the sound pressure is almost palpable around 3 p.m. in the afternoon. The same tie-wearer who kneels like a bucket on the dance floor around 12 o'clock in the evening to play air guitar can't be loud enough during the final "Smoke On The Water", even though, according to the neighbor across the street, " Motörhead at Wacken” volumes approached.

So what do you need to make your customer happy? A small P.A. that is as small as possible and as good-looking as possible, which, despite its discreet appearance, can, in case of doubt, pack a hefty pound in the kilowatt range without running the risk of sending the built-in loudspeakers to direct current death. With the LD Systems MAUI 44, there is now a column principle on the market that is equally impressive in both the optical and acoustic areas. Get the pound!


construction

The first impression of the system developed and built in Germany is excellent in several respects. On the one hand, the system consists of three comparatively small elements, which can be connected to form an impressive column in a minimum of time using a plug-and-play connection. Perfectly milled guide slots and the matching steel pins ensure a firm hold, with the signal flow guaranteed via centrally installed plug connections. Tangled cables are a thing of the past. For easy handling in stacking operation, carrying handles are mounted on the back of the columns. When operating indoors, however, it is important to ensure that at least a clear ceiling height of approx. 2.50 meters is required in order to be able to combine the system's plug connection. Party room, basement, approx. 2.20 meter ceiling height? Get out of the mouse!

The actual system consists of a subwoofer and 2 column satellites with different loudspeakers, offering an RMS power of 1600 watts with a peak of 3200 watts at a maximum SPL of 129 dB. As almost always, Class D power amplifiers are used here, without which such power outputs of this magnitude would not be possible. For the bass range, there are 2 12" neodymium speakers with a load of 800 watts, while the column elements with a total of 16 3.5" midrange drivers and 2 1" tweeter drivers also provide 4x 200 watts.

When it comes to portability, the system sets real standards. In terms of weight, the upper column with 10.2 kilograms and the middle column with 7.4 kilograms can easily be moved by a single person, while the subwoofer, despite the light magnets, due to its solid construction in 15 mm birch multiplex and the management of the control electronics with its 40.8 kilograms likes to take up the work of two strong men's arms. Fortunately, the transporter has the ergonomic LD Systems Evolution carrying handles at his disposal, which enable bold gripping from all angles.

In terms of dimensions, it is also very compact. Subwoofer (620 mm x 412 mm x 615 mm), satellites, upper column (120 mm x 973 mm x 144 mm) and satellites, lower column: (120 mm x 838 mm x 144 mm) can be easily stored in the trunk of a small car , mind you, without any wiring. However, it is important that you don't forget the very well locked but still rare Speakon power cable; you can't get any further with the LD Systems MAUI 44 with the classic cold device plug. For ultimate transport convenience, you can purchase a separate roller board, which can be connected directly to the subwoofer using butterfly fasteners. All elements are protected from external influences with solid, black steel grilles.

The entire connection area is built into the subwoofer so that the notorious, unsightly cable bulges don't hang down from the satellites. A treat for the eyes! In the input area we have two combination sockets (XLR/TRS) and two cinch sockets available, with which any signal can be processed. If you want to connect several systems in series using the daisy chain method, 2 XLR outputs are available. If you want it to wobble even more under 40 Hertz, the system also has a separate woofer XLR output.

Two separate volume controls can be used to control the overall volume and the subwoofer portion. This is very helpful for giving your sound a personal touch or for adapting the bass component to the signal present. Four small LEDs provide information about the most important operating states, such as power, peak, applied signal and the use of the internally installed limiter.



Practice

If your own wife comes into the test room and speaks favorably about the appearance of a sound system, the designers must have done more than just good work! In fact, in the right light, the system would even pass as a designer element within a modern residential complex. However, anyone who now believes that LD Systems has neglected the efficiency or even the sound orientation of the system in favor of the optics is very much mistaken.

The first listening impression is very powerful with excellent radiation characteristics. The unpleasant beam of some other systems is reduced to a minimum by the loudspeakers and illuminates both a room and an open-air area acoustically very well. It is noticeable that both the close and more distant listening areas receive sound almost equally well. Personally, I find the separately adjustable bass component to be a great help, depending on the signal present or the room acoustics, to give the basic sound more boost or to protect it from dangerous booming components.

However, due to the massive number of midrange drivers, the LD Systems MAUI 44 has its own sound coloring, which cannot be viewed in a judgmental way. As expected, the mid/high-mid range is extremely present, which makes the highs look a bit “discreet” in direct comparison with a linear filter setting. Here I would possibly add a touch of “shine” with a sum filter. The infamous low-mid hole in the crossover area to the subwoofer can only be heard very discreetly with this design and can easily be concealed if necessary.

In terms of application, the system is absolutely convincing both as a hall sound system and in sidefill operation. Thanks to its beam angle of 120 degrees, you can also reach areas that are otherwise no longer acoustically illuminated by comparable systems. The processor of the amplifier system also has a coordinated system of equalizer, compressor and limiter in order to create the densest possible sound image from the connected power amplifier, which it also succeeds in impressively.



Conclusion

The LD Systems MAUI 44 is an absolute top P.A. the compact class on the market. I have never come across a system that combines excellent sound values with an exquisite appearance and at the same time sophisticated detailed solutions in this form. Once again, German engineering shows that the “Made-In-Germany” trademark is more than just a geographical indication. The countries in the world where you can find such quality combined with a trained eye for detail can be counted on one hand.

Whether a band, solo entertainer or DJ, if you want an ultra-compact, very good-sounding and excellent-looking small P.A. If you're looking for something, you should definitely take a look at the LD System MAUI 44.

Absolute purchase recommendation!

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Additional Informations:


Adam Hall GmbH stands as a testament to the entrepreneurial spirit and dedication to quality that characterize the German manufacturing landscape. Established in 1975, this company has evolved from humble beginnings into a global leader in the production of professional audio, lighting, and stage equipment. With a focus on innovation, reliability, and customer satisfaction, Adam Hall GmbH has cemented its place as a powerhouse in the industry.

The origins of Adam Hall GmbH can be traced back to its founder, Adam Hall. Born in 1942 in Frankfurt, Germany, Hall demonstrated an early passion for music and technology. After completing his education, he embarked on a journey to merge these interests by establishing his own company dedicated to providing high-quality audio equipment to musicians and professionals.

In 1975, Adam Hall took the crucial step of founding his eponymous company in Neu-Anspach, Germany. Initially operating from a small garage, the company's primary focus was on manufacturing speaker stands and flight cases. Despite limited resources, Hall's commitment to excellence and innovation soon began to attract attention within the industry.

One of the key milestones in the company's early history was the development of the first aluminum speaker stand. This groundbreaking innovation not only revolutionized the way speakers were mounted but also established Adam Hall GmbH as a pioneer in the field of audio equipment manufacturing. The lightweight yet durable design of the aluminum speaker stand quickly gained popularity among musicians and sound engineers, setting a new standard for performance and reliability.

As the reputation of Adam Hall GmbH continued to grow, so too did its product range. In the following years, the company expanded its portfolio to include a wide variety of audio, lighting, and stage equipment. From cables and connectors to truss systems and stage platforms, Adam Hall GmbH became a one-stop shop for professionals in the entertainment industry.

Throughout its expansion, Adam Hall GmbH remained committed to the principles of quality and innovation that had defined its early success. The company invested heavily in research and development, constantly striving to improve existing products and introduce new solutions to meet the evolving needs of its customers. This dedication to innovation was rewarded with numerous patents and awards, further solidifying the company's reputation as a leader in its field.

In addition to its focus on product development, Adam Hall GmbH also placed great emphasis on customer service and support. Recognizing that the success of its business depended on the satisfaction of its customers, the company established a global network of distributors and partners to ensure that its products were readily available and supported wherever they were needed.

The turn of the millennium brought new opportunities and challenges for Adam Hall GmbH. The rapid advancement of technology ushered in an era of digital audio and lighting systems, presenting both opportunities and threats to traditional manufacturers. However, rather than being daunted by these changes, Adam Hall GmbH embraced them as an opportunity to further differentiate itself from the competition.

Under the leadership of Adam Hall and his dedicated team, the company embarked on a program of digital transformation, incorporating cutting-edge technologies into its product lineup. From wireless audio systems to LED lighting fixtures, Adam Hall GmbH embraced the digital revolution while staying true to its core values of quality and reliability.

Today, Adam Hall GmbH stands as a shining example of German engineering and innovation. With a product range that spans the entire spectrum of professional audio, lighting, and stage equipment, the company continues to set the standard for excellence in the industry. Whether it's a small local event or a large-scale international concert, professionals around the world trust Adam Hall GmbH to deliver the performance and reliability they demand.

Looking to the future, Adam Hall GmbH remains committed to its founding principles of innovation, quality, and customer satisfaction. With a strong focus on research and development, the company is poised to continue leading the way in the ever-evolving world of professional audio and lighting technology. As new challenges emerge and new opportunities arise, one thing is certain: Adam Hall GmbH will be there, at the forefront of innovation, shaping the future of the industry for years to come.

TEST: LD Systems WS 1000 HHD2

 In view of the fact that radio microphones have long since established themselves as a standard on the stages of the West, as in all areas of the consumer sector, it was only a matter of time before relevant companies turned the price screw by manufacturing in low-wage countries into areas that are almost considered science Fiction can be dismissed.

While the world market leaders such as Sennheiser and AKG will not go below the ominous price range of around 600 euros for a handheld/receiver combination, there are various competitors who have set themselves the target of the up-and-coming young band with the hard-pressed “small wallet”. To ensure wireless freedom on stages.

The manufacturer LD Systems offers its WS 1000 HHD2 double microphone set for a street price of just under 460 euros, a price at which the competition doesn't even start with a single microphone. Let's see to what extent LD Systems can assert itself against its mostly European competitors with its product from Chinese factories.

In terms of sales, the product continues to be sold through the company Adam Hall GmbH, which some of the readers may still know from their busy activity with flight case accessories.





construction

The package includes two handheld transmitters WS1000MD, a WS1000 double receiver, two antennas, two antenna extensions for rack operation, a power supply for the receiver unit, a set of 19 inch rack brackets, four batteries for the transmitters and an operating manual. The receiver unit can also be operated in stand-alone mode without a rack bracket and has four small but non-slip feet on the underside of the housing. The housing is made of sufficiently strong sheet steel and is flawlessly processed.

In terms of transport, the entire system is delivered in a sturdy plastic hard case, equipped with foam to secure the components. The case can even be secured with two locks against unintentional opening thanks to two holes on the sliding locks. However, you can see that LD Systems uses standardized foam milling (one size fits all), so some components such as the receiver unit fit precisely into the recess, while the power supply unit has to be tightly squeezed into the foam at its height. A disadvantage of mass production.


For signal transmission, the WS 1000 HHD2 works with 160 switchable frequencies in the UHF band in the 790,850 - 813,800 MHz range. The receiver is designed in two identical versions with regard to the two reception modules; functions such as the antenna display or displays such as the output level are designed twice. The two displays on the front are equipped with sufficiently large letters and numbers and ensure that the individual information is easy to read even from a distance. The final elements are the power switch on the left side of the front panel and an adjustable headphone output on the right side.

On the back of the housing, in addition to the two antenna connections, there is a balanced XLR output per channel. If the situation requires it, you can also connect both channels to a single output; a balanced XLR and an unbalanced jack output are also available for this purpose. The threshold of the mute level can be readjusted in the event of any interference signals using two recessed trimming screws. The receiver comes with a 12 volt power supply, but the system also accepts voltages up to 18 volts as long as they deliver 500mA of current.

In order to generate a clear assignment of frequencies when using multiple systems, the receiving part in the middle of the front panel has an infrared sensor, which is programmed via the respective transmitter. Using an additional WS100AD Antenna Distributor, 4 receiving units can be connected together to share just one pair of antennas.

The handhelds, which are visually reminiscent of Shure microphones, have a small display on which, in addition to the channel indicators, the battery and infrared indicators also show their status. The product is powered by two standard AA batteries. The gain can also be readjusted using a small trim potentiometer. Unfortunately, the slider is very smooth and cannot be locked, so there is a latent risk of unintentionally deactivating the microphone.



Practice

After activating the products, the transmitter and receiver can be found within a few seconds, as the integrated frequency scanner automatically searches for a free frequency to transmit the signal. This makes handling easier when operating multiple systems in parallel. The subsequent transmission test did not disappoint either. Even a distance at which the signal had to overcome two reinforced concrete ceilings of a 1960s house (lots of steel - lots of shielding!) did not result in any loss of signal.

In terms of sound, the microphone also tries to emulate its visual model acoustically, although it doesn't quite achieve the balance of the original. All in all, the product leaves a good impression, especially since a high-quality filter on the console can help suit your personal taste. As is so often the case, however, when it comes to prices in Asian production, it is difficult to find a real point of criticism here, as the dumping sales price would put even moderately serious shortcomings into perspective.

In terms of weight, the handhelds are in the middle range. An experienced singer will have no problems with the product, although a two-hour performance with a lot of use of the arm should not be underestimated. The advantage of using AA batteries is that, due to the omnipresent use of the energy dispenser, replacement batteries can be found in every supermarket if necessary, which is not necessarily the case with 9 volt blocks.




Conclusion

With the WS 1000 HHD2, LD Systems is bringing a product onto the market that has a good price/performance ratio and, with two handhelds, is entering a market segment that has so far been rather rudimentary. Both radio links work perfectly and have a high level of clarity and good workmanship.

In terms of sound, the product is convincing, even if it lacks the ultimate polish for the top league. However, in view of the sales price, this area is put into perspective again. If you are looking for two radio links in just one housing, you should give the WS 1000 HHD2 a try.

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Additional Informations:

Introduction:
In the realm of professional audio solutions, LD Systems Audio stands as a symbol of innovation, reliability, and uncompromising quality. From humble beginnings to global recognition, LD Systems has continually pushed the boundaries of audio technology, delivering cutting-edge products that meet the diverse needs of musicians, sound engineers, and audio enthusiasts worldwide. Join us as we embark on a comprehensive exploration of the rich history and evolution of LD Systems Audio, tracing its journey from inception to prominence in the competitive landscape of pro audio.

Founding Vision:
The story of LD Systems Audio begins in the early 2000s when Adam Hall Group, a leading manufacturer and distributor of professional audio and lighting equipment, recognized the need for a dedicated brand focused on providing high-quality sound reinforcement solutions at affordable prices. With a clear vision and a commitment to innovation, LD Systems was born, poised to disrupt the market with its blend of cutting-edge technology, ergonomic design, and exceptional value.

Early Innovations:
In its formative years, LD Systems Audio distinguished itself through a series of groundbreaking innovations and product releases. From portable PA systems and powered speakers to wireless microphone systems and in-ear monitoring solutions, LD Systems quickly established itself as a go-to choice for musicians, DJs, event organizers, and audio professionals seeking reliable, high-performance audio equipment. One of the brand's early successes was the Maui Series, a line of compact column PA systems that redefined portability and versatility in live sound reinforcement.

Market Expansion and Global Reach:
Buoyed by the success of its initial product offerings, LD Systems Audio wasted no time in expanding its presence in domestic and international markets. Strategic partnerships with distributors, dealers, and retailers enabled the brand to penetrate new territories and reach a wider audience of audio enthusiasts and professionals. With a growing network of authorized resellers and service centers spanning continents, LD Systems solidified its position as a global leader in pro audio, earning the trust and loyalty of customers around the world.

Commitment to Quality and Innovation:
Central to LD Systems' ethos is a steadfast commitment to quality, reliability, and innovation in every aspect of product development and manufacturing. The brand's dedicated team of engineers, designers, and audio experts work tirelessly to push the boundaries of technology, incorporating the latest advancements in acoustics, electronics, and materials science into every LD Systems product. Rigorous quality control processes and exhaustive testing protocols ensure that LD Systems equipment meets the highest standards of performance, durability, and user satisfaction.

Endorsements and Industry Recognition:
As LD Systems Audio continued to expand its product portfolio and global footprint, the brand garnered widespread recognition and acclaim from industry professionals, musicians, and audio enthusiasts alike. Endorsements from renowned artists and performers further solidified LD Systems' reputation as a trusted provider of pro audio solutions. From small clubs and theaters to major concert venues and festivals, LD Systems equipment became synonymous with reliability, versatility, and superior sound quality, earning accolades and awards from industry publications and organizations.

Continued Evolution and Innovation:
As the audio industry evolves and technology advances, LD Systems Audio remains at the forefront of innovation, continually refining and expanding its product lineup to meet the evolving needs of customers. Whether it's developing wireless microphone systems with advanced digital signal processing, designing compact line array systems for touring and installation applications, or incorporating smart features and connectivity options into its products, LD Systems continues to push the boundaries of what's possible in pro audio.

Expansion and Product Diversification:
As LD Systems Audio solidified its position in the professional audio market, the brand embarked on a journey of continuous expansion and product diversification. Recognizing the diverse needs of musicians, DJs, event organizers, and audio professionals, LD Systems expanded its product lineup to encompass a wide range of audio solutions tailored to various applications and environments. From portable PA systems and active speakers to subwoofers, mixers, amplifiers, and accessories, LD Systems left no stone unturned in its quest to provide comprehensive audio solutions for every stage and venue.

One notable addition to LD Systems' product portfolio was the CURV 500 series, an innovative modular array system that revolutionized the concept of portable line arrays. Featuring a unique curvilinear array design and flexible configuration options, the CURV 500 series offered exceptional coverage, clarity, and scalability, making it ideal for a wide range of live sound applications, from small clubs and houses of worship to outdoor events and corporate functions.

Global Distribution and Brand Recognition:
As LD Systems Audio continued to expand its product offerings and global footprint, the brand focused on strengthening its distribution network and enhancing brand recognition in key markets around the world. Strategic partnerships with distributors, dealers, and rental companies enabled LD Systems to establish a strong presence in Europe, North America, Asia, and beyond, ensuring that customers had access to its products and support services wherever they were located.

Through targeted marketing initiatives, trade show participation, and sponsorship of industry events, LD Systems bolstered its brand visibility and reputation, further solidifying its position as a trusted provider of professional audio solutions. Endorsements from leading artists, bands, and DJs helped raise awareness of LD Systems products and underscored their performance capabilities in real-world applications, contributing to the brand's growing popularity and success.

Customer-Centric Approach and Support:
At the heart of LD Systems Audio's success lies a customer-centric approach to product development, service, and support. From the design phase to post-purchase assistance, LD Systems is committed to delivering an exceptional customer experience at every touchpoint. The brand's dedicated customer support team is on hand to provide technical assistance, troubleshooting, and product recommendations, ensuring that customers receive prompt and personalized attention to their inquiries and concerns.

Furthermore, LD Systems places a strong emphasis on education and training, offering resources such as user manuals, tutorials, and online forums to help customers maximize the performance and functionality of their audio equipment. Whether it's setting up a sound system, optimizing speaker placement, or fine-tuning audio settings, LD Systems is committed to empowering customers with the knowledge and tools they need to achieve optimal results in any audio application.

Looking Ahead:
As LD Systems Audio looks to the future, the brand remains steadfast in its commitment to innovation, quality, and customer satisfaction. With a focus on pushing the boundaries of audio technology, expanding its product lineup, and enhancing its global reach, LD Systems is poised to continue shaping the landscape of professional audio for years to come. Whether it's powering concerts, events, worship services, or corporate presentations, LD Systems remains dedicated to providing cutting-edge audio solutions that inspire creativity, elevate performances, and exceed expectations. As the journey of LD Systems Audio unfolds, one thing is certain: the brand's passion for innovation and sonic excellence will continue to resonate with musicians, audio professionals, and enthusiasts around the world, driving the evolution of live sound and studio recording for generations to come.

TEST: Lake People MC 100

 The Lake People company from Konstanz on Lake Constance has enjoyed a very good reputation as one of the leading manufacturers of headphone amplifiers for many years. The integration of the regional value chain plus a consistent “Made in Germany” also ensures a good feeling when it comes to job security. Like any successful company, Lake People do not rest on the laurels they have already achieved, but are always striving to expand their portfolio. The manufacturer recently scored points with the microphone preamp category and now with the introduction of two monitor controllers. We have the “smaller” version of the two monitor controllers, the Lake People MC 100, for testing, which, unlike the €500 more expensive MC 100 Pro, does not have a 256-fold relay volume control. All other elements of the two variants are identical.

The construction of the Lake People MC 100

Anyone who takes just a quick look at the product in combination with the retail price of €1,799 will immediately see which customer group the Lake People MC 100 was designed for. The possibility of five different input sources in combination with 3 different monitor systems plus a separate subwoofer output shows that this is a real pro device.

The massive housing with dimensions (W x H x D) 290 mm x 90 mm x 254 mm and a weight of 3.4 kg is perfectly crafted and leaves a very durable impression. Interestingly, Lake People cannot deny its connection to the hi-fi sector, as the Lake People MC 100 rests on four feet, which are also often used in the same segment. Unfortunately, the Lake People MC 100 only has an external power supply, which brings with it the usual problem of placement. To be honest, I would have liked a power socket in this price range.

Except for the 3.5 mm stereo jack input, which is located on the front of the housing and will probably be used primarily in mobile devices, all other inputs are located on the back of the housing. Two XLR stereo pairs labeled IN1/IN2, as well as the unbalanced stereo inputs IN3, which is available as an RCA pair on the back, form the analog input section of the controller, with the two unbalanced inputs switching from -10 dBV to + 4 dBu let. A USB-C socket is used as the digital input, with the internal D/A converter allowing a resolution of up to 384 kHz / 32 bit (PCM) and DSD 256.

In the output area, the Lake People MC 100 uses three balanced stereo outputs plus an additional sub out, all of which are in XLR. A three-stage switch can be used to switch the output signal between 0, -6 and -12 dB. In addition, the Lake People MC 100 has two stereo outputs called Slave Out 1 and Slave Out 2, which allow the connection of additional peripherals in the form of, for example, analyzers or external headphone amplifiers, which can be operated independently of the output volume.

When it comes to headphone operation, Lake People has opened up to a new segment, the so-called crossfeed technology, which has been used for many years in SPL's top products. The effect is a more natural reproduction when using headphones, as occurs when using monitors due to the inclusion of the runtime differences. In addition to a separate headphone volume control, Lake People has installed a continuous X-Feed control with which the effect can be mixed continuously. The Lake People MC 100 offers a 3.5 mm and 6.35 mm stereo jack output, which can also be used at the same time if necessary. Both headphone operation and the crossfeed function can be switched using a pressure switch.

If you want to use several pairs of speakers at the same time, for example to send the signal in parallel to another room, this is also no problem. You simply hold down an output pressure switch while you switch on the desired second pair. This configuration is saved even after the device is switched off. In addition, the Lake People MC 100 has one of the most important functions of a monitor controller, such as solo switching of the respective L/R channels, an L/R swap, a phase reversal of the left channel, a mute function for the rear outputs, a DIM switch of -20 dB and a mono switch. All functions are displayed in their status with their own LED.

All controls and switches on the Lake People MC 100 are of the highest quality and should ensure a long service life. The visual concept is coherent and the feel is high quality. A 41-position Alps RK27 was used as the master volume control, which, as expected, attracts attention with a diameter of 5 cm. The controller runs smoothly and immediately conveys a high-quality feeling, which is what you would expect in this price range.

The Lake People MC 100 in practice

When you set up the Lake People MC 100 in your studio for the first time, the product immediately exudes a certain “grandeur”. Due to the weight in combination with the high-quality rubber feet, the product does not move if you accidentally push the device or if you boldly press the buttons. The practical test was carried out using Eve Audio SC408, Eve Audio SC204 with subwoofer TS 107 and two Fame near-field monitors. All cabling was done using Cordial cables.

The readability of the individual settings is a point that is very important to me personally in the studio. Either you're fighting against atmospheric, but occasionally dim lighting or, as in my case, with some direct sunlight in the studio due to the beautiful, large south-facing windows. The status LEDs on the pressure switches are extremely helpful here, as they directly and immediately display the switching status. The white markings and fonts on the black front panel also do their job very well and offer good legibility even in poor lighting conditions.

When it comes to sound characteristics, the Lake People MC 100 meets the highest demands in every respect. The signal is never colored, always remains transparent and is completely free of all kinds of background noise, such as switching noises or mains hum. Even at high level settings, the Lake People MC 100 does not create noise and remains absolutely noise-free over the entire control range.

As expected, the headphone amplifier area, Lake People's flagship discipline, also offers absolute top values. The amplifier has a very high headroom, so that there was never any saturation or even distortion, even at high volumes. The headphone area should in fact be seen as a separate, additional bonus area and in no way a bonus to a monitor controller. This fact also puts the ambitious retail price into perspective, as in addition to the controller section you also get a professional headphone amplifier.

Of course, I was also excited about the crossfeed function, as an SPL Phonitor Mini has been in use in my studio for years and has already served me very well with the internal matrix. In fact, Lake People starts at the same point in signal processing, although the effect is a little more subtle, but without any tonal changes. The extent to which one appreciates or condemns the unnatural reproduction of the extreme stereo setup of a headphone is up to each user, but with the crossfeed function you have an unpretentious option to shift the listening experience in the direction of monitor reproduction in just a few simple steps. This applies to both the professional and consumer sectors, where you can use the Lake People MC 100 as a high-end headphone amplifier and shift your listening experience more towards a concert hall.

Conclusion

With the Lake People MC 100, the German company has a monitor controller that is outstanding in every respect in its portfolio. Workmanship, audiophile properties, concept and flexibility allow the “Made In Germany” trademark to shine in the best light and offer the user craftsmanship at the highest level.

In addition to the very good controller properties, the product also offers an excellent headphone amplifier, which, thanks to the crossfeed function, offers a practical, first-class feature that, as far as I know, has only been offered by SPL in the Phonitor series.

An armada of excellent detailed solutions and top-class technology are only offset by the use of an external power supply and the very closely spaced headphone jacks, but this is not enough to really detract from the product.

All in all an outstanding product, which e.g. Currently one of the best that is available in this product category. The product is here to stay and is guaranteed to establish itself as a classic of this genre in the medium term.

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Additional Informations:

Introduction:
In the landscape of professional audio equipment, Lake People Audio stands as a beacon of craftsmanship, precision, and sonic excellence. Founded on a commitment to uncompromising quality and meticulous attention to detail, Lake People has earned a sterling reputation among audiophiles, recording engineers, and music enthusiasts worldwide. As we embark on a journey through the rich history of Lake People Audio, we uncover the story of a company driven by a passion for audio perfection and a relentless pursuit of sonic fidelity.

Founding Vision:
The origins of Lake People Audio can be traced back to the late 1980s when Fried Reim and his team embarked on a mission to create audio equipment that would meet the demanding standards of professional recording studios and audiophiles alike. Drawing upon their expertise in electrical engineering and a deep appreciation for high-fidelity sound reproduction, Reim and his colleagues set out to design and manufacture audio products that would elevate the listening experience to new heights of clarity and purity.

Early Innovations:
In the early years of Lake People Audio, the company focused on developing high-quality headphone amplifiers and headphone distribution systems, catering to the needs of recording studios, broadcast facilities, and critical listening environments. One of Lake People's early breakthroughs was the introduction of the G109P headphone amplifier, renowned for its transparent sound, low noise floor, and exceptional dynamic range. This pioneering amplifier quickly gained a reputation for delivering studio-quality sound reproduction, making it a staple in professional audio workflows.

Expansion and Diversification:
As Lake People Audio gained traction in the professional audio market, the company expanded its product lineup to include a broader range of audio equipment, including preamplifiers, power amplifiers, and digital-to-analog converters (DACs). Each product was meticulously engineered and handcrafted in Lake People's facilities in Germany, ensuring unparalleled build quality and sonic performance. The company's commitment to excellence and innovation attracted a loyal following of audio enthusiasts and industry professionals who sought out Lake People products for their reliability, transparency, and sonic purity.

Partnerships and Collaborations:
Over the years, Lake People Audio has forged strategic partnerships and collaborations with leading audio companies and professionals, further enhancing its reputation as a trusted name in the industry. Collaborations with renowned mastering engineers, recording studios, and artists have provided invaluable feedback and insights that have helped shape the development of Lake People's products, ensuring that they meet the exacting standards of audio professionals and enthusiasts alike. These partnerships have also allowed Lake People to stay at the forefront of technological advancements in audio engineering, incorporating the latest innovations into its product designs to deliver cutting-edge performance and reliability.

Global Recognition and Acclaim:
As Lake People Audio continued to expand its presence in the global audio market, the company garnered widespread recognition and acclaim for its commitment to excellence and innovation. Lake People products have earned numerous awards and accolades from industry publications and organizations, cementing the company's reputation as a leader in professional audio technology. Whether used in recording studios, broadcast facilities, or audiophile listening rooms, Lake People equipment is synonymous with uncompromising quality, precision engineering, and pristine sound reproduction.

Continued Evolution and Excellence:
As we look to the future, Lake People Audio remains dedicated to its founding principles of precision, passion, and sonic excellence. The company continues to push the boundaries of audio technology, exploring new avenues for innovation and refinement in pursuit of the perfect sound. With each new product release, Lake People reaffirms its commitment to providing audio professionals and enthusiasts with the tools they need to unlock the full potential of their music and audio productions. As the company's journey unfolds, one thing remains certain: Lake People Audio will continue to set the standard for uncompromising quality and sonic purity in the world of professional audio.

TEST: KRK S10G4

 KRK loudspeakers have been a constant companion in the audio segment since they were founded in 1986, and in recent years they have also been able to establish themselves very successfully in the budget sector from their early days, which were almost exclusively aimed at pro users. The Rokit series in particular has appealed to many newcomers to the field of near-field monitors due to its comparatively good quality for little money, enabling them to take their first steps in the audio sector. In keeping with this, but not exclusively aimed at the same series, the company, which now belongs to the Gibson Group, now also offers the fourth generation of subwoofers called the KRK S10G4, the middle representative of the three variations called the KRK S8G4, KRK S10G4 and KRK S12G4 .

The construction of the KRK S10G4

The KRK S10G4 is a subwoofer for budget-class project studios. With dimensions (W x H x D): 479 mm x 341 mm x 310 mm and a weight of 15.88 kg, it is easy to handle and does not take up too much space. The stated power of 160 watts Class D may seem moderate at first glance, but the maximum level of 117.2 dB makes you sit up and take notice, as this value is significantly higher than what is normally offered in this class.

Of course, KRK's optical trademark was once again installed in the KRK S10G4, the yellow membrane, although it is interesting that the 8- and 10-inch subwoofer membranes are made of glass-aramid composite, while the 12-inch subwoofers Version is made of Kevlar. The crossover frequency approach compared to satellites takes some getting used to. Active subwoofers always have a built-in crossover, which helps reduce the burden of low frequencies on the main monitors and ensures a good balance between the two elements. I found it interesting that in addition to the crossover frequencies of 60, 70 and 80 Hz, the S10G4's crossover has a maximum high frequency limit of 90 Hz, which compares to equivalent subwoofers from other brands that can go up to 120 Hz or even higher , is not particularly high.

What does this mean in practice? To get the most out of it, pair the S10G4 with main monitors that can comfortably go down to 90Hz without breaking a sweat, which usually means larger monitors. Users with very small monitors should instead choose the S8G4, which has a maximum crossover point of 100 Hz and in this case relieves the satellites better. Overall, the subwoofer has a frequency range of 30 - 110 Hz.

In terms of feel, the KRK S10G4 leaves an extremely massive impression. The workmanship of the product, which was built in China, is impeccable and its appearance means it can be tastefully integrated into most studio setups thanks to its rounded corners. However, the KRK S10G4 does not have any feet or other support points, which is why the product comes with a rubber mat, which is intended to prevent the underside from being scratched and to decouple the woofer a little from the floor. However, as most readers will know, the correct placement of the woofer in the room and the perfect balance to the satellites are significantly more important in terms of a well-rounded sound than a resonant decoupling from the floor. More on that later.


The connections of the KRK S10G4

As expected, all of the KRK S10G4's connections are located on the back of the case. You can see at first glance that KRK doesn't save money when it comes to connection options. We have XLR symmetrical in / out, we have TRS symmetrical in / out and for the consumer sector we also have RCA unbalanced in / out, a variety that I have only very rarely encountered before.

The system also has a jack connection for a foot switch, which not only deactivates the subwoofer, but also removes the frequency separation from the satellites. A very good thing if you want to quickly switch between an extended bass range and regular satellite playback. Should you work in a rental or condominium that is probably not acoustically decoupled. In case of doubt, this circuit also makes it possible to reduce the annoyance with the neighbors, so that you can only switch on the subwoofer sound at certain times, as it works its way through the walls comparatively quickly due to the long waves. There is a small LED next to it that provides information about the operating status and whether the standby circuit has activated. Once again we also come across a multi-voltage power supply that enables operation from 100 to 240 volts, so that use abroad is no problem worldwide.

Using 4 small mini switches, the KRK S10G4 enables the following control options:

Input Sensitivity: a comparison between balanced and unbalanced signals with regard to input sensitivity.

Polarity: A phase reversal in case there are standing waves or phase cancellations within the setup.

Stand By: Deactivates the circuit that puts the woofer into standby mode after 30 minutes.

Ground Lift: To help with ground loops or ground problems in general.

Finally, we have the cold device socket and a fine fuse that is accessible from the outside. The KRK S10G4 can be operated upright or lying on its side; its bass reflex opening is on the front of the housing.


The KRK S10G4 in practice


As we all know, the correct placement of a subwoofer in the room, especially when it comes to smaller rooms, is a tricky matter. Especially with regard to the distance to walls, possibly also slopes or ceilings, it must be taken into account that bass frequencies, with their circular radiation behavior, behave completely differently than radiation-directed mids and highs. Another point is the perfect balance in terms of frequency distribution and radiation behavior between the satellites and the woofer. Therefore, you need to pay a lot of attention to the correct placement of the subwoofer.

Even if there is a persistent assumption in some circles that everything below 300 Hertz can be placed anywhere in space since there is no longer any spatial positioning, the aim is still to place the woofer in the middle between the two satellites, if possible . In a typical budget studio setup, this usually results in the woofer being used below the worktop in the foot area. In general there is nothing wrong with this placement, but in most cases it is only a matter of time before one of your feet kicks the speaker or perhaps even damages it. To avoid this, you can purchase a suitable speaker grille, which counteracts this problem. Personally, I would definitely include this product in my budget planning, especially since the price of €22 is very moderate.

As is well known, using a subwoofer is not a panacea for spatial inadequacies or low-bass near-field monitors. If the room is unsuitable for music reproduction due to its symmetry, its arrangement or its radiation characteristics, even the best subwoofer cannot prevent the end result from being anything but satisfactory. In addition, there are still different opinions as to whether the bass range is better reproduced with powerful satellite woofers or whether a separate woofer is used, which of course significantly reduces the load on the satellites, but also has a different sound behavior. Everyone has to decide for themselves what is the best solution for them.

To put it bluntly, for a price of under 400 euros, the KRK S10G4 offers a lot for the money. The sound pressure of the system is indeed exceptional for this price and from the first tones you are literally surprised by the large volume of the product.

However, this also leads to the problem that the woofer quickly has to struggle with standing waves in a rather moderate control room, which can only be gotten under control after intensive testing of the installation position. For example, in my Studio 2, where the control room is only about 15 square meters, it turned out to be a good placement
wasn't that easy, as the walls repeatedly led to an increase in the low bass range. Nevertheless, you quickly feel very comfortable with the woofer, as its large volume gives off the classic feeling of the woofer.

However, the radiation behavior of the woofer itself is relatively indifferent and, depending on the music material, can quickly lead to booming. Particular attention should be paid to which satellites the KRK S10G4 is operated with. All in all, you have to give the product a good rating because it brings a lot of the attitude of the pro range into the budget range and ensures a good feeling.

Conclusion

With the KRK S10G4, the protagonist of the yellow membrane has a subwoofer in his portfolio that has a very good price/performance ratio. The workmanship and connection peripherals are well above the norm in this price segment, and the system also impresses with its exceptionally high sound pressure. When placed correctly, the KRK S10G4 is a useful addition to weak near-field monitors, which may lack deep bass.

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Additional Informations:

Introduction:
In the realm of professional audio monitoring, few names evoke as much reverence and acclaim as KRK Systems. Renowned for their precision, clarity, and reliability, KRK monitors have become indispensable tools for producers, engineers, and musicians around the world. But the story of KRK Audio is not just one of technological innovation; it's a testament to the entrepreneurial spirit, unwavering dedication to quality, and a deep understanding of the needs of audio professionals. In this comprehensive exploration, we embark on a journey through the rich history of KRK Audio, tracing its humble beginnings, pivotal milestones, and enduring legacy in the world of studio monitoring.

Founding Years:
The origins of KRK Audio can be traced back to the late 1970s when Keith Klawitter, an audio engineer and musician, founded the company in the small town of Chatsworth, California. Dissatisfied with the available studio monitors of the time, Klawitter set out to create speakers that would provide accurate, transparent sound reproduction, essential for critical audio tasks such as mixing and mastering. Armed with a passion for audio engineering and a vision for uncompromising quality, Klawitter began designing and building his own monitors in a garage workshop.

Pioneering Technology:
At the heart of KRK's early success was Klawitter's innovative use of unconventional materials and design principles. One of the company's breakthroughs was the development of the Expose Monitor, introduced in the early 1980s. The Expose series incorporated proprietary technologies such as Kevlar drivers and front-firing port designs, setting a new standard for accuracy, transient response, and low-frequency extension in studio monitors. These innovations garnered attention from audio professionals and established KRK as a leading force in the world of studio monitoring.

Expansion and Acclaim:
Throughout the 1980s and 1990s, KRK Audio continued to expand its product lineup and refine its monitor designs. The company's commitment to quality and innovation earned it widespread acclaim among recording engineers, producers, and artists. The introduction of the iconic V Series monitors in the late 1990s further solidified KRK's reputation for delivering superior sound quality and reliability. With their distinctive yellow cones and transparent sound signature, the V Series monitors became a fixture in recording studios and production facilities worldwide, cementing KRK's position as an industry leader.

Acquisition and Global Reach:
In 2003, KRK Audio underwent a significant transformation when it was acquired by the Stanton Group, a leading manufacturer of professional audio equipment. Under new ownership, KRK continued to thrive, leveraging the resources and expertise of the Stanton Group to further expand its product offerings and reach new markets. The acquisition also facilitated KRK's global expansion, allowing the company to establish a strong presence in key markets across North America, Europe, Asia, and beyond.

Innovation in the Digital Age:
As the audio industry transitioned into the digital age, KRK remained at the forefront of innovation, embracing emerging technologies to enhance the performance and functionality of its monitors. The introduction of the Rokit series in the early 2000s marked a significant milestone for KRK, bringing professional-grade monitoring capabilities to a broader audience of home studio enthusiasts and aspiring producers. The Rokit series quickly gained popularity for its affordability, versatility, and studio-quality sound, earning accolades from industry professionals and amateurs alike.

Continued Excellence and Evolution:
In the years since its founding, KRK Audio has continued to evolve and adapt to the changing needs of the audio industry. The company's commitment to excellence and innovation remains unwavering, as evidenced by the introduction of the latest generation of studio monitors, including the Rokit G4 series. Equipped with advanced DSP-driven room tuning capabilities, Class D amplification, and a host of connectivity options, the Rokit G4 monitors represent the pinnacle of KRK's technological prowess and dedication to providing audio professionals with the tools they need to achieve sonic perfection.

Legacy and Influence:
As we reflect on the remarkable journey of KRK Audio, it's clear that the company's impact extends far beyond the realm of studio monitoring. From its humble beginnings in a garage workshop to its status as a global leader in professional audio technology, KRK has inspired generations of musicians, producers, and engineers with its unwavering commitment to sonic excellence. With each new innovation and technological advancement, KRK reaffirms its position as a driving force in the evolution of studio monitoring, ensuring that the next chapter of its storied history will be as illustrious and influential as those that came before.

TEST: Koch Amps Supernova

 If you look up “supernova” in the dictionary, you will generally find an explanation along the lines of “the extremely bright flash of a star at the end of its life.”

I'm absolutely sure that when naming their new flagship, the Koch-Amps company wasn't thinking about the torching of the head at the end of a live show, but rather about the record 5(!) individual channels in a full-tube head .

People may prove me wrong, but as far as I know, this is the current pole position among amplifier manufacturers when it comes to channel diversity.

Although the company around Ober-Schrauber and mastermind Dolf Koch has earned an excellent reputation in the professional world with various amplifiers, such as the traditional Studiotone or the Powertone, which is very popular in the heavy sector (it is rumored that Paul Reed Smith wanted the company several times to have a kind of PRS amp manufactured there), the company's international breakthrough in popularity has so far failed to materialize, even though Carlos Santana, for example, left his Mesa Boogie behind after testing a Koch amp and took part in the show that same evening played this amp.



construction

A long history precedes the release of the Supernova Head. At the Musikmesse in 2006, Dolf Koch showed me a prototype that boasted the key points of the current model.

However, the incredibly high level of choice in terms of sound design gave me worry lines at the time, along the lines of “whether he can really handle it?”. When there was still no production model within reach at the 2007 trade fair, I saw my predictions of doom confirmed until the finished model with a bulwark of features finally saw the light of day in 2008.

The Supernova is available in a 120 watt mono version or in the 2x60 watt stereo version that I have. Both variants are identical in terms of the preamplifier and tone control, only the power amplifier concept and the associated FX loop configuration varies.

Total 8 pieces. 12AX7 in the preamp and 4 pieces. EL 34 in the power amplifier manage the complex sound design of the head,

Of course, the first thing that catches the eye is the high number of channels, of which 4 of the 5 channels actually have their own tone control (channels 1+2 bass, middle, treble - channels 3+5 bass, middle, treble, presence, channels 4+5 share a sound control). All channels can be varied in their final volume via two switchable master volumes.

But the real nitty-gritty begins on the control panel on the right, or on the back of the amplifier. A total of 14 mini switches, of which 9 are. Designed to be programmable, give an idea of what the user will face when needed.

The Supernova has 4 voicing switching options, specifically a bass boost (Low), a mid selector switch (Mid Shift), a treble boost (Bright) and a treble attenuation (HiCut).

The head also has switchable speaker attenuation, which emulates a more compressed (H), moderate (M) or open (L) speaker deflection at low volumes.

As an absolute special feature, the amplifier has an “OTS” (Output Tube Saturation) circuit that can be adjusted in drive and volume. This is a 0.5 watt power amplifier, which, however, is not designed to operate the speakers, but rather only adds the distortion behavior of a power amplifier, which is harmoniously designed to be diametrically opposed to a preamplifier, to the sound.

As we all (hopefully) know, a power amplifier distorts completely differently in terms of dynamics (interactive) and compression (velocity-dependent) than a strongly compressing and dynamically “flat-compressing” preamplifier. The OTS circuit now makes it possible to generate the above-mentioned sound parameters at room volume without having to use the “English setting” (death to the neighbors).

On the back you are almost overwhelmed by jack sockets. A total of 10 speaker outs (stereo power amplifiers!) allow any connection of individual speakers or their combinations.

And as if all of this wasn't enough equipment, Koch also adds a total of four (!) FX loops on top, two serial and two parallel ones with adjustable levels, three of them in stereo, of course, making a total of 15 sockets alone the FX loops! Ugh.....

In order to manage this variety of sounds, in the best case scenario you need a MIDI switcher or the optionally available Koch foot switch FS6 SN, which, however, costs a lot with an RRP of just under €260. The corresponding connection sockets are located on the left side of the back panel.


Practice

When you turn the amp on, you immediately notice the non-existent noise level of the amplifier, no hiss, no hum, nothing, even at high master levels.

As expected, let's start with channel 1. First of all, we have the option of choosing a “normal” or more high-pitched (bright clean) sound via the input jack. However, this socket only affects channel 1; the remaining channels are not affected.

And there it is, the very soft and very pleasing clean sound that you know from all Koch amps, always a highlight. I know musicians who only use this channel and do everything else with FX pedals. The sound stays clean until around 3 o'clock, then turns into the first harmonic distortions.

Channel 2 goes in the classic vintage rock direction, greetings from Australia's number one export hit. Wonderful crunches, very dynamic. But now, the secret weapon, I'm adding the OTS circuit.

Oh my goodness, what a sound! It's absolutely fantastic how soft and warm the power amplifier saturation suddenly colors the overall sound. AC/DC at room volume so that I can still experience that ;-)

Channel 3 now moves into the powerful hard rock corner. It's getting very British here, the old school of "New Wave of British Heavy Metal" in the style of the Iron Maidens or Birmingham's (former) Finest send greetings with controlled heavy crunch. Here, too, the OTS circuit helps to darken the sound significantly, even at a comparatively low final volume.

Channel 4 is already real high gain. Even with low preamp control, the sensitivity is very high and leads to distortion very early on. Hard dominant noise, often below the standard tuning, finds its customers here, without wanting to reduce the channel to this area of application.

Yes, and channel 5? Well, if you don't find the ultimate high gain here, you probably accidentally have an acoustic guitar hanging around your neck. Even single-winders elicit massive gain from this channel, with a corresponding increase in background noise, of course.

Now played with the voicing switches and the damping switch and the variety of sounds is almost too much. At some point you can no longer decide which sound you want to choose, especially since every sound you choose is in the range from very good to absolutely top class.

Even the highest gain levels never lack transparency, even the lightest crunch values have pressure and sound density. I am completely thrilled! EVERYONE can find a sound they like here, provided they have a minimum level of technical skills.

If there is anything about this head that is not absolutely top class, it is the somewhat poor instruction manual, which provides information about the functions of the amplifier, but does not present it in the form it deserves .

A few meaningful sound examples with an appropriate visual layout would work wonders here, in contrast to the usual stapled leaf look. But that's how it's always been with Koch, always a bit understatement, in the hope that the artist would recognize the qualities even without glossy marketing...


Conclusion

Anyone who knows me knows that I am generally not a fan of superlatives. On every corner you can find “the biggest”, “the best”, “the longest”, which in 99% of all cases turns out to be a pathetic marketing measure at RTL2 level or a hopelessly exaggerated self-assessment that is appearing more and more frequently. Just disgusting!

However, the quality, flexibility, sound and workmanship presented to me with the Supernova Head can only be considered with a maximum accumulation of rating points.

Detached from the exuberant number of “real” channels, the Supernova has an almost unmissable selection of sound options without losing sight of its own basic sound. The outstanding OTS circuit alone, coupled with a sonically convincing voicing circuit, would be worth its own review.

Objectively speaking, the Supernova is indeed one of the best amplifiers currently available on the planet due to its fantastic sound. Subjectively speaking, I'll go one better and say that it's THE best-sounding amplifier I've heard so far in my life!

It is completely clear to me that with such a, albeit subjective, assertion I am offering the greatest surface for attack that one can open up in the sometimes archaic blinkered camp of the guitarist faction, but hey, if you spend so much time and intensively dealing with amplifiers, you can you can give it a good smack every few years!

Today is the day. Supernova, it couldn't be better!

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Additional Informations:

Introduction:
Tube amplifier heads, also known as tube amp heads or full tube amp heads, have long been revered in the realm of audio amplification for their rich, warm tones and iconic sonic character. Their journey from humble beginnings to becoming staples in studios and stages worldwide is a tale steeped in innovation, engineering prowess, and the relentless pursuit of sonic excellence. In this comprehensive exploration, we delve into the fascinating evolution of tube amplifier heads, tracing their origins, key milestones, and enduring legacy.

Origins:
The story of tube amplifier heads traces back to the early 20th century when researchers and inventors were experimenting with vacuum tubes, also known as electron tubes or thermionic valves. These rudimentary electronic components served as the building blocks for early amplification technology. The first practical vacuum tube, the Fleming valve, was invented by John Ambrose Fleming in 1904, laying the groundwork for subsequent advancements in audio amplification.

The Birth of the Tube Amplifier:
The seminal moment in the evolution of tube amplifier heads came with the invention of the triode vacuum tube by Lee De Forest in 1906. The triode, with its ability to amplify electrical signals, revolutionized the field of electronics and paved the way for the development of audio amplifiers. Early tube amplifiers, often referred to as "valve amps" in some regions, were large, cumbersome devices primarily used in radio broadcasting and public address systems.

The Rise of Guitar Amplifiers:
The integration of tube amplification technology into musical instruments, particularly guitars, marked a significant turning point in the evolution of tube amplifier heads. In the 1930s and 1940s, pioneering companies such as Gibson, Fender, and Ampeg began producing guitar amplifiers powered by vacuum tubes. These early guitar amplifiers, though primitive by today's standards, introduced guitarists to the distinctive warmth and overdriven saturation that would become synonymous with tube amps.

The Golden Age of Tube Amplifiers:
The post-World War II era witnessed a surge in technological innovation and consumer demand for audio equipment, leading to what many enthusiasts consider the "golden age" of tube amplifiers. Companies like Marshall, Vox, and Fender emerged as titans in the industry, producing iconic amplifier models that would define the sound of rock 'n' roll and popular music for decades to come.

Key Technological Advancements:
Throughout the 1950s, 1960s, and 1970s, tube amplifier technology underwent significant advancements, driven by the quest for higher fidelity, increased power output, and enhanced reliability. Innovations such as push-pull amplifier designs, cathode biasing, and the development of more efficient tube configurations contributed to the refinement of tube amplifier heads, making them more versatile and reliable in professional audio applications.

The Influence of Guitar Legends:
The enduring popularity of tube amplifier heads owes much to the endorsement and use of these amplifiers by legendary guitarists. Icons such as Jimi Hendrix, Eric Clapton, Jimmy Page, and Eddie Van Halen played pivotal roles in popularizing the sound of tube amplifiers through their electrifying performances and recordings. Their sonic innovations and relentless pursuit of tone inspired countless musicians to embrace tube amplification as the gold standard in guitar tone.

Modern Innovations and Revival:
While the advent of solid-state and digital amplification technologies posed significant competition to tube amplifiers in the late 20th century, the allure of tube-driven tone remained undiminished. In recent years, a resurgence of interest in vintage gear and analog sound has fueled a revival of tube amplifier heads. Moreover, advancements in manufacturing techniques, component quality, and circuit design have enabled modern tube amplifiers to offer enhanced reliability, consistency, and performance, catering to the demands of contemporary musicians and audio professionals.

Conclusion:
From their humble beginnings as experimental devices to their status as enduring icons of musical amplification, tube amplifier heads have traversed a remarkable journey marked by innovation, craftsmanship, and sonic excellence. Despite the ever-evolving landscape of audio technology, tube amplifiers continue to captivate musicians and audiophiles with their timeless sound and unmistakable character. As they continue to shape the sonic landscape of the future, tube amplifier heads stand as a testament to the enduring legacy of analog craftsmanship and the power of innovation to inspire generations of music makers.

TEST: Koch Amps Superlead

 It's unbelievable what a few kilometers and a national border can do when it comes to popularity. While in our neighboring country, the Netherlands, the Koch Amps company is almost a permanent institution in the blues and rock scene, despite excellent products such as the Battleship Supernova or the Studiotone Combo series, the company is still somewhat of an insider tip in Germany latitudes. It can't be because of football; in fact, we Germans have a very strong affinity with the Anglo-American forefathers when it comes to our personal feeling of happiness when it comes to amplifier technology.

However, the whole thing only lasts until you accidentally stumble across a Koch product in a music store, a rehearsal room or at a music fair and lend it an ear. Then the wow and aha factor is immediately exposed like a logarithm and you ask yourself why you haven't had this company on your personal radar until now. This can be remedied, especially since Koch has a very hot iron in the fire with the Koch Superlead Preamp, which is once again preparing to expand one's personal horizons with a manufacturer name.


construction

Anyone who knows a little about the company's history around mastermind Dolf Koch knows that the Koch Superlead concept wasn't just whipped up overnight. Almost a decade ago, the company caused a powerful response in the musical forest with the Pedaltone, a 4-channel preamp in a stompbox design. The product sounded great, was very flexible to use, but struggled a bit with the dimensions and weight. This is where the Koch Superlead Preamp comes in, which is preparing to take on the flexibility of the Pedaltone, but as a kind of Swiss army knife preamp that can provide the necessary connections and sounds in almost every performance situation. The personal tube amp for the gig bag, so to speak.

Conceptually we are dealing with a 2-channel preamp, whereby the second channel can be boosted again, which ultimately results in 3 different sounds. A 12AX7 or ECC83 tube is used as the sound generator, which, in conjunction with a triple tone control, forms the basis of the pedal. Like the clean channel, the overdrive channel has its own volume control, paired with a gain control for the level of distortion. The intensity of the boost factor is fixed and cannot be changed. The sounds can be switched silently using two buttons plus their own LEDs.

In terms of dimensions, the preamp is comparatively moderate with dimensions (WxDxH) 13.2 cm x 20.5 cm x 6.4 cm and, with a weight of only 1.2 kilograms, can also be transported in a gig bag if necessary. The Koch Superlead gets its operating voltage from the included 12V power supply. In terms of processing technology, the product manufactured in Europe is once again way ahead, like all other Koch products. A solid steel housing, the best components inside the product, jack sockets screwed to the housing and smoothly running potentiometers speak for themselves. I also personally really like the purple used as the casing color.

Now let’s get to the connection options for the pedal. Anyone who thought they were looking at a classic tube booster will immediately notice when looking at the socket arrangement that this is a much broader concept. On the right edge of the housing, next to the input socket, there is a balanced XLR output for recording or P.A. Purposes to which a speaker simulation was switched and which has an additional ground lift. Next to it is the main output, which is optimized in terms of output level via a mini switch depending on the application in front of a clean amp, a power amplifier, or the FX loop return of an amp.

On the left of the housing there is an unbuffered, upstream pre-FX loop for connecting an external preamp, a buffered post-FX loop for connecting classic modulation or room effects, a remote control connection for external management, the input for the Included power supply and an additional 200mA output to supply other stompboxes with sufficient operating voltage. A very intelligent and sophisticated signal panel.

Practice

In order to enjoy the full range of the Koch Superlead, you should briefly take a look at the different areas of application. Mind you, this is a preamp, not a classic overdrive pedal.


Example 1.) – the Koch Superlead as an upstream pedal

Do you have a simple transistor amp that has enough volume, but an insignificant clean sound and a typical “chainsaw massacre overdrive” sound? In this case, the Koch Superlead is connected between the guitar and the clean channel of the amp, which is equivalent to a three-channel tube amp.


Example 2.) – the Koch Superlead as a preliminary stage

Do you have a power amplifier on hand, in case of doubt also a 19" car that was swapped for the lighter and louder Class D power amplifier when the P.A. was last cleaned out? Use the Koch Superlead as a preamp, connect one or more cabinets behind the 19" power amplifier and the guitar system is ready!


Example 3.) – the Koch Superlead as an amp extension

Do you have an amp with a good-sounding power amp and an FX loop, but are disappointed in terms of distortion in the overdrive channel and warmth in the clean channel before the associated preamplifier? Put the pedal tone in the return of the loop and you have combined the pedal tone as a preamp and your power amp. This function often proves to be very helpful at festivals. Marshall Heads from the TSL or DSL series are usually borrowed as the standard backline for the guitarist, which are then used by all local bands. With the Superlead in the FX loop you get your typical sound without having to transport your own top parts.


Example 4.) – the chef superleads directly into the P.A.

Do you play in a band that needs to sound good even at low volume? Maybe in a dance or cover band, where after the first bars of the first number, the “Guitar quieter” signs are held up in the back rows? With the Superlead via the speaker simulation directly into the mixer and listen to your sound via the monitor system.


Anyone who has ever played a Koch amp knows that Koch amplifiers all have an excellent, clean sound with a high level of warmth and character. Many musicians actually only use the clean channel of the amps to create the various overdrive areas with their favorite stompboxes. Aware of this, the clean channel of the Koch Superlead is also characterized by a high level of detail and a warm basic sound. The sound control intervenes tastefully, sometimes subtly, in the action. Alternatively, the channel can also be used as a booster to continuously increase the output level of the instrument.

If you switch to the Overdrive channel, you quickly notice how well the Dutch company is at home in blues and rock. The sound is smooth, creamy and has just the right amount of saturation to compress the tone without feeling like a limiter. The dynamics are retained even at high gain settings, and the pedal also hangs very well on the guitar's volume control and takes over the musician's personal style of playing.


Conclusion

With the Koch Superlead, the Dutch company once again has an excellent product that will attract attention. As the little sister of the Pedaltone, the product scores points in all areas due to its intelligent circuitry and excellent sound and should definitely be tested in view of its great flexibility.

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Additional Informations:

In the vast landscape of guitar effects pedals, few innovations have captured the imagination of musicians quite like tube-based effects pedals. These pedals, which incorporate vacuum tubes (or valves) into their circuitry, offer a unique warmth, richness, and dynamic response that is highly sought after by guitarists seeking to capture the elusive magic of vintage tube amplifiers. The story of tube-based effects pedals is a fascinating journey through the realms of technology, craftsmanship, and musical innovation.

**The Early Days: The Birth of Tube Technology**

To understand the origins of tube-based effects pedals, we must first delve into the history of vacuum tube technology. Vacuum tubes, which were the primary amplification devices used in electronic equipment prior to the advent of transistors, were first developed in the late 19th century by inventors such as Thomas Edison and John Ambrose Fleming. These early tubes laid the groundwork for a revolution in electronics, enabling the development of everything from radios and televisions to amplifiers and effects pedals.

**The Emergence of Guitar Effects Pedals**

The use of vacuum tubes in guitar amplifiers dates back to the early 20th century when pioneering inventors like Les Paul and Leo Fender began experimenting with ways to amplify and shape the sound of the electric guitar. The introduction of effects pedals, which allowed guitarists to alter their tone and create new sonic textures, soon followed.

The earliest guitar effects pedals, such as the Maestro Fuzz-Tone and the Electro-Harmonix Big Muff Pi, relied on vacuum tube technology to achieve their distinctive sound. These pedals utilized simple circuits consisting of one or more tubes, capacitors, resistors, and potentiometers to generate and manipulate audio signals, resulting in effects like distortion, overdrive, and fuzz.

**The Golden Age of Tube-Based Effects**

The 1960s and 1970s marked a golden age for tube-based effects pedals, with numerous manufacturers releasing innovative and influential designs that would shape the sound of rock and roll for decades to come. Brands like Vox, Marshall, and Electro-Harmonix introduced iconic pedals such as the Vox Wah-Wah, the Marshall Supa Fuzz, and the Electro-Harmonix Electric Mistress flanger, each of which utilized vacuum tubes to achieve its signature sound.

One of the most notable tube-based effects pedals of this era was the Electro-Harmonix Big Muff Pi, which became synonymous with the fuzz-laden tones of artists like Jimi Hendrix, David Gilmour, and Billy Corgan. Featuring a circuit design based around four cascading transistor stages, the Big Muff Pi offered guitarists a thick, saturated distortion with a unique harmonic character that set it apart from other pedals of its time.

**The Decline and Resurgence of Tube-Based Effects**

By the 1980s, advances in semiconductor technology had led to the widespread adoption of solid-state components in guitar effects pedals, relegating vacuum tubes to the realm of vintage and boutique equipment. However, as digital modeling technology began to dominate the market in the late 20th century, a resurgence of interest in analog and tube-based effects pedals began to take hold among guitarists seeking a more organic and responsive sound.

In recent years, several manufacturers have capitalized on this renewed interest in tube-based effects pedals by introducing modern interpretations of classic designs, as well as entirely new innovations that combine vintage tube technology with modern features and functionality. Pedals like the Catalinbread Belle Epoch Deluxe and the JHS Pedals Bonsai Overdrive pay homage to iconic tube-based effects of the past while incorporating modern conveniences like tap tempo, expression pedal inputs, and preset storage.

**Conclusion: The Legacy of Tube-Based Effects Pedals**

In conclusion, the evolution of tube-based effects pedals is a testament to the enduring appeal of vacuum tube technology in the world of guitar amplification and effects. From their humble beginnings in the early 20th century to their continued relevance and influence in the 21st century, tube-based effects pedals have left an indelible mark on the history of music, shaping the sound of countless recordings and performances across a wide range of genres.

As guitarists continue to seek out new ways to express themselves and push the boundaries of sonic exploration, tube-based effects pedals remain a cherished tool for those who value the warmth, richness, and dynamic response that only vacuum tubes can provide. Whether recreating the iconic tones of the past or forging new sonic frontiers, tube-based effects pedals continue to inspire and captivate musicians around the world, ensuring their legacy will endure for generations to come.