TEST: LTD Vulture OW

 In fact, there aren't too many people these days who deserve the title of rock star, as the term has been greatly watered down in times of media and sensory overload. One of the few musicians to whom this term still applies is James Hetfield, singer, guitarist and frontman of the most successful heavy metal band of all time and probably also in the top 10 when it comes to the most successful bands of all time, Metallica. The man, who has often drawn negative attention to himself in the past with his special rhythm playing style and on the other hand with his heavy alcohol abuse and his desire to kill animals, is also a heavyweight when it comes to weighting the advertising medium for the company ESP Guitars. Decades ago, Hetfield switched from Gibson to the originally Asian company, which tailored the Gibson flagships in the form of the Flying V, Explorer and Les Paul to his body in a slightly different form. The LTD James Hetfield Vulture OW we have for testing, which is made in Korea, is also available for almost three times the price of ESP with Made In USA.

The construction of the LTD James Hetfield Vulture OW

There may be other points that I didn't recognize during my research, but if I interpret the whole thing correctly, the only difference between the Korean and USA versions is that the USA version has a continuous mahogany neck with attached body wings is used, while the Korean version uses a three-strip, glued-in neck made of maple. To what extent this point and possibly a Luthier production along with a better final inspection justify a price of 5,649 euros compared to the 1,899 euros for the Korean version, everyone ultimately has to find out for themselves. As I said, if I missed something, let me add the additions.

It's not really difficult to see that the LTD James Hetfield Vulture OW has its origins in the Flying V, although some details differ significantly from the original. In addition to the asymmetrical body, what is particularly noticeable is the headstock with six-in-a-row tuners, which is actually subtly reminiscent of a vulture's beak, which is normally not used on a Flying V for aesthetic reasons. But here too, no judgment on my part, it's all a matter of taste.

It is probably clear to everyone that the dimensions of the instrument are quite large. Nevertheless, the instrument is comparatively light at just under 3.5 kg. I would have expected more on the scales. The color of the instrument, which was dubbed “Olympic White”, is not pure white, nor is it an eggshell color, but is more reminiscent of the fur of a polar bear. Whether you want to stand on stage with a white instrument is of course up to you, but this color offers the incredible advantage that it automatically takes on any color of a colored spotlight.

To increase playing comfort, the upper part of the body has been discreetly shaped along its entire length. What surprises me personally is the placement of the strap pin on the neck. As is well known, you have to be careful with the Flying V that you don't end up being top-heavy, but in my opinion the belt pin is not necessarily in the optimal place. Depending on which belt you use, you may have the problem of getting your palm on the belt when playing at high levels, which somewhat reduces the comfort of playing at high levels.

However, the output socket on the upper horn of the body is very well done, which prevents you from having to endure the infamous loop formation at an output socket on the lower horn of the body, which is known to occur when you use the strap pin as a cable lock. As befits a full-time rhythm guitarist, no vibrator system was installed on the instrument. Instead, the traditional stop-tailpiece tailpiece is used in combination with a fixed bridge, which, together with the six locking mechanisms on the headstock, does a tuning-stable and proper job.

All of the instrument's hardware, plus the glued-on company logo and the black plastic frames for the pickups, were all kept in a tasteful black, creating a nice contrast to the white on the body as well as on the back of the neck and headstock has been used. The very dark ebony used as the fingerboard also supports the black and white coloring of the instrument.

Interestingly, the scale length of the LTD James Hetfield Vulture OW is 629 mm and is therefore in the range of a slightly extended short scale length. The short scale length was probably used, as Gibson also uses the short scale length on the models mentioned above, although slightly shortened to approx. 623 mm. 22 jumbo frets called XJ are used as frets. The shaping of the neck is called “Thin U” by the manufacturer, which reproduces the grip feeling quite well. However, it could also be a somewhat expansive D, which also reflects the gripping feeling well.

As in the area of guitar choice, Metallica, along with Zakk Wylde, are considered THE flagship in the area of EMG pickups, which both guitarists have been playing on their signature instruments for over 30 years. For this purpose, Hetfield uses a “Het Set” designed for him, which, in contrast to de z. B. the very popular Type 81, which work with bar magnets, are equipped with stay magnets, which should ensure a more defined low end. The battery required for active operation is housed in a cutout on the back of the instrument, which is covered with a screwed plastic cover. Personally, I also prefer the screw solution over a clip solution, as it cannot accidentally pop open even during wild stage use and, with an operating life of almost 2,000 hours, it is only opened every few years anyway. The control options of the two pickups are traditionally spartan and consist only of two master volume controls and a three-way switch. Anyone who expected a Mastertone control here has never listened to Metallica's music.

The LTD James Hetfield Vulture OW in practice

I guess it's obvious to everyone that you can't really play LTD sitting down. I am well aware that it is now "normal" for musicians in YouTube videos to hold their Flying between their legs, giving the image of a typical guitar student on his classical guitar in his first year of learning, but this instrument is because of its body shape and its dimensions were built for playing while standing.

However, there is a small problem here regarding the belt routing. If you put the strap on the two pins, the leverage cannot prevent the guitar from bending slightly forward from above. Not really a problem, but guitarists usually prefer it the other way around, i.e. the instrument leans slightly towards the body in order to be able to see the fingerboard better. This problem could be solved by running the strap over the front of the body, but this looks terrible and may even be annoying during play. Ultimately, everyone has to find out for themselves whether this leverage is hindering them in any way or whether it is so small that it doesn't matter at all. So you can't really call this a defect, I just think it should be mentioned.

Otherwise, the description “You get what you see” really applies to the last detail with the LTD James Hetfield Vulture OW. Anyone who works with high gain or plays in a Metallica tribute band will be able to identify strongly with this instrument. Processing, sustain and tone shaping are very good and will satisfy the target group. Due to the combination of the components used and the EMG pickups, the sound remains comparatively transparent even at the highest high gain and allows palm muting playing styles in particular to appear in the best light. There is also the famous EMG Clean Sound, which has been polarizing for decades, but prevails very well and produces a very special, clear tone, especially if you play the instrument directly into the desk without speaker simulation.

Conclusion

With the LTD James Hetfield Vulture OW, the Asian manufacturer offers an instrument that will be welcomed with open arms by Metallica fans. The instrument, uncompromisingly designed for high gain operation, meets all the requirements to be able to tonally offer everything rock and metal classics in a tribute or cover band and still offers a comparatively transparent sound even at the highest high gain setting.

„Metal Will Never Die“

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LTD Guitars, a subsidiary of the renowned guitar manufacturer ESP, has a fascinating history that dates back to the 1970s. The company's origins can be traced to the vision and passion of a single individual, Takeshi Kishimoto, who sought to bring high-quality, affordable guitars to the masses.

## The Early Days

In 1975, Takeshi Kishimoto founded the Electric Sound Products (ESP) company in Tokyo, Japan. Initially, ESP focused on manufacturing guitar parts and accessories, catering to the growing demand for customization and modification among guitar enthusiasts. However, Kishimoto had bigger dreams – he wanted to create his own line of guitars that would combine exceptional craftsmanship with affordability.

The first ESP guitars hit the market in 1976, and they quickly gained a reputation for their quality and attention to detail. These early models were handcrafted in Japan, and their unique designs and innovative features appealed to both professional musicians and aspiring guitarists alike.

## The Birth of LTD Guitars

As ESP's popularity grew, so did the demand for their guitars. However, producing high-end instruments in Japan became increasingly expensive, and Kishimoto recognized the need to explore alternative manufacturing options to keep prices accessible. This realization led to the creation of LTD Guitars in 1996.

LTD, which stands for "Limited," was established as a subsidiary of ESP, with the primary goal of producing affordable, high-quality guitars in overseas factories. By outsourcing production to facilities in countries like Indonesia and Korea, LTD was able to offer guitars at significantly lower prices than their Japanese-made counterparts, without compromising on quality or design.

## Expansion and Innovation

LTD Guitars quickly gained a loyal following among guitarists seeking exceptional value for their money. The company's commitment to quality control and attention to detail ensured that each LTD guitar met the highest standards, despite being produced in overseas factories.

Over the years, LTD has expanded its product line to include a wide range of guitar models, catering to various musical genres and playing styles. From sleek and modern designs to classic and vintage-inspired models, LTD has something to offer for every guitarist.

One of the company's most significant innovations was the introduction of the LTD Signature Series, which featured guitars designed in collaboration with renowned artists and musicians. These signature models allowed players to experience the same instruments used by their idols, further solidifying LTD's reputation as a brand that truly understands the needs and preferences of guitarists.

## Global Reach and Continued Success

Today, LTD Guitars has established itself as a global brand, with a presence in numerous countries around the world. The company's commitment to quality, innovation, and affordability has earned it a loyal following among guitarists of all skill levels and musical backgrounds.

Despite the challenges posed by an ever-evolving music industry, LTD has remained steadfast in its pursuit of excellence. The company continues to push the boundaries of guitar design and manufacturing, constantly seeking new ways to improve its products and meet the changing needs of musicians.

As LTD Guitars celebrates its legacy and looks towards the future, one thing remains certain: the brand's unwavering dedication to providing high-quality, affordable guitars will continue to inspire and empower generations of musicians to come.

The success of LTD Guitars can be largely attributed to the visionary leadership and unwavering determination of its founder, Takeshi Kishimoto. From the very beginning, Kishimoto had a clear vision for creating high-quality guitars that would be accessible to musicians of all backgrounds and skill levels.

Kishimoto's passion for music and his understanding of the guitar industry's dynamics allowed him to identify a gap in the market – the need for affordable instruments that did not compromise on quality or playability. This insight led him to establish ESP and, later, LTD Guitars, which revolutionized the way guitars were manufactured and distributed.

Throughout his career, Kishimoto remained deeply involved in the design and production processes, ensuring that every LTD guitar met his exacting standards. His attention to detail and commitment to innovation were evident in the company's constant pursuit of new materials, manufacturing techniques, and design elements.

Kishimoto's leadership extended beyond the realm of product development. He fostered a corporate culture that valued creativity, collaboration, and a deep respect for the art of guitar-making. This philosophy attracted talented luthiers, designers, and musicians who shared his passion for creating exceptional instruments.

## Embracing Technological Advancements

As the guitar industry evolved, LTD Guitars remained at the forefront of technological advancements, embracing new materials and manufacturing processes that enhanced the quality and playability of their instruments.

One notable example is the company's adoption of computer-aided design (CAD) and computer-aided manufacturing (CAM) technologies. These tools allowed LTD to streamline the design and production processes, ensuring greater precision and consistency in the manufacturing of their guitars.

Additionally, LTD has been a pioneer in the use of innovative materials, such as lightweight and durable woods, as well as advanced hardware components. These materials not only improved the overall quality and performance of their guitars but also contributed to their distinctive aesthetic appeal.

## Collaborations and Artist Endorsements

LTD Guitars has long recognized the importance of collaborating with renowned artists and musicians, as these partnerships not only lend credibility to the brand but also provide valuable insights into the needs and preferences of professional players.

The LTD Signature Series, which features guitars designed in collaboration with legendary artists, has been a resounding success. These signature models have allowed guitarists to experience the same instruments used by their musical heroes, fostering a deeper connection between the brand and its customers.

Over the years, LTD has partnered with a diverse range of artists, spanning various genres and musical styles. From metal icons like Kirk Hammett of Metallica to jazz virtuosos like Al Di Meola, these collaborations have not only resulted in exceptional guitar designs but have also helped to solidify LTD's reputation as a brand that truly understands the needs of musicians.

## Commitment to Sustainability and Social Responsibility

In recent years, LTD Guitars has demonstrated a strong commitment to sustainability and social responsibility, recognizing the importance of minimizing its environmental impact and supporting the communities in which it operates.

The company has implemented various initiatives to reduce waste and promote eco-friendly practices throughout its manufacturing processes. This includes the use of sustainable materials, energy-efficient production methods, and responsible waste management strategies.

Additionally, LTD Guitars has partnered with various organizations and initiatives aimed at supporting music education and providing opportunities for aspiring musicians. These efforts not only contribute to the development of the next generation of guitarists but also foster a sense of community and shared passion for music.

As LTD Guitars continues to grow and evolve, its commitment to sustainability and social responsibility will undoubtedly remain a core part of its corporate philosophy, ensuring that the brand remains a responsible and ethical player in the guitar industry.

TEST: LTD AA-1 BLKS

 I admit that the topic of signature guitars has now reached a level that I find difficult to follow. While it used to be relatively easy to recognize a new instrument as a signature instrument, as there were only a small group of extremely technically high-quality musicians, all of whom of course received their own model, due to the fact that nowadays virtuosity is more of a thing Downer in the music sector is that it is much more difficult for the manufacturer to sell special instruments. Nevertheless, the company ESP with its sub-label LTD consistently follows through and manufactures the signature instruments of the really big names in the USA, while under the LTD label the second row beyond the stadium-sized headliners is supplied with instruments. For testing we have the ESP LTD AA-1 BLKS Alan Ashby, a guitar that is marketed under the name of one of the guitarists from the American metalcore band “Of Mice And Men”.

The construction of the ESP LTD AA-1 BLKS Alan Ashby

Two points hit me immediately after unpacking the instrument.

Point 1.

Okay, it's relatively clear who the mother of this instrument is.

A Fender Telecaster.

Point 2.

Wait a minute, the instrument in this version looks very familiar to me.

And in fact, Fender released an instrument back in the 80s called the Telecaster Black & Gold (https://reverb.com/de/item/68706931-fender-collector-s-edition-black- and-gold-telecaster), which of course differs greatly in details from the ESP LTD AA-1 BLKS Alan Ashby, but in principle leaves a similar basic impression. I was also able to check this in the A-B comparison, as I luckily own a corresponding Telecaster myself. But it should be self-explanatory that you obviously can't play metalcore with a Telecaster, so the instrument was modified in several ways towards metal. But everything in order.

First of all, you notice that the instrument is really very light. Not just light, but really very light, which is reflected in its weight of just under 2.8 kg. Back pain should really be ruled out with this instrument. Furthermore, the instrument has been reduced to the absolute bare essentials that you need for a rhythm guitar. A pickup, a volume control, no vibrator system, done. Very spartan, very functional and completely sufficient for many styles of music, especially metal. The pickup is probably the most popular version in the world, the Type 81.

The body, which is made of mahogany, has been painted throughout in a satin, matt black. Personally, I think it's a shame that, for example, the binding of the instrument cannot be seen, although, as always, this is purely a matter of taste. Many musicians will be very comfortable with this board guitar in the truest sense of the word due to the fact that it has no visual enhancements whatsoever.

The overall construction is based on a continuous, three-piece neck, also made of mahogany, to which the body wings were glued on. The fingerboard is made of dark Macassar Ebony and includes 24 XL stainless steel frets. Due to the lack of a neck foot, the transition from the neck to the body could be rounded off very ergonomically, which makes gripping at high positions much easier. On the back of the instrument there are only two plastic flaps, which are held in place with six or two screws.
This is the cover flap for the electronics or a small cutout for the battery regarding the active EMG pickups.

The neck, whose shaping is called “Thin U” from the factory, is indeed very slim and should not cause any problems even for players with small hands. In general, LTD seems to have taken care to keep the grip dimensions as small as possible with this instrument and has installed the short scale length of 62.8 cm (24.75 inches), which, in combination with the neck shaping, creates a very comfortable feel, especially in the lower registers enabled. However, it may also be the case that users with large hands or wide fingers may have problems achieving clear string separation. Here you should check in advance whether the dimensions suit you personally.

What is very pleasantly noticeable is the completely consistent optical principle of the Black & Gold version, which even goes so far that not only all hardware parts are covered with gold, but the frets have also been colored gold/bronze. In my opinion, a visual highlight if you like this color combination.

When it comes to hardware, the ESP LTD AA-1 BLKS Alan Ashby, which is manufactured in Korea, relies on tried and tested designs, namely a one-piece Tonepros Locking TOM bridge with a string guide through the body to optimize the sustain behavior and six locking tuners with LTD printing. The mechanics are of very good quality, so it could be that LTD is working with OEM manufacturers here, but who knows, maybe the Koreans have started manufacturing their own hardware by now. The body hole of the A string was a little out of alignment on the test instrument, but this had no effect on the sound and is probably just a sign of the fact that it was still made by hand.

What personally confuses me a bit is the mirrored arrangement of the tuners on the headstock. Maybe it's just a question of habit, but you don't see the pegs of the tuning mechanisms and can therefore only feel which peg you are currently working on and which made tuning seem a little more indirect for me personally. However, this is a purely subjective view and is not intended to generalize.

All in all, the guitar has a very simple elegance and could hardly be more subtle. What may be lacking in spectacular elements for one person or another will be just right for another. Everyone has to decide for themselves whether they like this type of instrument or not. The instrument comes with a matching case.

The ESP LTD AA-1 BLKS Alan Ashby in practice

What is immediately noticeable in the dry test is the extremely long sustain that the instrument exhibits. Due to the construction of the continuous neck and the side guide, the sides resonate for a very long time and support any form of guitar playing that requires long sustained tones, or where you often let a note vibrate for several seconds when playing solo.

The very thin and slender neck is indeed an adjustment for me, at least for my hands, which are primarily used to heavy sticks. However, I have to say that this slim design opens up completely new possibilities, for example it is much easier and easier to bring your thumb into chord playing or use it for side damping than is the case with other instruments. The ESP LTD AA-1 BLKS Alan Ashby was very well adjusted from the factory. No further adjustments were required to put the instrument in optimal condition.

In terms of sound, the LTD offers a very balanced vibration behavior, responds very well to your personal playing style and, in terms of style, offers significantly more tonal possibilities than are required in metalcore, although somewhat limited by the individual pickup. For example, depending on the equipment or pedals used, very good sounds in the ZZ Top style can be produced. It was not for nothing that Billy Gibbons, for example, during the time of the Antenna album, increasingly relied on instruments that were identical in shaping to a Tele and only equipped with a single pickup in the bridge area.

The only point of criticism that must be noted, however, is that the reverse tuner arrangement causes a problem, which can be heard very clearly in sound example 03. The low E string in particular now has a string length above the nut, which creates a clearly audible vibration of the string and makes the sound blurry and vague, especially with a higher degree of distortion and dampened playing. However, this can be done with a self-made damper, e.g. B. made of foam, which you clamp under the strings, can be fixed. The sound files were created with an ENGL Savage MKII, a 412 Marshall cabinet with Celestion G12 75T speakers and 2 pieces. SM57 created.

Finally, you have to attest that the instrument makes a very good overall impression. The construction, which at first glance seems comparatively spartan, allows you to get significantly more sounds out of it than it seems at first glance, especially if you have a high level of dynamics in your playing. Whether this is important in metalcore, however, is another matter.

Conclusion

With the ESP LTD AA-1 BLKS Alan Ashby, the Korean manufacturer has an instrument in its portfolio that, despite its simple elegance, has far more to offer than it seems at first glance. Although it was used by its namesake in the “stick out of the bag” area, you can certainly get other sounds out of the instrument, especially since the look also allows it to be used in other styles.

Definitely worth checking out for fans of the Wolf in Sheep’s Clothing section.

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Additional Informations:

Introduction:
LTD Guitars, a division of the renowned musical instrument manufacturer ESP (Electric Sound Products), has emerged as a prominent player in the world of electric guitars. With a commitment to quality, performance, and affordability, LTD has garnered a dedicated following among musicians of all genres. In this in-depth exploration, we delve into the fascinating origins, milestones, and innovations that have shaped the evolution of LTD Guitars into the powerhouse it is today.

The Genesis:
The story of LTD Guitars traces back to the early 1990s when ESP recognized a growing demand for high-quality, yet affordable electric guitars. Determined to meet this need, ESP established the LTD brand, with a focus on offering instruments that delivered exceptional value without compromising on craftsmanship or playability. From the outset, LTD Guitars set out to democratize access to professional-grade instruments, making premium features and designs accessible to a wider audience of musicians.

Founding Principles:
At the core of LTD Guitars' philosophy lies a commitment to innovation, quality, and customer satisfaction. Drawing upon ESP's decades of experience in crafting custom guitars for top-tier artists, LTD sought to distill that expertise into a range of production instruments that would meet the needs of players at every skill level. By leveraging modern manufacturing techniques, stringent quality control measures, and a keen understanding of market trends, LTD Guitars aimed to deliver instruments that exceeded expectations in terms of performance, playability, and reliability.

Early Innovations:
In its formative years, LTD Guitars wasted no time in making a name for itself with a series of innovative designs and features. One of the company's early successes was the introduction of the ESP LTD 400 Series, which showcased high-quality construction, versatile pickups, and sleek aesthetics at an affordable price point. The popularity of the 400 Series laid the foundation for LTD's reputation as a brand that offered exceptional value without compromise.

Building upon this momentum, LTD continued to push the envelope with a diverse lineup of guitars and basses, each tailored to meet the needs of different playing styles and musical genres. Whether it was the aggressive aesthetics of the Viper Series, the vintage-inspired charm of the EC Series, or the modern versatility of the MH Series, LTD Guitars demonstrated a keen understanding of the diverse preferences and demands of today's guitarists.

Expansion and Evolution:
As the brand gained traction and acclaim, LTD Guitars expanded its product offerings to include signature models developed in collaboration with some of the industry's most influential artists. These signature instruments not only paid homage to the unique playing styles and sonic preferences of the artists who endorsed them but also served as a testament to LTD's commitment to craftsmanship and attention to detail.

Additionally, LTD Guitars ventured into new territories, exploring innovative materials, construction techniques, and hardware options to further enhance the performance and sonic capabilities of its instruments. From the incorporation of exotic tonewoods and advanced pickup configurations to the development of proprietary hardware and electronics, LTD continually pushed the boundaries of what was possible in the realm of production guitars.

Global Reach and Impact:
Over the years, LTD Guitars has cultivated a loyal following among musicians around the world, earning a reputation for reliability, versatility, and performance. With a diverse roster of artists spanning genres ranging from metal and rock to jazz and blues, LTD instruments have become a fixture on stages, in studios, and in the hands of players of all levels. Whether it's the bedroom guitarist seeking an affordable yet capable instrument or the touring professional relying on a dependable workhorse for nightly performances, LTD Guitars has earned the trust and admiration of musicians worldwide.

Conclusion:
From its humble beginnings as a solution to a growing demand for accessible yet high-quality instruments to its status as a global leader in electric guitar manufacturing, the journey of LTD Guitars is a testament to the power of innovation, dedication, and passion. By staying true to its founding principles while embracing new technologies and trends, LTD Guitars has remained at the forefront of the industry, inspiring and empowering musicians of all backgrounds to unleash their creativity and express themselves through the power of music. As the brand continues to evolve and expand its offerings, one thing remains certain: the legacy of LTD Guitars will continue to resonate for generations to come, shaping the sound of music for years to come.

TEST: Little Labs Monotor

 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.

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.

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.