As we all know, there are several products in the studio that captivate engineers, producers and visitors alike. Heavy outgear in the style of elegant equalizers, splendidly fidgeting VU meters of a compressor or even a glowing tube in the channel strip exude a touch of elite tone shaping, so that not only the ear but also the eye can enjoy the new audiophile outpouring. Oh, what a beautiful studio world.
On the other side are all those without whom the entire company would not run and whose existence in the crucial process turns out to be absolutely essential for a perfect-sounding end product. Unfortunately, many of these representatives have the flair of a vacuum cleaner, both visually and in their appreciation of the artist, in the sense of "it's kind of important, but you can also store it in a cupboard after use".
At the far end of this unfortunate group sits the headphone amplifier, without which no artist in the recording room would be able to hear a sound from the material that has already been recorded and without which the delicate phase control is hardly easier to control acoustically. So when a manufacturer like Little Labs brings a headphone amplifier called Little Labs Monotor onto the market for just under 600 euros, there must be some reason for this seemingly sporty price. After all, we are in the SPL Phonitor price range, which uses a complex matrix to generate a three-dimensional monitor image and enables “real” mixing via headphones.
Construction
The Little Labs Monotor is small (10 cm wide, 16 cm deep), so you can accommodate 4 of its kind in a 1U high 19 inch rack. Unfortunately, it was not possible to find out whether there is a special rack adapter for this type of use. Intelligent cable wiring enables daisy chain operation if you use balanced TRS cables, or you can use the 2 TRS sockets as additional input sockets if you use unbalanced cables. A nice detailed solution.
back
For simplicity's sake, let's stick directly to the back of the case. In addition to the TRS pair mentioned, the Little Labs Monotor has two TRS / XLR combination sockets as inputs, plus a 3.5 mm stereo mini jack to connect a smartphone or similar as a sound source. There is also the four-pin connection socket for the included power supply, which is held in place with a union nut.
The included power supply works with a rarely used operating voltage of +/- 16 volts and can be switched between 220 and 110 volts depending on the mains voltage. The power supply turns out to be a real beast and can easily keep up with the actual product in terms of weight and dimensions. Unfortunately, there are no screw eyelets on the power supply, so this chunk can only be placed on the floor. Unfortunately, the cold appliance plug proved to be problematic, as it unfortunately could not properly fix the included power cable and the cable slipped out of the socket even when pulled slightly. Maybe a Monday production, otherwise you should change the socket immediately.
front
The Little Labs Monotor offers a total of four different headphone outputs (2x 6.3 mm jack, 2x 3.5 mm mini jack), all of which are controlled via a single, gridded volume control. Unfortunately, it is not possible to individually control the volume of the headphones. All outputs are controlled via a separate driver stage with 0.5 ohm output impedance, so that even high-impedance headphones can be adequately supplied with power.
A special feature of the Little Labs Monotor is the grid selector switch on the right side of the housing. A total of six different right/left combinations can be selected here to check different stereo circuits as well as the phase position of the mix.
The individual circuits are as follows:
Standard right/left
Swapped right/left
Left and right mono
only left side on both listeners
only right side on both listeners
left side minus right side
Which mode is activated is indicated by a green LED, the remaining modes light up red.
Practice
The modes described above allow you to check almost all of the important functions in the mix with a simple twist movement. The concept is simple but effective. What is also pleasantly noticeable is the absolute absence of background noise from the Little Labs Monotor. Even at maximum volume, no noise generated by the device can be heard. The sound of the product is clear, voluminous and has a lot of headroom so that subtle distortions do not cause your hearing to reach the limit of fatigue more quickly than necessary, even during an extended session.
Conclusion
With the Little Labs Monotor, a headphone amplifier with excellent sound is on the market. Headroom and basic sound are excellent, and the switching modes are practical. However, I doubt whether a retail price of just under 600 euros can be maintained with just one volume control, as the direct competition in this price range has significantly more features. In addition, manufacturing defects such as a poorly fitting power cable on the appliance plug should not occur in this price range.
A very good sound amplifier with a pricing policy that, in my opinion, needs to be reconsidered.
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Additional Informations:
Introduction:
In the vast landscape of audio engineering, few companies stand out with the same level of ingenuity and dedication as Little Labs Audio. With a focus on crafting high-quality, innovative solutions for recording, mixing, and mastering, Little Labs has earned a reputation as a trailblazer in the industry. In this comprehensive exploration, we delve into the fascinating backstory of Little Labs Audio, tracing its roots, pivotal moments, and the visionary individuals behind its success.
The Genesis:
The story of Little Labs Audio begins with the vision of Jonathan Little, a passionate audio engineer and musician with a knack for problem-solving. In the late 1990s, Jonathan founded Little Labs with the goal of developing cutting-edge tools that addressed the practical challenges faced by recording professionals. Drawing upon his extensive experience in the studio, Jonathan set out to create products that not only met the demands of the modern recording environment but also fostered creativity and sonic excellence.
Early Innovations:
From its inception, Little Labs distinguished itself through a series of groundbreaking innovations that quickly gained traction within the audio community. One of the company's earliest successes was the IBP (In-Between Phase) analog phase alignment tool, introduced in the early 2000s. Designed to address phase issues encountered during multitrack recording and mixing, the IBP quickly became a staple in studios worldwide, earning praise for its simplicity and effectiveness.
Expansion and Diversification:
Buoyed by the success of the IBP, Little Labs continued to expand its product lineup, introducing a diverse array of solutions tailored to the needs of audio professionals. The company's portfolio grew to include utility devices, signal processors, and audio interfaces, each designed with meticulous attention to detail and a focus on sonic purity. Notable offerings included the LMNO preamp and DI, the Redcloud 8810U8ERS interface, and the Pepper direct box, each of which showcased Little Labs' commitment to innovation and craftsmanship.
Collaborations and Partnerships:
Throughout its journey, Little Labs has forged strategic partnerships and collaborations with industry-leading companies and renowned artists. These collaborations have not only expanded the reach of Little Labs' products but also provided invaluable insights and feedback for future development. One notable collaboration was with Universal Audio, resulting in the release of the Little Labs Voice Of God (VOG) bass resonance tool as a UAD plugin, further cementing Little Labs' reputation as a trusted name in audio processing.
A Legacy of Excellence:
As Little Labs approaches its third decade in business, the company remains steadfast in its commitment to pushing the boundaries of audio technology. Jonathan Little and his team continue to innovate, with a focus on developing solutions that empower artists and engineers to realize their creative vision. Whether it's tackling phase coherence, enhancing sonic textures, or solving practical recording challenges, Little Labs continues to be at the forefront of innovation, shaping the future of audio engineering one groundbreaking product at a time.
The Evolution of Little Labs Audio:
Beyond its core lineup of signature products, Little Labs has continued to innovate and adapt to the ever-changing landscape of the audio industry. In recent years, the company has embraced emerging technologies and market trends, expanding its offerings to include digital solutions, software plugins, and collaborations with leading software developers.
Digital Frontier:
Recognizing the growing demand for digital audio processing solutions, Little Labs has ventured into the realm of software development, leveraging its expertise in analog circuitry and signal processing to create innovative plugins and virtual instruments. This expansion into the digital frontier has allowed Little Labs to reach a broader audience of music producers, engineers, and artists, while retaining the same level of sonic excellence and craftsmanship that defines its hardware products.
The Little Labs VOG (Voice Of God) plugin, developed in collaboration with Universal Audio, is a prime example of the company's foray into software-based solutions. Based on the acclaimed hardware unit of the same name, the VOG plugin provides producers and engineers with a powerful tool for enhancing low-frequency content and adding weight and depth to vocals, drums, and other sources. With its intuitive interface and rich, analog-style sound, the VOG plugin has quickly become a go-to tool for mixing and mastering professionals around the world.
In addition to software plugins, Little Labs has also embraced the trend towards digital audio workstations (DAWs) and virtual studio environments, offering integrations and compatibility with leading recording software platforms. This approach not only enhances the versatility and usability of Little Labs' products but also ensures that the company remains at the forefront of technological innovation in the rapidly evolving world of audio production.
Community Engagement and Education:
Beyond its role as a manufacturer of audio equipment, Little Labs is deeply committed to fostering a vibrant community of artists, engineers, and enthusiasts. Through educational initiatives, workshops, and online resources, the company strives to empower aspiring audio professionals with the knowledge and skills they need to succeed in the industry. From tutorials on signal processing techniques to in-depth discussions on studio acoustics and sound design, Little Labs is dedicated to sharing its expertise and passion for audio engineering with the next generation of creators.
Furthermore, Little Labs actively engages with its community of users and supporters, soliciting feedback, suggestions, and feature requests to inform the development of future products and updates. This collaborative approach not only strengthens the bond between Little Labs and its customers but also ensures that the company remains responsive to the evolving needs and preferences of the audio community.
Looking Ahead:
As Little Labs embarks on its next chapter, the company remains committed to its founding principles of innovation, quality, and customer satisfaction. With a legacy of groundbreaking products, a commitment to excellence, and a dedication to fostering creativity and community, Little Labs is poised to continue shaping the future of audio engineering for years to come. Whether through hardware innovations, software developments, or educational initiatives, Little Labs will undoubtedly leave an indelible mark on the world of music and sound, inspiring and empowering generations of artists, engineers, and enthusiasts along the way.
Montag, 13. Mai 2024
TEST: Little Labs Monotor
TEST: Line6 Spider V120
It was always like that with Company Line6. 50% of all users love the products, 50% don't like them, but 100% know the name. As probably the best-known name in the modeling sector, the company stands for legendary products such as the first POD Modeller, which set new standards in operation and handling, but at the same time did not seriously compete with the “official” amps of the time in terms of sound, especially in the distorted area could. Well, times are changing and with the Helix series at the latest, Line6 has risen to third place among “amplifier imitators” after Kemper and Ax Fx. To round off the package, the Spider series has also received an update in the form of the MkII version, so that we have the Line6 Spider V 120 MkII for testing.
The construction of the Line6 Spider V 120 MkII
Thanks to Class D technology, power amplifiers with comparatively high outputs are no longer an issue. As expected, the Line6 Spider V 120 MkII has over 120 watts, which far exceeds the performance of a practice amplifier. The comparatively low retail price of 359 euros, on the other hand, leads to the assumption that the adult performance is a live bonus point, while the focus is much more towards flexible working as part of personal practice.
If the dimensions (271 mm x 510 mm x 490 mm) or the weight of just under 14 kg of the 120 watt version are too large / high for you, you will find correspondingly smaller versions of the amplifier in the Spider 60 and 30 versions, with only the 120 watt Versions upwards have a 12 inch speaker, which also generates a volume suitable for stage use. If the 120 watt version is too small for you, you can still use 240 watts as a combo or as a head. Who needs 240 watts of guitar power on stage? I have no idea, he will definitely get a red card from FOH and his colleagues.
In order to reflect the different emulations as neutrally as possible, Line6 has its own loudspeaker at the start, which has the difficult task of emulating a whole armada of speakers from Celestion, Electrovoice, Fane, JBL and who knows what else. In all the chaos of instruments, effects and amplifiers, it is easy to forget how much of a contribution the loudspeakers play to the final sound of the guitar signal. In order to score points in the acoustic area, the internally installed speaker is a full-range speaker, which also has an additional tweeter.
The workmanship of the amp is impeccable, but sometimes comes across as a little “plasticky”. For example, offer B. the ridiculously small feet have no grip on smooth surfaces due to their hard plastic design. Could be done better.
The emulations of the Line6 Spider V 120 MkII
As is well known, a modeler is characterized by the fact that he tries to imitate a well-known guitar sound as best as possible in terms of tone, dynamics and response. It should be clear to everyone that, especially with high-end amplifiers, whose complex interaction of their analog components always requires a compromise. A good modeler is characterized by the fact that the sound comes close to the original and, if possible, does not develop any life of its own. In return, it ensures as many different basic sounds as possible in order to be able to implement the widest possible repertoire of styles with just one amplifier.
Here Line6 draws on the full potential and, according to the operating instructions, delivers 78 amplifiers, 24 speakers, 4 microphone models, 101 effects, of which up to 8 can be accessed at the same time. The integration of an internal radio receiver is also practical in order to save a cable in collaboration with the Line6 Relay radio system.
Managing the Line6 Spider V 120 MkII
As befits a modern practice amp, the Line6 Spider V 120 MkII also has an extensive collection of ports to manage the amplifier with almost any type of device. In addition to 2 XLR outs, which ensure the signal is fed directly into mixers or interfaces, the back also offers 2 USB ports, which connect the Mac / PC / Android department via USB-B as well as the iPhone / iPad devices via USB-A covers. Appropriate software for managing the amplifier is available in the usual app shops. In order to control the amplifier in the classic way via a foot switch, the Line6 Spider V 120 MkII also offers the option of connecting an FBV pedal unit to the corresponding socket.
To manage the individual sounds on the amp, there are 5 multi-function controls plus a master volume control on the front. In the Amp area the controls cover the functions Drive, Bass, Mid, Treble and Volume, in the FX area Compressor, FX1, FX2, FX3 and Reverb. Depending on the effect type, the control labels light up in different colors, with modulation blue, delay green, overdrive orange and pitch/synth the color purple. If you press the Edit control in the Amp menu, you can edit the parameters accordingly. The small display is perfectly fine for quick editing on the amp, especially since the remote app offers a much more pleasant interface. To round off the practice requirements, the amp also has ready-made drum loops and a looper that can record up to 60 seconds.
The Line6 Spider V 120 MkII in practice
First of all, the Line6 Spider V 120 MkII has a significantly better sound compared to earlier models in the Spider series. The series has always been able to score comparatively well in the clean area, while the gap in quality became wider and wider as the distortion increased. This is no longer the case with the MkII version, although you should always keep the area of application and the price in mind.
As already mentioned, a modeler tries to get as close as possible to the original and this is exactly where the real problem lies. As with previous models, Line6 now uses direct references in the display when it comes to emulation to indirectly convey to the user what sound it should be. Although the protected trademarks are cleverly avoided in the naming, the names of what Marshall, Fender, Soldano or much more are supposed to be are clear. At least visually.
The sound that comes out of the speaker, especially with the distorted sounds, doesn't necessarily have to be bad, but it doesn't have much in common with the originals. This isn't a big deal, but it creates a latent disappointment in the user's expectations. Why not call a sound Crunch 1, 2, 3 or Fat Crunch or whatever, why put a JCM behind it, only to realize that neither the sound nor the corresponding playing feel comes close to the original. Don't misunderstand me, this statement doesn't mean that the sound is bad, it's just not a Marshall like you expect according to the ad. Of course, I understand the marketing departments of the manufacturers who rightly rely on the customer to read a familiar trademark before getting started, but in my opinion, as a model provider, you are cutting yourself into the flesh.
What Line6 starts with in terms of amp names in the first presets, the software unfortunately continues in terms of song sound names. Well-known titles are used here as a reference for the guitar sound, but that doesn't really apply. I can't recognize sounds from songs like "The Trooper" or "Iron Man" even with a high level of abstraction. Here too, not a really bad sound, but far from what we claim.
Be that as it may, the sound range of the Line6 Spider V 120 MkII is very extensive, with the clean and very crisp sounds particularly convincing. As the level of distortion increases, the amplifier loses some of its convincing power, although you should always keep in mind that the combo is a practice amp. The amp sounds really good for this range, especially since this performance can easily stand up to the rest of the band in the rehearsal room.
The sound files were recorded with an LP Standard and a Fame MS57.
Conclusion
With the Line6 Spider V 120 MkII, the most well-known modeling name in the scene offers a good practice amp, which can also easily make a good impression in the rehearsal room due to its high power reserves. The sound selection is very extensive, the editing options are extensive thanks to a very good remote app and the practical value is very high due to helpful bonus functions such as metronome, drum loops and looper. Anyone who can live with very good clean, good crunchy and acceptable high-gain sounds should definitely give the amp a try.
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Introduction:
Line 6, a pioneering force in the realm of musical equipment, has left an indelible mark on the world of amplifiers. With a rich history spanning over two decades, Line 6 has consistently pushed the boundaries of technology, crafting amplifiers that have become synonymous with innovation and versatility. In this comprehensive exploration, we delve into the captivating evolution of Line 6 amplifiers, tracing their origins, milestones, and the groundbreaking advancements that have shaped their trajectory.
The Genesis:
The story of Line 6 amplifiers begins in the late 1990s, amidst a landscape dominated by traditional tube amplifiers. Dissatisfied with the limitations of existing amplification technologies, a team of visionary engineers set out to revolutionize the industry. Drawing inspiration from the burgeoning digital revolution, they sought to harness the power of digital signal processing to create amplifiers that offered unparalleled flexibility and sonic fidelity.
The Birth of the POD:
At the heart of Line 6's innovation was the development of the POD, a groundbreaking amp modeling device that would lay the foundation for the company's future success. Launched in 1998, the original POD provided guitarists with a vast array of amp and effects simulations in a compact, portable unit. Its ability to replicate the tones of iconic amplifiers quickly garnered widespread acclaim, establishing Line 6 as a force to be reckoned with in the world of guitar technology.
The Advent of Spider Amplifiers:
Building upon the success of the POD, Line 6 ventured into the realm of amplifiers with the introduction of the Spider series in 1999. The Spider amplifiers represented a paradigm shift, combining cutting-edge digital modeling technology with traditional amplifier design. Featuring a diverse selection of amp models, onboard effects, and intuitive controls, the Spider series offered guitarists unprecedented versatility and convenience.
Continual Innovation:
With each subsequent iteration, Line 6 refined and expanded upon the capabilities of its amplifiers, incorporating feedback from musicians and advancing technology to new heights. The Spider II, released in 2004, introduced enhanced amp models and effects, further cementing Line 6's reputation for innovation. This was followed by the Spider III in 2006, which featured an intuitive user interface and improved sound quality.
The Revolution of the Line 6 DT Series:
In 2008, Line 6 joined forces with legendary tube amp designer Reinhold Bogner to create the DT series amplifiers. Blending the best of digital and analog technologies, the DT series offered guitarists the dynamic response and warmth of tube amplifiers, combined with the flexibility and convenience of digital modeling. This innovative fusion marked a significant milestone in Line 6's journey, earning acclaim from musicians and industry experts alike.
The Helix Era:
In 2015, Line 6 once again pushed the boundaries of innovation with the release of the Helix family of products. Representing the culmination of years of research and development, the Helix range encompassed a variety of amplifiers, multi-effects units, and software solutions, all designed to provide musicians with unparalleled creative freedom and sonic versatility. The Helix platform garnered widespread praise for its realistic amp and effects simulations, intuitive interface, and robust performance capabilities.
Beyond Amplifiers: Variax and Powercab:
In addition to its amplifiers, Line 6 has expanded its product lineup to include innovative solutions such as the Variax modeling guitars and Powercab speaker systems. The Variax guitars leverage advanced modeling technology to emulate a wide range of classic instruments, offering guitarists unprecedented tonal flexibility and creative potential. Meanwhile, the Powercab series delivers a dynamic and responsive platform for amplifying digital modelers, bridging the gap between traditional guitar cabs and full-range speaker systems.
Conclusion:
From its humble beginnings with the POD to its groundbreaking advancements with the Helix platform, Line 6 has continually pushed the boundaries of what is possible in the world of guitar amplification. Through a relentless commitment to innovation, craftsmanship, and sonic excellence, Line 6 has earned its place as a trailblazer in the industry, inspiring countless musicians and shaping the sound of modern music. As the journey continues, one thing remains certain: the evolution of Line 6 amplifiers is a testament to the enduring power of creativity and ingenuity in the pursuit of musical excellence.
Samstag, 11. Mai 2024
TEST: LD Systems Road Buddy 10
Many of my colleagues still mourn various decades in which there were golden times for musicians and artists in general in terms of creativity and craftsmanship. Even if in the current times of ready-made loops, groove recognition software and Melodyne and consortia, creativity is drifting into a secondary area, the development in terms of sound reinforcement should put a smile on the lips of even the biggest skeptic.
There has been a real boom, especially in the mobile sound reinforcement industry, so that artists/musicians/entertainers can accommodate any form of sound reinforcement in the smallest possible but still good-sounding box. What might previously have been seen in the pedestrian zones of various large cities with the help of adventurous constructions in the car battery sector is now experiencing a new upswing thanks to radio technology and high-performance batteries.
There is hardly a manufacturer in the sound reinforcement sector that does not have a trolley-like vehicle in its portfolio, so it is not surprising that the company LD Systems has a similarly designed mini P.A. with its LD Systems Road Buddy 10. brought to market.
construction
It's cute, the Road Buddy, to be honest, a short association with the "cute" Starwars droid R2D2 inevitably came to mind, especially when you look at the back of the LD Systems Road Buddy 10, which has everyone on it controls are located. The multi-function amplifier, designed as a trolley, has an extendable telescopic handle and two rubberized wheels, similar to a trolley case. As with a regular suitcase, the telescopic handle is a bit wobbly, but the smooth-running wheels provide a good grip even on smooth surfaces when cornering.
Conceptually, the LD Systems Road Buddy 10 is a transportable speaker that can also run on battery power. According to the manufacturer, a battery charge lasts up to 8 hours. 4 LEDs on the back of the housing provide information about the charging status. At the same time, it can also be operated regularly using a cold appliance plug. In terms of performance, a 10 inch bass speaker and a 1 inch tweeter driver share a 120 watt (RMS) Class D power amplifier with an SPL (1W/1m) of 96 dB.
To protect it from external influences, a sturdy, black metal grille was placed in front of the bass speaker, while the tweeter is only protected by its horn offset in the rear part of the housing. This is an acceptable performance for voice reproduction and acoustic guitars with vocals, but you should keep in mind that instruments such as electric bass or possibly drums are important here when it comes to P.A. Sound systems are out of place. For better radiation characteristics, a 35 mm flange is installed on the underside, which allows it to be placed on a tripod.
The Road Buddy is available in two versions, the LD Systems Road Buddy 10 with an included handheld radio microphone and the LD Systems Road Buddy 10 HS with a headset and body pack. However, both have the same structure. On the one hand, there is a pressure flap on the top of the sturdy plastic housing, which, in addition to the storage option for the UHF antenna (registration-free 863 - 865 MHz range) and all sorts of small items, also contains a recess for the handheld microphone supplied, the whole thing being a second radio system can upgrade.
For the instrument and external microphone area (switchable), the LD Systems Road Buddy 10 has 2 lockable combination sockets (XLR / TRS), which have separate volume controls. A separate catch-up amplifier is not installed; the connected devices must be able to cope with the factory-set input sensitivity. There are 2 mono-summated RCA sockets and a 3.5 mm mini jack available for the AUX area.
A Bluetooth-enabled player was installed as the third signal path, which can play the mp3, WMA and WAV formats. In addition to Bluetooth transmission, a USB or SD card slot can also be used for music playback. All input sources are controlled via a dual equalizer. On the back, an on/off switch, a voltage selector switch and a line out for daisy chain operation round off the connection panel, which is quite extensive for an amplifier of this size.
Bluetooth
Let's just start with the Bluetooth player. Switch on LD Systems Road Buddy 10, switch on iPhone, select LD System, done! It really couldn't be easier. The pairing worked smoothly, and the device was then shown on the player's display as a signal source. We first feed the amplifier with a few loops, a fully mastered acoustic guitar, an electric bass sample and finally with a fully mastered reference rock production.
sound
It is immediately noticeable that the LD Systems Road Buddy 10 has an unexpectedly high bass volume for its size. Even with the equalizer set linearly, the bass pushes very nicely up to an estimated 150 Hertz. The frequency response specified by the manufacturer up to 55 Hertz once again proves to be a nice promotional statement, but I would not have expected this volume, especially since the final sound is pleasantly soft.
The tweeter driver also leaves a good impression, although it seems a little harsh around 2 kHz, but this is within limits and also far above the sound quality that I would have expected. All signals are emitted powerfully and only reach their limits in terms of muddy bass and biting highs when the equalizer is used excessively. On a small scale, the LD Systems Road Buddy 10 should be interesting for DJs, although of course it cannot generate sound for discotheques.
When it comes to the connection field, you might have enough inputs available with a pre-mixer to entertain a small party. If you want to use a USB stick as a sound source, make sure that the stick is formatted in FAT32, otherwise reading problems may occur. If necessary, the player can also be controlled remotely using the included remote unit.
microphone
Next, we take a look at the included microphone, which is powered by 2 type AA batteries and, according to the manufacturer, has an operating time of approx. 10 hours. Switch on the microphone, set the channel on the amplifier section, done! Here too, the LD Systems Road Buddy 10 shines with its very simple configuration. The rubber-coated microphone, made of aluminum and weighing only 285 grams, sits comfortably and securely in the hand, but due to its lightweight construction it tends to transmit a slightly higher level of structure-borne noise.
The proximity effect is moderate, but the microphone quickly turns into a rather musty sound when lip contact occurs. You won't find the proximity effect of the Shure SM 57/58 capsule here. In general, you get the impression that the microphone was primarily designed for speech, rather than for large dynamic strokes such as those that occur in singing. However, the microphone covers this range with a pleasantly neutral sound that works for both male and female voices.
The microphone is also very insensitive to feedback at high volumes, which is a very important criterion, especially when used on a tripod. Balancing 16.5 kilograms onto a tripod isn't something you can easily throw from your hips, but it's not an insurmountable challenge for a man of normal strength. What's a negative, however, is the manual that comes with it, which is difficult to understand is to be surpassed. LD Systems should take a little more care here.
Conclusion
The LD Systems Road Buddy 10 is a real all-rounder when it comes to signal amplification on the market. The comparatively small trolley impresses with a voluminous sound, all-encompassing input peripherals and a concept that makes it equally interesting for speakers, solo entertainers, DJs and street musicians.
The product leaves an all-round very good impression in every direction, only the echo effect is, in my opinion, an unnecessary extra, as it has no other adjustable parameters apart from a mixing control and you only run the risk of unnecessarily washing out your sound material.
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Additional Informations:
All-in-one sound reinforcement systems have emerged as a versatile solution for amplifying audio in various settings, from small events to large gatherings. The evolution of these systems from their inception to their current state of sophistication reflects the relentless pursuit of convenience, efficiency, and high-quality sound reproduction. This article delves into the fascinating history of all-in-one sound reinforcement systems, tracing their development from early innovations to modern-day technological marvels.
Early Innovations: The Birth of Integrated Sound Systems
The concept of integrating multiple audio components into a single unit dates back to the mid-20th century when companies began to explore ways to streamline sound reinforcement setups. Early innovations in integrated sound systems focused on combining amplifiers, mixers, and speakers into cohesive units, reducing the need for separate components and simplifying setup and operation.
In the 1960s and 1970s, pioneering companies like Bose and JBL introduced integrated sound systems that revolutionized the way sound was amplified and distributed. These systems typically featured built-in amplifiers and mixers, along with compact speaker enclosures, providing users with a complete audio solution in a single package. While early iterations of integrated sound systems were relatively basic compared to modern standards, they laid the groundwork for future developments in the field.
The Rise of Portable All-In-One Systems
The 1980s marked a significant advancement in the evolution of all-in-one sound reinforcement systems with the introduction of portable solutions designed for easy transport and setup. Companies like Yamaha, Mackie, and Behringer led the way in developing compact and portable systems that combined amplification, mixing, and speaker components into integrated units.
One of the key innovations during this period was the integration of powered speakers into all-in-one systems. Powered speakers incorporated amplifiers directly into their enclosures, eliminating the need for external amplification and reducing the overall footprint of sound reinforcement setups. This made portable all-in-one systems more convenient and accessible to a wider range of users, including musicians, presenters, and event organizers.
Additionally, advancements in amplifier technology and digital signal processing (DSP) allowed for greater flexibility and control over sound reinforcement setups. Integrated mixers with digital processing capabilities enabled users to adjust audio parameters such as equalization, compression, and effects, enhancing the overall sound quality and performance of all-in-one systems.
The Digital Revolution: Advancements in Technology
The turn of the millennium brought about further advancements in all-in-one sound reinforcement systems, driven by the rapid progression of digital audio technology. Digital mixing consoles, wireless connectivity, and networked audio solutions became increasingly integrated into all-in-one systems, offering users unprecedented flexibility and control over their sound setups.
Digital mixing consoles allowed for precise manipulation of audio signals, including routing, processing, and mixing, resulting in improved sound quality and system performance. Wireless connectivity enabled users to stream audio wirelessly from mobile devices or connect multiple speakers without the need for cumbersome cables. Networked audio solutions facilitated remote control and monitoring of all-in-one systems, allowing for seamless integration into larger audio setups.
The Present and Future: Versatility and Innovation
Today, all-in-one sound reinforcement systems have become essential tools in a wide range of applications, from live performances and events to corporate presentations and educational settings. Modern systems offer a host of features and capabilities, including Bluetooth connectivity, built-in effects processing, and customizable presets, catering to the diverse needs of users.
Looking to the future, the evolution of all-in-one sound reinforcement systems shows no signs of slowing down. As technology continues to advance, we can expect to see further innovations in areas such as artificial intelligence, spatial audio processing, and environmental sustainability. All-in-one systems will continue to play a vital role in shaping the way we experience sound, providing convenient, efficient, and high-quality audio solutions for years to come.
TEST: LD Systems Revolver
When I was recently on a business trip and was forced to look out the window in boredom for a long period of time due to a constantly interrupted internet connection, I noticed that I was no longer able to identify the different manufacturers of a mid-range sedan based on its external appearance recognize. Gone are the days when the different chrome decorations or even the headlights in the rearview mirror at night gave each vehicle type a unique outfit, and now the wind tunnel-optimized design, which is undoubtedly ahead in terms of consumption and production, but has long been the white flag in terms of individuality have hoisted.
Similar associations sometimes come to me when I look at the current area of small P.A. or vocal systems. Here, too, some fixed genres have emerged which, due to their high degree of popularity and their flexible area of application, have a high level of acceptance among users, but which have a wide range of conceptual parallels. However, if you go into detail, the individual test subjects sometimes differentiate themselves from one another and look for their niche in the two-way thicket.
A “new” representative in this segment is LD Systems, which is sold through Adam Hall GmbH and is entering the above-mentioned market with its revolver series. The test of the largest active variant, the LDPR15A, should show to what extent the type designation creates an association with the six-shot drum firearm. Unfortunately, I couldn't find out where the construction in question was developed or manufactured.
construction
The days of wood are numbered, at least when it comes to the vocal equipment market. Anyone who, like me, was able to balance passive Zeck 15/3s on high tripods in their early years will welcome this development, as the new plastic mixtures demonstrate similar resistance to the plywood solutions of the time thanks to their low weight and comparatively high stiffness.
This construction is also delivered in two coarse-grained plastic trays, which are joined together in the front area of the box. The product has housing dimensions of 73 cm x 49 cm x 40 cm and a total weight of 20.1 kilograms. A good value for the performance data offered, but you still need a lot of manpower to lift the construction onto the high stand.
The LD Systems 15 is an active two-way box. In terms of performance, the product generates 400 watts RMS with a peak of 450 watts from a Class D power amplifier, using a 15 inch bass speaker and a 1 inch tweeter driver with a 60 x 120 degree horn attachment. The construction is designed as a bass reflex, the output openings are located on the right/left below and in a circle above the bass speaker installed on the back.
As with many of its competitors, the product's area of application ranges from classic vocal systems to floor monitor operation to full-fledged club P.A. due to its trapezoidal shape. with appropriate daisy chain operation of several individual components. With moderate playing style, the construction can even be used as a drum fill.
In terms of transport, the product has two handles on the top and outside. In my opinion, there is no recessed grip on the opposite side for easy transport, including placing it on a high stand, but the handles provided are sufficient for average use. For a better grip, both handles were wrapped in hard rubber, which aided handling, but unfortunately (still) had strong odors of solvents, meaning your hands smelled quite strongly after coming into contact with the plastic.
The construction has four stacking bulges on the top and bottom, which meet the requirements of simple stacking. However, to ensure real stiffness, you definitely have to use tension straps. For high stand operation, the box has the standard flange on the underside of the housing.
All control options for the power amplifier section are located on the back of the housing. A special feature is the input section, which, in addition to an XLR and RCA input, also has a separate microphone XLR input, with both volumes being managed separately via an individual gain control. The overall volume is controlled with a master volume. All signals present are also sent via a three-band tone control, consisting of treble and bass shelving with an additional fixed center frequency, all adjustable in +/- 12 dB. Unfortunately, I couldn't find out the frequencies at which the filters work.
For daisy chain operation, an XLR and a jack socket are available as output, which absolutely meets normal requirements. In addition to a switchable ground lift and the on/off switch, there is a nice detail on the included cold device plug. The plug can be locked and thus prevents the power cable from accidentally slipping out, a point which always leads to problems, especially when used on high stands.
Practice
After activation, like almost all other representatives of this product line, a very bright blue LED lights up. In order to give a product its own external appearance, it would probably be enough to choose a different color such as green or yellow.
The first sound impression can best be described as “rough and powerful”. The construction pushes really well, especially in the bass range, even with neutral tone control, and gives all the signals present a voluminous appearance. With this box, you never get the impression that you would like to connect an additional subwoofer, of course depending on the size of the hall and the final volume.
The midrange has a fairly high degree of “roughness”, sometimes a bit “bony”, which is of course also due to the 15-inch bass / 1-inch driver design. Like almost all designs of this type, the LDPR15A also experiences a slight dip in the midrange spectrum due to the lack of a midrange driver. Due to its inert mass, the 15-inch model cannot resolve the midrange quite as well as a correspondingly lighter speaker could.
Personally, the tweeter is a little too heavy-handed for me, i.e. the resolution above 5 kilohertz is a bit “bulky”. If you are used to the finer “hissing” sound of a Mackie product range, for example, you may have to get used to the basic sound. Nevertheless, the construction impresses with its beefy basic sound and is definitely pleasing due to its “hearty” orientation. Especially in the rock sector, the LDPR15A will be your friends, or indeed all those who may reject the hi-fi leanings of some competitors as rather inappropriate.
Conclusion
Although the first visual impression suggests a comparison to many other competing products, with the LDPR15A, LD Systems has placed a very unique design on the market in terms of sound. Beefy, hearty and blessed with a decent low end, the product has a convincing sound and will leave its mark, especially in the daisy chain operation of several individual components.
With high-quality processing technology and a flexible design, the product has a wide range of uses. Test!
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Additional Informations:
Portable audio reinforcement systems have transformed the way events, performances, and gatherings are amplified and experienced. These compact yet powerful systems provide high-quality sound reproduction in a portable package, enabling users to bring professional-grade audio to a variety of environments. The story of portable audio reinforcement systems is a captivating narrative of innovation, technological progress, and the pursuit of sonic excellence.
The origins of portable audio reinforcement can be traced back to the early 20th century, with the advent of portable loudspeakers and amplification systems. In the decades leading up to World War II, portable PA systems were primarily used for military communication and public address purposes. These early systems were often bulky, cumbersome, and limited in their audio fidelity.
The post-war era saw significant advancements in audio technology, paving the way for the development of more compact and efficient portable PA systems. One of the key innovations during this period was the introduction of transistor technology, which revolutionized the design of amplifiers and reduced their size and weight significantly. This breakthrough made it possible to create portable PA systems that were both powerful and portable.
In the 1960s and 1970s, the popularity of live music performances and outdoor events fueled the demand for portable audio reinforcement systems. Companies like Bose, JBL, and Electro-Voice emerged as leaders in the field, introducing innovative products that combined high-performance audio with portability and ease of use. These early portable PA systems featured integrated amplifiers, speakers, and mixing consoles, providing a complete audio solution in a single package.
One of the seminal moments in the evolution of portable audio reinforcement systems came with the introduction of powered speakers in the 1980s. Powered speakers integrated the amplifier directly into the speaker enclosure, eliminating the need for external amplification and simplifying setup and operation. This innovation made portable PA systems even more compact, lightweight, and user-friendly, further expanding their applications and popularity.
Throughout the 1990s and early 2000s, advancements in digital signal processing (DSP) and speaker design drove further improvements in portable audio reinforcement systems. DSP technology allowed for precise control over audio parameters such as equalization, compression, and delay, enabling users to tailor the sound to suit the acoustics of any venue. Meanwhile, advancements in speaker design, including the use of neodymium magnets and lightweight materials, resulted in speakers that were not only more compact but also more powerful and efficient.
The rise of digital audio technology in the late 20th and early 21st centuries ushered in a new era of innovation in portable audio reinforcement systems. Digital mixing consoles, wireless connectivity, and networked audio solutions became increasingly integrated into portable PA systems, offering users unprecedented flexibility and control over their sound reinforcement setups. These advancements also facilitated the development of line array systems, which provided superior coverage and coherence compared to traditional point source speakers.
In recent years, the trend towards smaller, lighter, and more powerful portable audio reinforcement systems has continued unabated. Advancements in amplifier technology, driver design, and battery technology have enabled manufacturers to create systems that deliver exceptional performance in an increasingly compact form factor. Today, portable PA systems are used in a wide range of applications, from small-scale events and presentations to large outdoor concerts and festivals.
Looking to the future, the evolution of portable audio reinforcement systems shows no signs of slowing down. As technology continues to advance, we can expect to see further innovations in areas such as wireless connectivity, intelligent control systems, and immersive audio formats. With their ability to provide high-quality sound reproduction in a portable and user-friendly package, portable audio reinforcement systems will continue to play a vital role in shaping the way we experience live events and performances for years to come.
Title: The Evolution of Portable Audio Reinforcement Systems: A Comprehensive History
Portable audio reinforcement systems have revolutionized the way sound is amplified and distributed in various settings, from small gatherings to large-scale events. The journey of these systems from their humble beginnings to their current state of sophistication is a testament to human ingenuity, technological advancement, and the ever-present quest for sonic perfection.
The Early Days: Birth of Portable Sound
The concept of portable sound reinforcement can be traced back to the early 20th century when public address systems were first employed for military and governmental purposes. These systems typically consisted of large, cumbersome equipment that required manual setup and operation. However, they laid the foundation for future developments in portable audio technology.
In the years following World War II, advancements in electronics, particularly the invention of the transistor, paved the way for more compact and efficient audio amplification. Portable PA systems began to emerge, albeit still relatively bulky compared to modern standards. These early systems were primarily used for public address purposes, such as announcing events or making announcements in outdoor settings.
The 1960s and 1970s: Rise of Portable PA Systems
The 1960s and 1970s saw a significant expansion in the use of portable PA systems, driven largely by the burgeoning live music scene and the rise of outdoor festivals and events. Companies like Bose, JBL, and Electro-Voice led the way in developing portable PA solutions that combined high-performance audio with portability and ease of use.
One of the key innovations during this period was the integration of amplifiers and speakers into a single unit, known as powered speakers. This eliminated the need for external amplification and simplified setup, making portable PA systems more accessible to a wider range of users. Powered speakers also contributed to a reduction in size and weight, further enhancing the portability of these systems.
The 1980s: Powered Speakers and Digital Advancements
The 1980s marked a significant milestone in the evolution of portable audio reinforcement systems with the introduction of powered speakers. These speakers incorporated amplifiers directly into their enclosures, streamlining setup and reducing the overall footprint of portable PA systems. Powered speakers quickly became the standard in the industry, offering users greater convenience and flexibility.
Additionally, the 1980s saw the emergence of digital signal processing (DSP) technology, which revolutionized audio processing and control. DSP allowed for precise manipulation of audio signals, including equalization, compression, and delay, resulting in improved sound quality and system performance. Portable PA systems began to integrate DSP features, providing users with greater control over their sound reinforcement setups.
The 1990s and 2000s: Digital Revolution and Compact Design
The advent of digital audio technology in the late 20th century brought about further advancements in portable audio reinforcement systems. Digital mixing consoles, wireless connectivity, and networked audio solutions became increasingly integrated into portable PA systems, offering users unprecedented flexibility and control over their sound setups.
Simultaneously, advancements in speaker design, including the use of neodymium magnets and lightweight materials, resulted in speakers that were not only more compact but also more powerful and efficient. These advancements allowed manufacturers to create portable PA systems that delivered exceptional performance in a smaller form factor, catering to the growing demand for compact and portable audio solutions.
The Present and Future: Continued Innovation and Versatility
Today, portable audio reinforcement systems have become indispensable tools in a wide range of applications, from small-scale events and presentations to large concerts and festivals. Manufacturers continue to push the boundaries of technology, introducing innovations such as wireless connectivity, intelligent control systems, and immersive audio formats.
Looking to the future, the evolution of portable audio reinforcement systems shows no signs of slowing down. As technology continues to advance, we can expect to see further innovations in areas such as battery technology, spatial audio processing, and environmental sustainability. Portable audio reinforcement systems will continue to play a vital role in shaping the way we experience live events and performances, providing high-quality sound reproduction in a portable and user-friendly package.
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
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.
Donnerstag, 9. Mai 2024
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.