It is questionable whether there is a stronger name in the professional recording sector than that of Rupert Neve. He is considered the inventor of the mixing console and after his death at the age of 94 in 2021, he left behind a considerable number of trademark giants in sound technology, including names such as AMEK, AMS, Focusrite and Rupert Neve Design. The latter now offers a channel strip called Rupert Neve Designs 5034 Newton Channel, which we have for testing.
The concept of the Rupert Neve Designs 5034 Newton Channel
If you think of apples falling on British physicists when you hear the name, you are unfortunately on the wrong track. The name of the product is actually borrowed from the fact that Rupert Neve was born on July 31, 1926 in Newton Abbot, England. The channel strip offers the most important processing components of a channel strip in the form of preamp, EQ and compressor, plus a special control area called "texture", which is also known from other Rupert Neve Design products.
Anyone who has dealt with the upper performance class of channel strips, which are also manufactured outside of Asia, will quickly find that retail prices of around €4,000 are not uncommon. In this sense, the Rupert Neve Designs 5034 Newton Channel with a retail price of €2,429 must be described as a mid-price product, although the qualitative approach is significantly higher at first glance and listening impression. This makes it all the more curious when it comes to the final sound test.
The channel strip, designed and manufactured in the USA, sits in an anthracite-colored 1U housing, which can be described as very solid and, at almost 3.5 kg, pulls accordingly hard on the rack rails. Rubber feet were not included with the Rupert Neve Designs 5034 Newton Channel, the manufacturer firmly assumes that the product will be installed in a rack. On the top, the sheet metal was perforated above two areas in order to be able to transport the waste heat away, so when building it over it, care must be taken that the product above does not rest tightly on the Rupert Neve Designs 5034 Newton Channel and that there is sufficient air circulation.
The back of the Rupert Neve Designs 5034 Newton Channel
Even if it should be a given in this price range, “finally a power socket again” was my first thought when I looked at the back of the Rupert Neve Designs 5034 Newton Channel. It is actually unusual how often even established manufacturers in the mid-price range are now tending towards cheaper, external power supply solutions and leaving the user to solve the visually and haptically unpleasant “lump”. The manufacturer goes one step further and gives the product a recessed on/off switch, which is protected from accidental activation/deactivation by a plastic edge.
As the Rupert Neve Designs 5034 Newton Channel was designed as a mono channel, the number of inputs and outputs is limited to a manageable number. For the input area, the product offers a lockable XLR/TRS combo jack and a TRS line input. A high-impedance Hz input for the direct feed of an electric guitar or passive electric bass is not offered. A main out and a -6dB out, both in XLR, and a ground lift switch round off the overall impression.
The front of the Rupert Neve Designs 5034 Newton Channel
The front of the Rupert Neve Designs 5034 Newton Channel is very clearly designed and works according to the motto “everything you need and nothing you don’t need”. The four control areas have also been reduced to the bare minimum of control units required. From left to right:
MIC PRE: This is where the preamp section of the Rupert Neve Designs 5034 Newton Channel is located, which is also the heart of the channel strip. The preamp can be adjusted in 6 dB increments up to 72 dB and should therefore provide sufficient level for even the quietest passive ribbon microphones. All other potentiometers have 31-way increments, including the trim potentiometer to the right, which has a setting of -6 to +6 dB. In addition to the standards such as illuminated phantom power (48V) and phase reversal switches, the section also offers a switchable high-pass filter, which ranges from 20 Hz to 250 Hz and should be particularly useful for vocal and guitar recordings.
EQUALIZER: The Rupert Neve Designs 5034 Newton Channel offers a three-band EQ, which consists of two shelving and one semi-parametric midrange EQ. All bands can be adjusted by +/- 12 dB, with the midrange between 220 Hz and 7 kHz, the bass at either 60 Hz or 150 Hz and the treble at either 8 kHz or 16 kHz. Personally, I'm always a bit skeptical about 16 kHz, but this range allows for the legendary "air" that some engineers really appreciate precisely because of this coloration. Ultimately, everyone can do what they think is right.
COMPRESSOR: In the compressor range, the ratio range has been omitted, just like a Vari Mu compressor; only threshold (-30 dB to +20 dB), release (fast - slow) and a gain control (-6 dB to +20 dB) can be adjusted. However, the Pre EQ switch is interesting, as it puts the compressor before the EQ and thus offers a compression behavior that varies depending on the level.
The final part is the Texture control, which regulates the degree of harmonic overtones, which are preselected using the Silk switch. In the blue area, the device focuses more on the bass/low-mid range, while the red area focuses more on the classic mids. The Silk area can also be deactivated completely. Finally, two 8-digit LED chains show the compressor use and the output level.
Practice
In order to be able to assess the sound of the Rupert Neve Designs 5034 Newton Channel, you have to keep in mind Rupert Neve's formative phase, which was particularly associated with the equipment of the late sixties and early seventies. To put it briefly, almost every component of the recording equipment of the time always had a touch of distortion, often described as saturation, in the signal path, regardless of its input and output level. This basic sound could not be reduced below a certain level, at most it could be increased accordingly with a higher level. A large part of the legendary "warm" sound of the Neve products is therefore, simply put, distortion, which flatters the human ear.
Therefore, the preamp area and of course the Silk section in particular are designed to produce the same distortion in exactly the range and level that appeals to the human ear. We will therefore focus primarily on these distortions in the sound examples by turning up the preamp with the Mic Gain control and then adjusting it back down to an acceptable level with the Trim control.
In fact, the Rupert Neve Designs 5034 Newton Channel sounds excellent right from the first note. All components are very unobtrusive and yet effective, so that you quickly feel at home. The controls have a very pleasant feel and allow for fine adjustment, which you can easily follow with your fingers. I was surprised at how "tight" the Rupert Neve Designs 5034 Newton Channel sounds compared to other Neve products. The product has the classic British sound, but is not as "soft" in response as you might expect.
This is to be understood in an absolutely unbiased manner, as both approaches can offer their maximum quality depending on the area of application. The Rupert Neve Designs 5034 Newton Channel convinces me across the board, especially with percussive signals, as it cushions the impulse peaks very nicely without them losing too much of their power.
All in all, an outstanding channel strip, which, as the first processing stage of the signal path, processes almost every incoming signal perfectly before it is further processed in the respective DAW or similar.
Conclusion
With the Rupert Neve Designs 5034 Newton Channel, the biggest name in recording offers another highlight in the channel strip area. The product, which could almost be described as mid-price, impresses with its outstanding sound, clear concept, excellent workmanship and very good detailed solutions. In addition, the two SILK stages allow you to continuously adjust the saturation of your signal to the vintage sound compositions of days gone by, which, depending on the signal, represents a real enrichment in terms of sound.
If you are looking for a professional channel strip of the classic kind, you should take a look at the Rupert Neve Designs 5034 Newton Channel!
——————-
Additional Informations:
Rupert Neve is a name that resonates deeply within the world of audio engineering, synonymous with unparalleled quality and innovation in the realm of professional audio equipment. The journey of Rupert Neve Designs, from its inception to its current stature as a hallmark of excellence, is a rich tapestry of technological breakthroughs, dedicated craftsmanship, and visionary leadership. This article delves into the detailed history of Rupert Neve Designs, tracing the origins, key milestones, and enduring legacy of this iconic brand.
#### Early Beginnings: The Man Behind the Legend
The story of Rupert Neve Designs begins with its namesake, Rupert Neve, whose passion for audio engineering ignited at an early age. Born in 1926 in Newton Abbot, England, Neve's fascination with electronics began during World War II, when he served in the Royal Signals, working on radio communication. Post-war, his technical expertise and innovative mindset set the stage for his pioneering work in audio technology.
In the 1950s, Neve started his first company, CQ Audio, where he designed and built high-fidelity loudspeakers and amplifiers. This period was formative, allowing Neve to refine his understanding of sound reproduction and electronics. However, it was the subsequent venture into audio consoles that would cement his legacy.
#### The Birth of Neve Consoles
In 1961, Rupert Neve founded Neve Electronics, a company dedicated to designing and manufacturing audio consoles for the burgeoning recording industry. The 1960s and 70s were transformative years for music production, with studios seeking more sophisticated and reliable equipment to meet the demands of modern recording techniques. Neve's consoles quickly gained a reputation for their superior sound quality and robust construction.
The turning point came with the introduction of the Neve 80 Series consoles in the late 1960s. These consoles featured Class-A circuitry and custom transformers, delivering a warm, musical sound that became highly sought after by recording engineers and producers. The Neve 1073 preamp and equalizer module, in particular, became legendary for its rich, full-bodied tone and musicality, attributes that continue to be revered to this day.
#### Innovation and Expansion
The success of the 80 Series consoles propelled Neve Electronics into the forefront of the audio industry. Throughout the 1970s, the company continued to innovate, developing new technologies and expanding its product range. The introduction of the Neve 1081 and 1084 preamps, along with the development of advanced console automation systems, showcased Neve's commitment to pushing the boundaries of audio technology.
Neve's influence extended beyond the recording studio. His designs were adopted by broadcasting and film industries, further solidifying his reputation as a master audio engineer. The unique sonic characteristics of Neve's equipment made it a staple in top-tier studios around the world, contributing to countless iconic recordings and broadcasts.
#### Challenges and Resilience
Despite the company's success, the late 1970s brought significant challenges. Financial difficulties led to the sale of Neve Electronics to the Bonochord Group in 1975. Although Rupert Neve remained with the company for several years, he eventually left in 1977 to pursue new ventures. The departure marked the end of an era, but Neve's passion for audio engineering remained undiminished.
In the 1980s, Neve founded Focusrite, a new company dedicated to designing high-end audio equipment. The Focusrite Studio Console, introduced in 1989, was a masterpiece of engineering, featuring unparalleled sonic performance and cutting-edge technology. However, financial constraints led to the sale of Focusrite's assets, and Neve moved on to new projects.
#### The Emergence of Rupert Neve Designs
In 2005, Rupert Neve, together with his wife Evelyn and engineer Josh Thomas, founded Rupert Neve Designs. Based in Wimberley, Texas, the new company represented a return to Neve's roots: designing and manufacturing high-quality audio equipment with a focus on innovation and craftsmanship.
Rupert Neve Designs quickly gained acclaim for its products, which combined classic analog warmth with modern reliability and functionality. The company's flagship product, the Portico Series, introduced in 2006, featured a range of preamps, equalizers, and compressors that embodied Neve's design philosophy. The use of custom transformers and Class-A circuitry ensured that the signature Neve sound was faithfully preserved.
The success of the Portico Series was followed by the release of the 5088 Analog Mixing Console, a fully discrete, transformer-balanced console that became a benchmark for high-end analog mixing. The 5088's modular design and pristine audio quality made it a favorite among top engineers and producers, reaffirming Neve's status as a pioneer in audio engineering.
#### Continuing Innovation
Rupert Neve Designs continued to expand its product range, introducing new lines and technologies that catered to the evolving needs of audio professionals. The Shelford Series, launched in 2015, paid homage to Neve's classic designs while incorporating modern enhancements. The Shelford Channel, a channel strip combining preamp, EQ, and compressor, became a standout product, offering the coveted Neve sound in a versatile format.
In addition to analog gear, Rupert Neve Designs embraced digital innovation. The RNDI Active Transformer Direct Interface and the RNHP Precision Headphone Amplifier showcased the company's ability to blend analog warmth with digital precision, meeting the demands of contemporary recording and monitoring environments.
#### Legacy and Impact
Rupert Neve's impact on the audio industry is immeasurable. His designs have shaped the sound of countless recordings, from classic albums by The Beatles and Pink Floyd to modern hits by Adele and Foo Fighters. The enduring popularity of Neve consoles and modules speaks to the timeless quality and musicality of his work.
Beyond the products themselves, Neve's legacy is defined by his dedication to excellence and his unwavering commitment to the art of sound. His contributions have inspired generations of engineers and musicians, fostering a culture of innovation and creativity within the audio community.
#### The Passing of a Legend
On February 12, 2021, Rupert Neve passed away at the age of 94. His death marked the end of an era, but his legacy lives on through the countless recordings and engineers who continue to rely on his designs. Rupert Neve Designs, under the leadership of Josh Thomas and a dedicated team of engineers, continues to uphold Neve's vision, pushing the boundaries of audio technology while honoring the principles that defined his work.
#### Conclusion
The history of Rupert Neve Designs is a testament to the power of innovation, craftsmanship, and passion. From the early days of Neve Electronics to the modern era of Rupert Neve Designs, the company's journey reflects a deep commitment to audio excellence. Rupert Neve's contributions to the world of sound will continue to resonate for generations to come, inspiring new heights of creativity and innovation in the field of audio engineering.
Samstag, 15. Juni 2024
TEST: Rupert Neve Design 5034 Newton Channel
TEST: Roland Microcube RX
What hasn't happened in the practice amplifier sector recently. I can still remember when practice amplifiers were more of a waste product of product development and were only exhibited behind closed doors at the respective music fairs.
The sound characteristics of the amplifiers were also mostly similar. If something was developed in a rush alongside the company's own fixation on the next full stack, it shouldn't be surprised if its basic sound, especially in the distorted range, was more like a razor than a guitar amplifier.
This has changed fundamentally in recent years. Due to the triumph of digital technology and the associated compression of various sound-forming elements in the smallest of spaces, miniature amplifiers were created that made a fusion of a practice amplifier and a small workstation a reality.
One representative of this series is the Roland Micro Cube RX. For the purpose of testing, I have both a guitar and a bass version of the device. Roland offers us an all-in-one version, which, in addition to amplifying the actual instrument, also includes additional features such as a tuner, metronome and rhythm computer, all garnished with the most important effects that a guitarist or bassist sometimes likes to have at their disposal.
Construction:
First of all, the similarities between the guitar and bass versions.
The Micro Cube has very compact dimensions. Just 30 centimeters wide, 30 centimeters high and 21 centimeters deep allow the device to disappear into any footwell, even that of a small car. It is all the more astonishing that the amplifier is relatively heavy at 6.4 kilograms. Not that you have to say it's heavy, but I personally would have preferred a medium-sized handle to the shoulder strap provided.
The housing is covered in a textured paint that imitates a synthetic leather cover. Four continuous plastic rails secure the corners of the device during transport. The amplifier and loudspeakers are in a closed housing, the power rating is 2 x 2.5 watts.
The amplifier's loudspeaker configuration is a special feature. While most amplifier manufacturers rely on a single 8 or 10 inch loudspeaker, Roland increased the radiation area by installing four 4 inch loudspeakers in the device. The radiation area gained in this way is offset by a different response and sound behavior of the smaller loudspeakers. I am excited to see how Roland will tackle this sound challenge.
The amp can be operated either via the included power supply, or you can run the device using six AA batteries with an operating voltage of 9 volts. The operating time with alkaline batteries stated by the manufacturer is 13 hours. When operating with the power supply, an angled plug is inserted using an attached strain relief on the back of the device. Small detail, but I always like to note it.
The slot for locking with a Kensington lock, which is now almost standard, has also been installed on the back. Additional connection sockets include a footswitch for controlling the built-in drum computer, as well as a headphone connection socket and an aux-in, optionally in stereo (mini jack) or mono jack for connecting external peripherals.
The cubes have a built-in tuner, which provides information about the tuning via three LEDs. The strings to be tuned must be set individually using the amp modeling control; there is no automatic string detection.
The rhythm computer is accessible from the top of the device on the right-hand side, and provides access to the basic rhythm and the volume of the drums via two rotary controls. The user can use a total of ten different basic rhythms in two variations each, plus metronome functions.
Unfortunately, the speed can only be set using a tab function. Even though intuitive control can be ensured using the push button, which can also be controlled using a foot switch, I would prefer a number-based speed setting in the form of a rotary control or, ideally, a small digital display. A clear tempo setting is necessary, especially for metronome exercises.
Both devices have three-band equalizers (bass, middle, treble), a modulation effect section (chorus, flanger, phaser, tremolo - BASS cube: chorus, flanger, T-wah) and a room effect partition with delay and reverb. Both cubes have 7 amp models:
Guitar cube: (Roland JC-120, Fender Twin, Vox AC-30, Marshall Stack, Peavey 5150, Mesa Boogie Rectifier, acoustic guitar simulator
Bass cube: (linear flat amp, Ampeg B-15 combo, Fender Bassman, Trace Elliot stack, Acoustic 360, Ampeg stack, amp plus octaver)
plus a microphone preamp to connect a dynamic microphone asymmetrically.
Using a boost switch next to the input socket, you have the option of modifying the predefined presets in terms of drive, which is also reflected in a changed basic sound, so you can speak of 14 different sounds each.
Practice:
Guitar cube: It starts with the guitar colleague with the acoustic simulator on the very left of the panel. Here, the person in charge can hear Product manager immediately pulled the plug on the spoon a little. Even if you can see an increasing distortion preset selection from left to right and thus the AS belongs all the way to the left, the acoustic simulation unfortunately turns out to be a classic dud. Not that you can seriously expect to conjure up a high-quality acoustic guitar from the Martin segment from an electric guitar, but even a sometimes rather "whining" piezo pickup does not want to be emulated here. What Roland delivers here is simply a normal, clean sound, nothing more and nothing less.
As you turn it further to the right, however, the sound impression improves increasingly. As expected, Roland tries to emulate its legendary jazz chorus, which it succeeds in doing at an upper mediocre level, but at the latest from the "VOX" range onwards, serious joy begins to arise. The square saw of the small 4" inch speakers that I feared is calculated quite well by the DSP and is quite pleasing if you use the treble control carefully. Roland was well aware of this and designed the amps to have a somewhat "musty" sound, knowing that the high-frequency speakers would respond to any sloppiness with biting attacks above 2 kHz.
High praise for the FX section, where the manufacturer's extensive experience in this segment comes in handy. Chorus and reverb in particular are impressive for an amp of this size.
Bass cube: All presets deliver a good to very good basic sound, and at a volume that you wouldn't expect from the 2x 2.5 watt tiny units. The built-in compressor is also helpful here, as it smooths out hard attacks in a practical way and thus eliminates the deadly peaks that can sometimes kill small amplifiers.
As with the guitar version, the FX section is impressive, even though its parameters have been adapted to the bass range. But I think it's a bit risky to bring an octaver into play here, as the speakers really reach their performance limits here and ultimately this effect is only seriously audible on the D and G strings above the seventh fret.
Conclusion:
The Micro-Cubes offer everything you need for a quick, hearty session. Charge the 6 AA batteries overnight and you can scare cows grazing on Farmer Karl's green meadow or confront careless passers-by with your own genius in pedestrian zones.
Apart from a few subtle limitations, the "cube gang" does a good job and knows how to find and defend its area of operation.
——————-
Additional Informations:
Roland Corporation, a name synonymous with innovation in the music industry, has a rich history marked by groundbreaking technologies and iconic instruments. From its humble beginnings in Japan to becoming a global leader in electronic musical instruments, Roland's journey is a testament to the power of vision, perseverance, and creativity. This article delves deeply into the history, key milestones, and evolution of Roland Corporation.
#### Founding and Early Years
The story of Roland begins with its founder, Ikutaro Kakehashi, a visionary engineer with a passion for music and electronics. Born in Osaka, Japan, in 1930, Kakehashi's early years were shaped by his fascination with radios and electronic devices. After surviving World War II, he pursued studies in engineering and started a repair shop for watches and radios.
In 1960, Kakehashi founded Ace Tone, his first foray into the music industry, focusing on electronic organs and rhythm machines. Despite some success, Kakehashi's ambitions extended beyond Ace Tone, leading him to establish Roland Corporation on April 18, 1972, in Osaka.
#### The Birth of Roland Corporation
Kakehashi named his new venture "Roland" because it was easy to pronounce in any language and had a pleasant ring to it. From the outset, Roland's mission was to innovate and create musical instruments that would inspire musicians around the world. The company's first product, the Roland Rhythm 77 (TR-77), was an automatic rhythm machine that set the stage for Roland's future developments in drum machines and sequencers.
#### Breakthrough Products and Technological Innovations
The late 1970s and early 1980s were a period of significant innovation for Roland. In 1978, Roland introduced the CR-78, the first microprocessor-based programmable rhythm machine, which allowed users to create and store their own patterns. This was followed by the release of the TR-808 in 1980, a drum machine that would become legendary for its distinctive sounds, particularly its deep bass drum.
The TR-808's impact on music cannot be overstated. Initially met with mixed reviews, it found a second life in the burgeoning hip-hop and electronic music scenes, where its unique sounds became iconic. Tracks like Marvin Gaye's "Sexual Healing" and Afrika Bambaataa's "Planet Rock" showcased the TR-808's versatility and enduring appeal.
#### The Roland Jupiter-8 and the Rise of Analog Synthesis
Another milestone was the launch of the Jupiter-8 synthesizer in 1981. The Jupiter-8 was an analog polyphonic synthesizer that offered eight voices and a rich, lush sound. It quickly became a favorite among musicians and producers, cementing Roland's reputation for high-quality synthesizers. The Jupiter-8's robust construction, intuitive interface, and powerful sound engine made it a staple in studios and live performances worldwide.
#### MIDI and Digital Synthesis
Roland was also instrumental in the development and adoption of the MIDI (Musical Instrument Digital Interface) standard. In 1983, Roland, along with other key players in the industry, introduced MIDI, revolutionizing the way electronic musical instruments communicated. MIDI allowed different instruments and devices to connect and interact seamlessly, opening up new possibilities for music creation and performance.
The same year saw the release of another iconic Roland product: the Roland TB-303 Bass Line. Although initially marketed as an accompaniment for solo musicians, the TB-303 found its true calling in the emerging acid house music scene. Its squelchy, resonant sounds became a defining feature of the genre, influencing countless artists and producers.
#### The Digital Revolution: Roland D-50 and Beyond
The late 1980s marked Roland's foray into digital synthesis with the introduction of the D-50 synthesizer in 1987. The D-50 combined sampled attack transients with synthesized waveforms, creating complex and dynamic sounds. Its built-in effects and user-friendly interface made it a favorite among musicians, and it became one of Roland's best-selling synthesizers.
Roland continued to innovate throughout the 1990s and 2000s, releasing a series of influential products. The Roland JD-800, introduced in 1991, brought back hands-on control to digital synthesis, while the Roland JP-8000, released in 1996, introduced the concept of "analog modeling," emulating the characteristics of vintage analog synthesizers using digital technology.
#### Expansion and Diversification
As Roland expanded its product range, it also diversified into other areas of music technology. The company developed high-quality digital pianos, such as the RD series, which became popular with professional musicians for their realistic sound and expressive capabilities. Roland's V-Drums, introduced in 1997, revolutionized electronic percussion with their advanced triggering technology and realistic feel.
The 21st century saw Roland embracing new trends and technologies, such as software synthesizers, computer-based music production, and mobile apps. The Roland AIRA series, launched in 2014, paid homage to classic Roland instruments like the TR-808 and TB-303, reimagined with modern technology for contemporary musicians.
#### Key Figures and Leadership
Ikutaro Kakehashi's leadership was pivotal in shaping Roland's vision and direction. His commitment to innovation and quality was matched by a deep understanding of musicians' needs. Kakehashi's contributions to the music industry were widely recognized, and in 2013, he, along with Dave Smith, received a Technical Grammy Award for their role in developing MIDI.
After Kakehashi retired in 2013, Roland continued to thrive under new leadership. The company's commitment to innovation and excellence remains strong, with a focus on developing new technologies and expanding its global reach.
#### Roland Today and the Future
Today, Roland Corporation is a global leader in electronic musical instruments, with a presence in over 200 countries. The company's product portfolio includes synthesizers, digital pianos, electronic drums, audio interfaces, amplifiers, and more. Roland's ongoing commitment to quality and innovation ensures that it remains at the forefront of the music technology industry.
Looking to the future, Roland is poised to continue its tradition of innovation. The company is exploring new frontiers in music technology, such as artificial intelligence, virtual reality, and cloud-based music production. Roland's dedication to empowering musicians and fostering creativity ensures that it will remain a key player in the music industry for years to come.
#### Conclusion
The story of Roland Corporation is a testament to the power of innovation, vision, and dedication. From its humble beginnings in Japan to its status as a global leader in music technology, Roland's journey is marked by groundbreaking products, technological advancements, and a deep commitment to musicians worldwide. As Roland continues to push the boundaries of what's possible in music technology, its legacy of innovation and excellence is sure to endure.
TEST: Rode iXY
Steve Jobs was undoubtedly a great visionary and there is no doubt that he was blessed with the necessary megalomania when it came to his products. But I doubt whether he could have ever dreamed that his iPad and especially the iPhone series as the central control unit for photo or audio recordings would gain so much ground in recent years compared to the traditional handhelds.
The Rode iXY, made in Australia, is also very much in line with the trend. It is now available as a clip-on microphone in the new Lightning connector version and was specially designed for the iPhone 5.
Construction
The Rode iXY is delivered in an attractive cube packaging, which, in addition to the actual microphone, also contains a high-quality hard case with solid snap hooks, a windshield and an adapter for the iPhone 5c as well as a changing tool.
While the previous model of the Rode iXY came with the classic 30-pin connector of the iPhone 4 series, Rode, along with many other manufacturers, was forced to bow to Apple's interface dictates and bring a new design onto the market, which is where the main difference to the previous model comes from. While the 30-pin connector rests relatively firmly on the iPhone thanks to its larger plug-in surface, the small Lightning connector does not guarantee any adhesion in the port.
What has its advantages from an aesthetic point of view is a disaster from a haptic point of view. To avoid wobbly microphone heads and faulty contacts, the Rode iXY in the iPhone 5 version is equipped with a hard rubber holder on both sides, which not only ensures a secure fit on the lower side of the iPhone's housing, but also absorbs lateral forces on the microphone housing.
The holder is quite tight and it takes a lot of force to put the microphone capsule on the iPhone, but it also sits rock-solid on the housing. Using the pen tool provided, the holder can be quickly and easily replaced with the 5c holder. There is also a small rubber plate on the outside so that you can still press the home button. The fingerprint sensor can of course no longer be used.
The microphone capsule of the Rode iXY is also very light. At just 50 grams, there is no significant torque on the housing base, so that the iPhone can also be placed on comparatively light stands without it becoming top-heavy. The two capsules are cardioid and, according to the manufacturer, have a frequency response of 20Hz to 20kHz. With dimensions of 40 mm x 50 mm x 30 mm, the capsule can even fit in your pocket if necessary, although transporting it in a hard case is always preferable. With a maximum sound pressure of 139 dB SPL, the system can also be used for live recordings, and in conjunction with a suitable camera, for video recordings.
Practice
In order to operate the Rode iXY, an app is required. You can download the Rode Rec app created for this purpose from the App Store, but the product also works with any other app that supports external microphones. I opted for the free SE version, which does offer a simple range of functions, but is not really convincing in terms of appearance or performance. You are better off with the paid Pro version, which includes more sample frequencies up to 96kHz at 24 bit, better export functions and several editing functions.
Otherwise, the product impresses with its transparent, cool sound and high impulse fidelity. It is easy to use and the result is very good. The capsule records the incoming signal well and is equally suitable for voice and music recordings.
Conclusion
The Rode iXY is a clip-on microphone for the iPhone that scores points with its very good sound and excellent workmanship. With minimal dimensions, you have a high-quality, portable recorder in your pocket and can enjoy the freedom of mobile recording. In my opinion, however, with a retail price of just under 200 euros for a clip-on microphone, the Pro version should be included as a recording app. It's only a little over 5 euros more, but the psychological component is undiplomatic.
——————
Additional Informations:
Rode Audio, officially known as RØDE Microphones, is a renowned Australian company that has carved a significant niche in the global audio equipment industry. Its journey from a modest beginning to a world leader in microphone technology is a compelling story of innovation, resilience, and strategic vision. This article delves deeply into the history, milestones, and growth of Rode Audio, highlighting the pivotal moments and key figures that have shaped its success.
#### The Early Beginnings
Rode Audio's story starts in the 1960s with Henry Freedman, an electronics engineer who migrated from Sweden to Australia. Freedman's passion for electronics led him to establish Freedman Electronics in 1967, a company specializing in loudspeaker installations for nightclubs, schools, and department stores in Sydney. During this time, Freedman Electronics built a reputation for quality and reliability, laying the groundwork for future endeavors.
#### The Transition to Microphones
The transition from loudspeakers to microphones began in the 1980s when Henry's son, Peter Freedman, joined the family business. Peter saw an opportunity in the audio recording market, which was undergoing significant changes with the advent of digital technology. Recognizing a gap in the market for high-quality yet affordable microphones, Peter decided to pivot the company's focus.
In 1990, the company imported a consignment of microphones from China. Unfortunately, these microphones were of poor quality, which could have spelled disaster. However, Peter Freedman's ingenuity turned this setback into an opportunity. He meticulously re-engineered the microphones, improving their performance significantly. This marked the birth of the first RØDE microphone, the NT1.
#### The Birth of RØDE
The NT1 was released in 1990, and it quickly gained popularity due to its exceptional sound quality and affordable price. It was a game-changer in the industry, democratizing access to professional-grade audio equipment. The NT1’s success laid the foundation for Rode's philosophy: to provide high-quality microphones at accessible prices, enabling more people to produce professional sound.
RØDE’s distinctive approach to manufacturing and design set it apart. Instead of outsourcing production, Peter Freedman invested in high-tech manufacturing facilities in Sydney. This decision ensured that RØDE could maintain stringent quality control standards while keeping production costs competitive. By the mid-1990s, RØDE microphones were being exported to the United States, Europe, and Asia, marking the company's first steps towards becoming a global brand.
#### Expansion and Innovation
The late 1990s and early 2000s were a period of rapid expansion and innovation for RØDE. The company continually pushed the boundaries of microphone technology, introducing several groundbreaking products. One notable release was the NT2, a versatile multi-pattern condenser microphone that quickly became a favorite among recording professionals.
In 2000, RØDE launched the NTK, a valve condenser microphone that brought the warmth and richness of vintage tube microphones to a new generation of recording artists. This period also saw the introduction of the Podcaster, a USB microphone that anticipated the burgeoning podcasting trend, and the VideoMic, which catered to the growing market for DSLR video recording.
#### Challenges and Resilience
Despite its successes, RØDE faced significant challenges. The global financial crisis of 2008, for instance, threatened many businesses. However, RØDE’s commitment to innovation and quality helped it weather the storm. The company continued to invest in research and development, resulting in the release of the NTG-3, a professional shotgun microphone designed for broadcast and film production, which was well-received by the industry.
Moreover, RØDE’s strategic focus on digital marketing and social media engagement allowed it to build a strong online presence, connecting directly with its customer base and fostering a loyal community of users. This digital-savvy approach was instrumental in maintaining growth during tough economic times.
#### RØDE Today
Today, RØDE Microphones is a global leader in audio technology, with a diverse product range that includes studio microphones, live performance microphones, video microphones, and audio interfaces. The company’s commitment to quality and innovation remains unwavering, as evidenced by its state-of-the-art manufacturing facility in Sydney, which employs advanced robotics and precision engineering techniques.
RØDE’s impact on the audio industry is profound. Its products are used by professionals in music, broadcasting, filmmaking, and content creation worldwide. The company has received numerous awards for its innovations, including the Red Dot Design Award, the Technical Grammy Award, and multiple Australian Manufacturing Awards.
#### Key Figures and Leadership
Peter Freedman’s leadership has been a driving force behind RØDE’s success. His vision of combining high-quality engineering with affordability has disrupted the audio equipment market. Under his guidance, RØDE has not only maintained its competitive edge but also expanded into new areas, such as video production with the RØDELink wireless system and mobile journalism with the SC6-L mobile interface.
In recent years, the company has also focused on sustainability and ethical manufacturing practices, reflecting a broader commitment to social responsibility. This includes initiatives to reduce waste, improve energy efficiency, and ensure fair labor practices within its supply chain.
#### The Future of RØDE
As RØDE looks to the future, the company is poised to continue its tradition of innovation and excellence. Emerging technologies such as artificial intelligence, immersive audio, and virtual reality present new opportunities for RØDE to explore. The company’s investment in research and development, combined with its strong foundation in quality manufacturing, positions it well to lead the next wave of advancements in audio technology.
Moreover, RØDE’s commitment to supporting the creative community through initiatives like the My RØDE Reel short film competition and the RØDE Rockumentary project underscores its dedication to nurturing talent and fostering creativity.
#### Conclusion
The journey of RØDE Microphones from a small Australian family business to a global powerhouse in the audio industry is a testament to the power of innovation, resilience, and visionary leadership. By consistently delivering high-quality, affordable products, and maintaining a strong connection with its customer base, RØDE has revolutionized the audio equipment market and set new standards for excellence.
As the company continues to evolve and adapt to changing technologies and market dynamics, it remains committed to its core mission: empowering people to achieve professional sound quality in their creative endeavors. The story of RØDE is far from over, and the future promises even more exciting developments as it continues to push the boundaries of what's possible in audio technology.
Freitag, 14. Juni 2024
TEST: Rocktron Widowmaker
Almost all guitar heroes of the eighties called one or more rack slots their own and refrigerator-sized 20 U racks became a fixture on the established stages of the world for several years. You can love or hate this era, but no decade has produced as many heroes in the Malmsteen, Vai, Satriani or Gilbert style as the decade of "soft sounds". Chorus and delay, both components an integral part of every sound that plagued vinyl, cassette and stage.
As is well known, grunge at the beginning of the nineties brought an abrupt end to any kind of artisanal playing culture, which also meant the complete end of all rack solutions in terms of amplifier technology. Admittedly, compared to the omnipotent full stack on stage, the flashing 19-inch solution on wheels looks like a remnant of the last Christmas market decoration and has the sex appeal of Angela Merkel, but in terms of practicality and transport, the flight case solution is unbeatable. Alternatively, you can always use the fake department with full stack dummies in front and a rack solution behind it, which is still popular today, and not just with KISS.
So let's go on a journey through time and see whether the current preamp product Rocktron Widowmaker also meets current needs. Appropriately, the Velocity 100 LTD stereo power amplifier was included so that both components can be tested in a coordinated setup.
Construction
Widowmaker Preamp
First of all, Rocktron fortunately does not make the mistake of trying to talk the user into something that neither the name nor the product stands for. The product clearly promotes the "ultimate high-gain sound", which fits exactly into the musician's expectations. The structure of the preamp is designed accordingly clearly, 2 channels, clean and high gain, switchable either by hand or foot switch, off! No boosts, master volumes, FXs or other add-ons, just the purist sound approach, which couldn't be more reduced. In addition to a double three-band tone control and a volume control, the distorted channel contains, as expected, an additional gain control, but that's it. Either you manage to find your sound with these controls, or you're in the wrong place. Pretty consistent, I must admit.
Only two small LEDs provide information about the selected channel and the operating status. Nice detail on the edge, the push button for changing the channel has exactly the same shape as it did 30 years ago. An on/off switch and the TRS input socket complete the front of the 1U housing. In terms of readability of the control settings, however, Rocktron has set a new benchmark. Even if the speed dome potentiometers are very easy to operate, black controls on a black background with dark red orientation points without background lighting are visually hard to beat.
The back is also hard to top in terms of spartan equipment. An output socket, foot switch socket and the input socket of the included power supply, that's it. Speaking of the power supply, it is recommended not to misplace the factory power supply, as it delivers an output of 2000 mA! at 9V. It will be difficult to replace it.
Velocity 100 LTD Power Amp
The stereo power amplifier, which is also housed in 1U, leaves no room for error. Like the Rocktron Widowmaker Preamp, the product consistently relies on semiconductor technology. This means that 2 power blocks can be integrated into the small housing, which shine with the values 2x 55 watts at 4 ohms, 2x 40 watts at 8 ohms and just 2x 28 watts at 16 ohms. Anyone who now cries out loudly out of primal instinct that they would hardly be able to stand up to the pounding drummer in their death metal combo with only 28 watts each on their Marshall cabinets should briefly consider that almost all current 4x12" cabinets are designed in stereo, with 16 ohm mono and 2x ohm stereo versions as well as 4 ohm mono, which allows you to exploit the full power of the power amplifier.
In addition, a transistor solution also brings the pleasant fact of resistance to load idle of a tube power amplifier into play. While the output transformer of the valve solutions always requires a precise adjustment to the impedance of the speaker and must NEVER be operated without a load, i.e. a box, the semiconductor version simply takes what comes and adjusts its power output accordingly.
In addition to the usual volume controls, both blocks have a presence (treble) and resonance (bass) control, which also influence the sound. Why 2 blocks? Well, in accordance with the classic eighties directive, the wiring was preamp - stereo multi FX - stereo power amplifier or stage setup from left to right 4x12" cabinet, - 16 HE rack - 4x12 cabinet. Just as a side note, it was also very popular to lower your preferred all-tube head to preamp level using a load resistor and then feed it into the signal chain. If you have any questions, please contact Eddie Van Halen, Steve Lukather or Scott Henderson.
On the back, the Rocktron Velocity LTD 100 has 2 speaker outputs per block and an input socket per channel in addition to the IEC connector. In combination with a stereo splitter or a stereo FX slot, you can really show off. In addition to the typical mono version, 2 complete full stacks in stereo can also be supplied with the house wiring. 16 speakers that move the air, there's a lot going on on stage.
Practice
Due to the very clear equipment, you can't really go wrong with the Rocktron combination when it comes to operation. At the same time, you naturally have to think a little about the flexibility of the setup. Can you really find your personal sound with a handful of controls? To put it bluntly, you can find it.
The trick behind the system is a highly efficient tone control that massively intervenes in the frequency response of the instrument. Unlike many all-tube amplifiers, which usually only use the tone control to fine-tune the basic sound, Rocktron manages to generate a wide range of basic sounds, particularly in the high gain channel. The main focus is on the midrange control, which, in conjunction with the resonance control of the power amplifier, covers almost everything the customer needs, from British midrange to American scoop.
Furthermore, Rocktron offers, as expected, the sound that made the company an exceptional player in the eighties. A soft transistor distortion when needed, which suits the big eighties productions in the style of Hysteria / Def Leppard well.
Conclusion
Forget "Back To The Future", more "Go For The Past". With the Rocktron Widowmaker, the US manufacturer has managed to achieve a wide range of sounds despite minimal equipment, with the Velocity LTD 100 contributing a not insignificant part to the sound output.
The combination of the vintage charm of the 80s combined with the latest equipment in terms of workmanship and experience will make the hearts of all young at heart and future posers beat faster. My tip: buy a 4U rack and install a multi FX and a transmitter system in addition to the components mentioned above and the stuff that makes guitar heroes is brewed.
The Racks Are Back!
———————-
Additional Informations:
Rocktron is a prominent name in the world of music technology, renowned for its innovative guitar effects, amplifiers, and signal processors. Since its inception, Rocktron has been at the forefront of audio technology, continually pushing the boundaries of what is possible for musicians. This article explores the comprehensive history of Rocktron, highlighting its origins, key products, technological advancements, and impact on the music industry.
## Founding and Early Years
### The Birth of Rocktron
Rocktron was founded in 1983 by engineers Bob Waller and Jim Chowning in Michigan, USA. Both founders were passionate about music and had extensive backgrounds in electronics. They identified a gap in the market for high-quality, reliable guitar effects and signal processing equipment and set out to create products that would meet the demands of professional musicians.
### First Innovations: HUSH Noise Reduction
One of Rocktron's earliest and most significant innovations was the HUSH noise reduction system. Launched in the mid-1980s, the HUSH system addressed a common problem for guitarists: unwanted noise and hiss from their equipment. Unlike traditional noise gates, which often cut off the sound abruptly, the HUSH system used a sophisticated algorithm to reduce noise without affecting the tonal quality of the signal.
The HUSH system quickly gained popularity among guitarists and audio engineers for its effectiveness and transparency. It became a staple in recording studios and live setups, solidifying Rocktron's reputation as a leader in audio technology.
## Expansion and Key Products
### Rocktron Guitar Effects
Building on the success of the HUSH system, Rocktron expanded its product line to include a wide range of guitar effects pedals and processors. Some of the notable early products included:
- **Rocktron Pro Gap**: An advanced guitar preamp and effects processor that offered a wide range of tonal options and programmability.
- **Rocktron Intellifex**: A multi-effects processor that combined reverb, delay, chorus, and pitch shifting in a single unit. The Intellifex was praised for its high-quality effects and user-friendly interface.
- **Rocktron Chameleon**: A versatile guitar preamp and effects processor that allowed for extensive tone shaping and customization.
### MIDI Integration
In the late 1980s and early 1990s, Rocktron embraced MIDI (Musical Instrument Digital Interface) technology, which allowed for greater control and flexibility in live and studio settings. Products like the Rocktron All Access MIDI controller provided musicians with the ability to control multiple effects units and amplifiers from a single device, streamlining their setups and enhancing performance capabilities.
### Rocktron Rack Gear
Rocktron's reputation for innovation and quality was further cemented with the introduction of its rack-mounted gear. These products were designed for professional musicians and recording studios, offering high-end sound processing and durability. Key rack-mounted units included:
- **Rocktron Piranha**: A high-gain preamp known for its aggressive tone and extensive tone-shaping options.
- **Rocktron Replifex**: A multi-effects processor that combined the best features of the Intellifex and added new effects and improved processing power.
- **Rocktron Prophesy**: A flagship guitar preamp and effects processor that offered unparalleled tonal flexibility and advanced programming features.
## Technological Advancements
### Digital Signal Processing
Rocktron was an early adopter of digital signal processing (DSP) technology, which allowed for more sophisticated and precise effects processing. The transition from analog to digital effects enabled Rocktron to create more complex and high-quality sound effects, pushing the boundaries of what musicians could achieve with their gear.
### Continuous Innovation
Throughout the 1990s and 2000s, Rocktron continued to innovate and release new products that addressed the evolving needs of musicians. This period saw the introduction of several groundbreaking products, such as:
- **Rocktron Banshee**: A talk box with an internal amplifier, making it easier to use and more versatile than traditional talk boxes.
- **Rocktron Velocity Power Amps**: A line of solid-state power amplifiers known for their reliability and transparent sound.
### Collaboration with Artists
Rocktron's success was also driven by its collaborations with renowned musicians and guitarists. These partnerships provided valuable insights into the needs of professional players and helped Rocktron design products that met their exacting standards. Artists like Gary Hoey, Dave Mustaine (Megadeth), and Bruce Bouillet (Racer X) were among those who used and endorsed Rocktron gear.
## Modern Era and Continuing Legacy
### Expansion into New Markets
In recent years, Rocktron has expanded its product offerings to include a wider range of audio equipment, catering to both guitarists and other musicians. This includes:
- **Rocktron Boutique Pedals**: A series of high-quality, handcrafted effects pedals designed to appeal to tone purists and boutique enthusiasts.
- **Rocktron Amplifiers**: A line of guitar amplifiers that combine classic tones with modern features and reliability.
### Digital and Software Solutions
Recognizing the growing importance of digital technology and software in music production, Rocktron has also ventured into digital effects and software-based solutions. These products are designed to integrate seamlessly with modern recording setups and digital audio workstations (DAWs), offering musicians more flexibility and creative possibilities.
### Rocktron’s Impact on the Music Industry
Rocktron's contributions to the music industry go beyond its products. The company's commitment to innovation and quality has set new standards for guitar effects and signal processing. Its pioneering work in noise reduction and digital signal processing has influenced the development of modern audio technology and inspired countless other manufacturers.
## Conclusion
Rocktron's journey from a small startup to a leading name in music technology is a testament to its founders' vision and dedication. By consistently pushing the boundaries of what is possible with guitar effects and signal processing, Rocktron has earned its place in the pantheon of influential music technology companies. Today, Rocktron continues to innovate and inspire, providing musicians with the tools they need to create and perform at their best. The company's legacy is one of relentless pursuit of excellence, ensuring that Rocktron will remain a key player in the music industry for years to come.
TEST: Rock'n'Roller
Always an experience, always a torture. We all know it: if you don't have the benefit of a backliner due to your economic status, who not only looks after and maintains your personal equipment, but also sets it up and, above all, dismantles and loads it AFTER the show, you have to put yourself through this drudgery at every show.
Even though a lot has happened in terms of weight in recent years, a minimum level of physical effort is required for almost every group of instruments in the area of guitar, bass, drums or even sound. This is where a very simple transport device called the Rocknroller comes into play, which we have the RocknRoller R12 version for testing.
The role itself
Not really groundbreaking, the test device presented to us here, one or two people might ask themselves, and at first glance they are right. Starting with the stroller to the last assignment with pallbearers, we or something of ours is always being pushed somewhere on wheels. However, the structure of the mobile transport trolley and in particular its design in terms of flexibility and tire quality is crucial for its area of application.
Let's take the classic in the form of a 4x12 cabinet. Manufacturer X kindly includes 4 small plug-in castors and the inclined artist is happy about the seemingly limitless mobility of his box. Yes, and exactly as long as he is on a completely flat, clean and flawless parquet floor. Even small bumps or grooves bring the trolley to a standstill, not to mention cobblestones, grass or even grit. In this case, vigorous use only leads to the castors breaking off or even the screw anchors breaking out.
Here the RocknRoller R12 relies on a simple but completely transport-oriented construction, which can also be adapted to the respective size thanks to the extendable base frame. The trolley is guided by two curved pull or push rods, which can be straightened up after bending. The two front castors are braked and can be blocked when tilted.
You can also purchase several accessories such as floor pads, handlebar pads or PC shelves. More details can be found on the German distributor's website at http://b4-distribution.com/de/carts/rnr-rmh1.
Processing
Even if the simple concept shines through its high practicality, the best principle can only be implemented through good, or at least solid, processing. This is where you should let the product made in Malaysia go as soon as you look at the RocknRoller R12 in detail.
After assembly, the product shines through its good stability, but various weld seams are moving close to a slag heap and the supplied split pins should also be replaced with slightly more stable versions if necessary. If you can generously overlook these points, which can mostly be described as cosmetic defects, you get a functional system that works very well in its simplicity.
Practice
Let's get down to business! To make things really difficult for the torque in terms of bending, I pulled the cart apart and screwed it together. Then I placed 2 massive 4x12 cabinets, each weighing almost 26 kilograms, and an additional cable case weighing around 10 kilograms on the cart. With this weight, we ventured over the following surfaces:
Asphalt: As expected, no problems. The front and rear push rods have a little play in the longitudinal axis due to their design, but the weight can be transported both straight ahead and crosswise without much effort.
Concrete slabs, rough: Here you can feel the solid plastic design of the tires. The cabinets bounce a little due to the minimal damping, but everything stays within the green zone as long as you don't exceed walking speed.
Grass, stubbly: A real challenge for any type of transport roller. Although the rollers partially sink into the grass, the tire size allows for comparatively good guidance. The effort required is of course greater than on a flat surface, but this is limited for the heavy ground.
10 cm of split: Absolute horror, all the wheels sink into the split and are not allowed to dig into the layer. It's hard to believe, but the RocknRoller R12 can handle even this horrible surface. You do have to use all your strength and you get much better progress by pulling than by pushing, but the wheels move and don't eat into the split. Respect.
Conclusion
With the Rocknroller R12 you get a transport cart that is way ahead in terms of flexibility and simplicity. Due to its design, it is far superior to a classic roller board, and can handle even the worst surfaces, right down to medium-sized split beds. If you can generously overlook rough welds and jagged splinters, you get a transport cart with extremely high practical suitability.
—————————-
Additional Informations:
The trolley, also known as a cart or a hand truck, has become an indispensable tool in various aspects of daily life and industry. From supermarkets and airports to warehouses and hospitals, trolleys facilitate the movement of goods and materials, making tasks more efficient and less labor-intensive. This article explores the origins and development of trolleys, tracing their evolution from simple wooden carts to sophisticated, purpose-built devices that meet the demands of modern society.
## Ancient Beginnings
### Early Wheel Technology
The invention of the wheel, one of humanity’s most significant technological advancements, dates back to around 3500 BCE in Mesopotamia. Initially used for pottery, the wheel's application soon expanded to transportation, revolutionizing the way goods and people moved. The first wheeled vehicles were likely simple wooden platforms mounted on rollers or solid wooden wheels.
### Early Carts and Wagons
As societies developed, so did their transportation needs. The first carts, simple wooden frames on wheels, emerged in ancient civilizations such as Mesopotamia, Egypt, and the Indus Valley. These early carts were typically drawn by animals like oxen and horses, enabling the transportation of heavier loads over longer distances. By the time of the Roman Empire, wheeled carts and wagons had become essential for trade, construction, and agriculture, with more sophisticated designs incorporating features like suspension systems and iron-rimmed wheels for durability.
## The Middle Ages and Renaissance
### Innovations in Cart Design
During the Middle Ages, carts and wagons continued to evolve. The development of the pivoting front axle allowed for improved maneuverability, especially on narrow or winding roads. This period also saw the use of larger, sturdier wheels, often made of wood with iron bands, which could withstand rough terrain and heavy loads.
### Handcarts and Barrows
In addition to animal-drawn carts, the Middle Ages saw the rise of handcarts and wheelbarrows for smaller, more manageable loads. These single-wheel devices were particularly useful in construction, agriculture, and marketplaces. The wheelbarrow, believed to have been independently invented in China around 200 CE and later in Europe, allowed a single person to transport loads that would otherwise require multiple people, greatly increasing efficiency in labor-intensive tasks.
## The Industrial Revolution
### The Rise of Mechanization
The Industrial Revolution, beginning in the late 18th century, brought profound changes to transportation and material handling. The advent of steam power and the development of factories and railroads created a need for more efficient ways to move goods within industrial settings. Trolleys, now made from stronger materials like steel and iron, were designed to meet these needs.
### Rail Trolleys
One significant innovation of this period was the rail trolley. These small, wheeled platforms ran on tracks and were used to move heavy materials within factories, mines, and construction sites. Rail trolleys were often powered by steam engines or, later, electric motors, significantly reducing the physical effort required to transport heavy loads.
## The 20th Century: From Manual to Motorized
### Early 20th Century
The early 20th century saw further innovations in trolley design. Hand trucks, featuring two wheels and a metal frame, became widely used in warehouses and delivery services. These trolleys allowed a single person to move heavy boxes and crates by leveraging the load over the wheels.
### Supermarket Trolleys
A significant development in the consumer sector was the invention of the supermarket trolley. In 1937, Sylvan Goldman, the owner of a supermarket chain in Oklahoma, invented the first shopping cart to help customers carry more items and thus increase sales. His design featured a folding chair frame mounted on a set of wheels, with a wire basket placed on top. This innovation transformed the shopping experience, making it more convenient and encouraging bulk purchases.
### Airport and Hospital Trolleys
With the growth of air travel in the mid-20th century, airports needed efficient ways to handle increasing amounts of luggage. This led to the development of airport trolleys, sturdy, wheeled carts designed to carry suitcases and bags. Similarly, the healthcare industry saw the introduction of specialized trolleys for transporting medical supplies, equipment, and patients, enhancing operational efficiency and patient care.
### Motorized and Electric Trolleys
The latter half of the 20th century saw the introduction of motorized and electric trolleys, particularly in industrial and warehouse settings. These powered trolleys, equipped with electric motors and battery packs, could carry heavier loads over longer distances with minimal human effort. Forklift trucks, a type of powered trolley with lifting capabilities, became essential in logistics and manufacturing.
## Modern Innovations
### Ergonomics and Safety
Modern trolley design places a strong emphasis on ergonomics and safety. Understanding the impact of repetitive strain injuries and workplace safety, manufacturers have developed trolleys with features like adjustable handles, improved wheel designs, and braking systems. These enhancements help reduce physical strain on users and minimize the risk of accidents.
### Specialized Trolleys
Today, there are trolleys designed for specific tasks and industries. Examples include:
- **Laundry Trolleys**: Used in hotels and hospitals for collecting and transporting linens.
- **Catering Trolleys**: Designed for the foodservice industry to transport meals and supplies.
- **Library Trolleys**: Used in libraries to move books efficiently.
- **Warehouse Trolleys**: Equipped with various attachments for handling different types of goods.
### Technological Integration
The integration of technology into trolley design continues to advance. Automated guided vehicles (AGVs), essentially robotic trolleys, are now used in warehouses and manufacturing plants to transport materials without human intervention. These AGVs follow pre-programmed paths and can be integrated into larger automated systems, increasing efficiency and reducing labor costs.
### Sustainable Materials
As environmental concerns become more prominent, there is a growing trend towards using sustainable materials in trolley manufacturing. Recycled metals and plastics are increasingly being used to produce trolleys, reducing the environmental impact of their production and disposal.
## The Global Impact
### Enhancing Productivity
The evolution of trolleys has had a profound impact on productivity across various sectors. By reducing the physical effort required to move goods, trolleys have enabled faster and more efficient workflows, from warehouses and factories to retail stores and hospitals. This increased efficiency translates into cost savings and improved service delivery.
### Supporting Global Supply Chains
In the context of global supply chains, trolleys play a critical role in material handling and logistics. Whether it's moving components within a manufacturing plant or handling goods in a distribution center, trolleys facilitate the smooth flow of products from producers to consumers. The ability to move goods quickly and safely is essential for meeting the demands of modern commerce.
### Improving Quality of Life
Beyond their industrial applications, trolleys have also improved the quality of life for individuals. From shopping carts that make grocery trips more convenient to luggage trolleys that ease the burden of travel, these simple yet effective tools enhance daily activities and contribute to greater comfort and convenience.
## Conclusion
The history of the trolley is a testament to human ingenuity and the ongoing quest for efficiency in material handling. From ancient wooden carts to modern automated systems, trolleys have evolved in response to changing needs and technological advancements. Today, they are an essential part of everyday life and industry, demonstrating how a simple concept can have a profound and lasting impact on society. As technology and materials continue to advance, the future of trolleys promises even greater innovations, ensuring their relevance and utility for generations to come.
TEST: Rockboard HA 1
I don't think I'm going out on a limb when I say that the majority of musicians who have left the rehearsal room are now working with an in-ear system on stage. Of course, depending on the type of instrument, moving air is still a very different sound experience and even the best earphones in the ambitious four-figure retail price range cannot reproduce the direct radiation of a 12-inch speaker in its entirety 1:1, but the advantages of in-ear systems in terms of spatial independence and mobility ultimately trump everything in terms of sound purism. Modern rock/pop shows with the corresponding entertainment can no longer be realized with cables, so that in high-end live productions, gigantic transmitter racks are piled up backstage to supply the corresponding artists with signals. But what if you don't need an extensive movement frame with the corresponding stage show as part of your stage function or, as in the case of the drummer, don't even have one available? This is where miniature in-ear amplifiers come into play, including the Rockboard HA 1 we tested.
The concept of the Rockboard HA 1
Anyone who comes from the music industry, such as cover, theater or revues, will probably already know the situation from their own experience. The singers take over the show area / communication with the audience and, apart from occasional interludes, the guitar / bass / keyboards (drums anyway) department stays in its assigned place, with a maximum radius of movement of perhaps 4 square meters. In such a habitat, it is more than questionable whether you really want to put up with monitoring via a wireless link with all its disadvantages such as battery management, interference, etc., especially if your own instrument is also possibly already connected to the amplifier via a cable and the mobility of the wireless link would not bring you any spatial gain.
In this environment, a cable-based amplifier makes much more sense, as the signal transmission is not only more stable and resistant to interference, but there is also no frequency adjustment within the band or at festivals, for example. I recently discovered on my last South America tour that my very high-quality transmission system on the LTE gap of 823 MHz in Argentina was unusable due to cracking interference that could not be eliminated and I had to switch to a cable at short notice. To serve this segment, there are said miniature in-ear amplifiers, which are usually attached to the waistband / guitar strap using a clip. The Rockboard HA 1 also works according to this principle, but has several practical advantages over the competition for this price range.
The immediate opponent of the Rockboard HA 1 is currently the Behringer Powerplay P2, especially since the two products only differ by one euro in retail price. The overall concept of a miniature in-ear ear amplifier is the same throughout. Using a lockable XLR / TRS plug, which receives a stereo signal, the signal is brought to a corresponding level via a mini jack socket for the in-ear earphone, which can then be adjusted in the overall volume using a corresponding potentiometer.
In addition to the expected demands on the sound of the product, it is above all the areas of workmanship, feel, quick access to the battery compartment and battery life that characterize a miniature in-ear amplifier. Let's start with the workmanship of the Rockboard HA 1. The Rockboard HA 1 has a solid aluminum housing, which should withstand hard knocks that will inevitably occur in its area of application very well and is nevertheless very light due to the choice of material. In order to get to the inner workings of the product, 2 Allen screws would have to be loosened on each of the front sides, but this will normally never be necessary, as the Rockboard HA 1 has a battery compartment that is accessible from the outside. In contrast to some competitors, where the battery is changed using a pressure switch, which pushes the inner workings of the amplifier outwards like a sleeve, Rockboard has opted for a much more convenient battery compartment, which also turns out to be quicker to use.
Another very good detail is the fact that the lid of the battery compartment remains locked on the bottom when opened and cannot fall to the floor. This ensures that any battery change required during a show can be done in seconds. The lid also locks in place well and, thanks to its recessed placement in the housing, remains well protected against accidental opening during the show.
The battery life of the Rockboard HA 1 is stated by the manufacturer as 12 hours, which is the normal average for this product class. 2x AAA batteries are required, and a set of batteries is included with the product. With dimensions (L x W x H): 141 mm x 30 mm x 36 mm and a weight of 111 g, the amplifier can be described as very handy, so that it can actually be carried in almost any bag. In order to attach the Rockboard HA 1 to the waistband or guitar strap, an extremely tight clip has been attached to the side, which requires a certain amount of force to open, but also "bites" very securely onto the piece of clothing / guitar strap.
As is usual in the in-ear area, the Rockboard HA 1 also uses a mini jack socket to connect the corresponding earphone. This format has also become established for all earphone cabling, as regular 6.35 mm jack plugs would take up too much space despite their greater stability. The amplifier delivers a maximum output of 2 x 110 mW at 16 ohms, which also corresponds to the usual standard values. An XLR / TRS combo socket is used for the signal feed, which receives the preferably symmetrical signal from the monitor mixer / AUX path. The operating status of the Rockboard HA 1 is visually displayed via a status LED.
As a special feature, the Rockboard HA 1 has a mono / stereo switch, which solves a well-known problem with in-ear monitoring. As is well known, complex in-ear monitoring offers the possibility of acoustically depicting the stage very well in terms of the stereo image. If you can live with the fact that this acoustic image rotates 180 degrees when you look behind you, you can use it to generate your perfect stage sound. But if you share your setup with other musicians and can't cope with this stereo image, you have a problem. There are also many musicians who only use in-ear monitoring with one ear and remove the second earphone in order to hear the stage sound. Here, too, there is the problem of the stereo image, as the same instruments that are on the channel of the remote earphone are not perceived.
For these situations, the Rockboard HA 1 has the same mono / stereo switch, which allows you to switch your stereo image to mono with one hand if necessary. A very useful and practical setting, which can also be switched blindly behind your back during the show thanks to the good grip of the slider.
The Rockboard HA 1 in practice
I appreciate practical tests that basically only focus on the implementation of the points described above and are therefore correspondingly short. This is just such a test. The Rockboard HA 1 does what it should in every respect and what was assumed beforehand. The sound of the amplifier is neutral and is primarily determined by the in-ear earphones used.
The amplifier also has enough headroom to be able to reproduce a high volume without saturation, offers a uniform control range and is extremely easy to use. The mini jack socket grips firmly and holds the earphone sufficiently firmly so that an accidental slight pull on the earphone cable does not immediately push the plug out of the socket.
A very good amplifier that also has an excellent price/performance ratio.
Conclusion
The Rockboard HA 1 is a miniature in-ear amplifier on the market that has several practical detailed solutions. Thanks to the battery compartment, changing the battery is quicker and easier than with many other representatives of this product class, and the built-in mono/stereo switch even allows you to quickly switch the stereo image during the show.
The workmanship is impeccable, the concept is practical, and for me it is the current purchase recommendation in the area of miniature in-ear amplifiers!
———————
Additional Informations:
In-ear monitoring (IEM) systems have revolutionized live stage performances by providing musicians with a personalized and precise audio mix. The development of in-ear monitoring amplifiers, in particular, has played a crucial role in enhancing the quality and reliability of these systems. This article delves into the history and evolution of in-ear monitoring amplifiers, tracing their origins, technological advancements, and impact on live music performances.
## Early Stage Monitoring: From Wedges to Wireless
### The Era of Floor Monitors
Before the advent of in-ear monitoring systems, stage monitoring primarily relied on floor monitors, also known as wedge monitors. These speakers, placed on the stage floor facing the performers, provided them with a mix of the audio signals being produced. While effective to some extent, floor monitors had several drawbacks:
- **Feedback Issues**: High sound levels often led to feedback, causing unpleasant squeals and interfering with performances.
- **Stage Clutter**: Multiple monitors on stage contributed to clutter, restricting performers' movements.
- **Inconsistent Sound**: The sound quality and levels varied depending on the performers' positions on stage.
### The Need for a Better Solution
The limitations of floor monitors drove the search for better solutions. In the late 1960s and early 1970s, as live performances grew larger and more sophisticated, the demand for more effective monitoring systems increased. The quest for better stage monitoring was driven by the need for:
- **Improved Sound Quality**: Clearer and more consistent audio for performers.
- **Reduced Feedback**: Minimizing the risk of feedback and related issues.
- **Enhanced Mobility**: Allowing performers to move freely without being tethered to a specific spot on stage.
## The Birth of In-Ear Monitoring Systems
### Early Experiments and Innovations
The concept of in-ear monitoring began to take shape in the late 1970s and early 1980s. Innovators in the audio industry started experimenting with ways to deliver audio directly to the performers' ears. The goal was to provide a more personalized and isolated listening experience, free from the limitations of traditional floor monitors.
One of the pioneers in this field was Marty Garcia, the founder of Future Sonics. In the late 1980s, Garcia developed one of the first in-ear monitoring systems, which used custom-molded earphones to deliver audio directly to the performers' ears. This early system marked a significant step forward, providing improved sound isolation and clarity.
### The Role of Wireless Technology
The development of wireless technology was a key enabler for the evolution of in-ear monitoring systems. Wireless in-ear monitors allowed performers to move freely on stage without being constrained by cables. Early wireless systems, however, faced challenges such as signal interference and limited range. Advances in wireless technology throughout the 1990s and 2000s addressed these issues, leading to more reliable and versatile in-ear monitoring systems.
## The Evolution of In-Ear Monitoring Amplifiers
### Early Amplifiers and Their Limitations
The initial in-ear monitoring systems used relatively simple amplifiers to drive the earphones. These early amplifiers, often integrated into wireless bodypack receivers, were basic in their design and functionality. While they provided a significant improvement over floor monitors, they had limitations:
- **Limited Customization**: Early amplifiers offered limited options for customizing the audio mix.
- **Sound Quality**: The sound quality, while improved, was still not optimal for all performers.
- **Durability and Reliability**: Early models were prone to wear and tear, impacting their reliability during performances.
### Advances in Amplifier Technology
The late 1990s and early 2000s saw significant advancements in amplifier technology, driven by the increasing demands of live performances and the growing popularity of in-ear monitoring systems. Key developments during this period included:
- **Improved Audio Processing**: Advances in digital signal processing (DSP) allowed for more precise control over the audio mix, including equalization, compression, and limiting.
- **Enhanced Customization**: Modern amplifiers provided performers with greater control over their audio mix, including the ability to adjust individual instrument levels and create personalized presets.
- **Higher Sound Quality**: Improvements in amplifier design and components resulted in higher fidelity audio, with better clarity and detail across the frequency spectrum.
- **Wireless Integration**: Integration with advanced wireless systems ensured more reliable signal transmission and reduced interference.
### Notable Manufacturers and Innovations
Several companies have played pivotal roles in the development of in-ear monitoring amplifiers. Notable manufacturers include:
- **Shure**: Shure has been a leader in wireless microphone and in-ear monitoring technology. Their PSM (Personal Stereo Monitor) series has set industry standards for reliability and sound quality.
- **Sennheiser**: Known for their high-quality audio products, Sennheiser's evolution wireless IEM series has been widely adopted by professionals for its robust performance and user-friendly features.
- **Ultimate Ears**: Ultimate Ears, a division of Logitech, has focused on custom-molded in-ear monitors and high-performance amplifiers, providing performers with tailored solutions for their monitoring needs.
## Impact on Live Performances
### Enhanced Performance Quality
The evolution of in-ear monitoring amplifiers has had a profound impact on live performances. Performers benefit from:
- **Consistent Sound**: Regardless of their position on stage, performers receive a consistent and high-quality audio mix, allowing them to focus on their performance.
- **Hearing Protection**: In-ear monitors help protect performers' hearing by reducing the need for high stage volume levels.
- **Improved Communication**: Many modern in-ear systems include features that facilitate communication between band members and sound engineers, enhancing coordination and performance quality.
### Adaptation Across Genres
In-ear monitoring amplifiers have been embraced across various music genres, from rock and pop to classical and jazz. Their versatility and benefits have made them a standard tool for both large-scale productions and smaller, intimate performances.
### Case Studies and Success Stories
Numerous artists and bands have successfully integrated in-ear monitoring systems into their live performances. For example:
- **U2**: The iconic rock band U2 has long been a proponent of in-ear monitoring, using advanced systems to ensure flawless performances in their large-scale concerts.
- **Beyoncé**: Pop superstar Beyoncé relies on in-ear monitors to deliver her high-energy performances with precision and clarity.
- **The Rolling Stones**: Even veteran rock bands like The Rolling Stones have adopted in-ear monitoring to enhance their live sound and protect their hearing.
## The Future of In-Ear Monitoring Amplifiers
### Technological Trends
The future of in-ear monitoring amplifiers is likely to be shaped by several technological trends:
- **Digital Integration**: Greater integration with digital audio networks and systems, allowing for more seamless and flexible setups.
- **Artificial Intelligence**: The use of AI to automatically optimize audio mixes based on real-time analysis of the performance environment.
- **Enhanced Customization**: Continued advancements in personalization, including custom-molded earphones and personalized audio profiles.
### Challenges and Opportunities
While in-ear monitoring systems have come a long way, there are still challenges to address:
- **Latency**: Ensuring low latency in digital systems to maintain real-time audio monitoring.
- **Durability**: Enhancing the durability and reliability of wireless systems in demanding live environments.
- **Affordability**: Making high-quality in-ear monitoring systems more accessible to a wider range of performers and venues.
## Conclusion
The evolution of in-ear monitoring amplifiers has transformed the landscape of live stage performances, providing performers with unparalleled control over their audio environment. From the early experiments in the 1980s to the sophisticated systems available today, in-ear monitoring amplifiers have significantly enhanced the quality and consistency of live sound. As technology continues to advance, the future holds exciting possibilities for further innovation in this field, ensuring that performers can continue to deliver their best performances with confidence and clarity.
TEST: AEA RPQ3
The AEA RPQ3 is a microphone amplifier which, in addition to its function as a regular preamp, can show its strengths particularly when used with ribbon microphones.
The special nature of ribbon microphones
There is rarely a product group in the studio where opinions are so divided as with ribbon microphones. What for some represents the ultimate naturalness in terms of sound is out of the question for others due to the special frequency characteristics when it comes to the practical recording of instruments.
Here is a rough list of the special features of ribbon microphones, without claiming to be complete:
Advantages:
Without a doubt, the sound itself is one of the great advantages of this type of microphone, especially with high-quality ribbon microphones. The directional characteristic, which is set to a fixed figure of 8, inevitably brings a very large spatial aspect to the recording, which ensures a great naturalness in the reproduction.
For example, it is also possible to create a good-sounding combination of close-up and room recording by positioning the microphone very close to the dome when recording a guitar, for example, and thus capturing a high proportion of the direct sound, while at the same time also getting the same proportion of the room from the back of the microphone on the recording. This ensures a very natural sound and, especially in rooms that sound good, a very pleasant listening experience.
In addition, a ribbon microphone is usually very fine in its resolution and manages to capture even the last fine breaths and smacks in the signal path when recording vocals, for example. Last but not least, you can also record two instruments at once with a ribbon microphone. For example, I have often seen a ribbon microphone positioned between the two hanging toms on a drum kit, for example to save a microphone channel.
Disadvantages:
In the minus range, however, the ribbon microphone also has a few points that make working with this type of microphone more difficult. Firstly, there is the consistently high sensitivity of these types of microphone, which is why you see these microphones comparatively rarely in live situations. Dropping a microphone, which is practically no problem with a dynamic microphone, for example, can destroy a ribbon microphone, assuming it is not specifically built for live use.
The microphone is also very sensitive to accidentally applied phantom power. There are also ribbon microphones that are specifically built for phantom operation, but this represents a very small minority. The majority are destroyed within seconds by the phantom power applied.
The two biggest disadvantages, however, one of which is specifically addressed by the AEA RPQ3 microphone amplifier presented here for testing, is the enormous bass-heavy nature of the ribbon microphone and the associated extremely low output power. In fact, most microphone preamplifiers, which on average provide up to 60 dB of gain, are working at the absolute limit of adequately amplifying a ribbon microphone that has to transmit a quiet signal.
The concept of the AEA RPQ3
This is where the concept of the AEA RPQ3 amplifier comes in, which is not designed and manufactured by the company AEA in Pasadena / USA for nothing. The company AEA has an extensive portfolio of in-house ribbon microphones and has built up a very good reputation in this area in recent years.
It is obvious that such a company is familiar with the problems of a ribbon microphone, which is why this microphone preamplifier actually provides up to 85 dB gain. This is a value that I personally have never seen in a 19-inch microphone preamplifier. The gain value on the 2-channel amplifier is set using an extremely stiff rotary control, which works in 5 or 6 dB steps from 7 to 85 dB. Using the output control, the level can be looped through at 0 dB, or amplified by up to 20 dB. A three-digit LED chain informs the user how much level is present on the device. Green means minus 20 dBu, yellow 0 dBu, red means plus 20 dBu. What may seem a bit spartan at first glance with regard to the LEDs turns out to be relatively easy to handle in practice.
Both channels have two bandpass filters each, the operating point of which can be continuously adjusted between 40 Hz and 675 Hz, or 2 kHz and 28 kHz, using pleasantly stiff controls. Both filters can be activated or deactivated independently of one another using switches, or placed in the signal path using a master switch.
The rear connections of the AEA RPQ3 are traditional but effective. In addition to the loop-in path, which will be mentioned later, we have lockable inputs and outputs in XLR format, which are of high quality. There is also a voltage selector switch that allows you to choose between North American and European voltages, a IEC socket and a corresponding fine-wire fuse.
The preamp also has the usual standard equipment, such as phantom power per channel (red switch) and a phase reversal, which can be activated if required. However, the product also has several special features in its repertoire, which we will go into in more detail shortly.
The special features of the AEA RPQ3
As the company AEA has a wealth of experience with ribbon mics and their special sound characteristics due to its history, you can see from the fact that each channel has a gain switch, which allows ±10 dB in the treble EQ and ±20 dB in the bass EQ. With this extensive sound control, you can tackle the bass-heavy nature of the ribbon microphones very well.
Another special feature is the use of an effects loop, which is attached to the back of the housing. The TRS inputs and outputs allow the signal to be branched off before the equalizer and the output controller or the signal to be fed back after the same components. This means that various signal processors such as additional EQs or compressors can be integrated into the signal path of the preamplifier.
Another special feature is that the output of the insert always carries the signal, regardless of whether the insert on the front of the housing is activated or deactivated using the switch. This makes it possible to forward the signal routed in the daisy chain process to additional input sources during recording.
The AEA RPQ3 in practice
To say it right away, yes, the AEA RPQ3 is indeed suitable for any type of microphone, but the microphone amplifier can only really show its full strengths with a ribbon microphone. The possibility of pre-amplification with up to 85 dB actually gives the device a unique selling point that is rarely found these days. Of course, it is not necessary to have this type of pre-amplification available all the time, but it is incredibly reassuring to know that you can actually manage any type of signal flow from any type of microphone in your studio.
It is also noticeable that the two equalizers per channel tackle the signal relatively discreetly. Even with heavy processing, the signal takes on more of a coloration than it is actually distorted in terms of frequency in the sense of an equalizer. It is therefore in the manufacturer's interest that the original sound of the microphone is preserved and that the basic sound of the microphone is only slightly interfered with if necessary. Really bending the frequency curve is not possible with these equalizers, but it is not necessary either.
It is also very pleasant to note that the AER RPQ3 remains completely free of background noise even at high gain levels due to the high-quality components used. Once you have got used to the unusual handling of the gain control, the product is an absolute no-brainer with which you can do little wrong and a lot right.
I also really like the concept of the loop path, as with just a few simple steps and the use of external components such as compressors, equalizers or de-essers, you can quickly blow up the microphone preamp to a complete channel strip, which turns out to be very useful in practice.
Conclusion
With the AEA RPQ3, the American manufacturer has a preamp in its portfolio that is specifically designed for ribbon microphones. The extremely high preamplification of up to 85 dB allows optimal adaptation to the design of the ribbon mics and enables good signal routing even with quiet signals.
Highly recommended, especially since the microphone amplifier also cuts a fine figure with regular microphones.
——————
Additional Informations:
AEA Audio, short for Audio Engineering Associates, is a renowned name in the world of professional audio, known primarily for its expertise in ribbon microphones. Founded by Wes Dooley, AEA has made significant contributions to the field of audio engineering, offering high-quality recording equipment that has become a staple in studios worldwide. This article delves into the history, products, and impact of AEA Audio, highlighting its commitment to innovation and excellence.
## History and Founding
AEA Audio was established in 1964 by Wes Dooley, a passionate audio engineer with a deep appreciation for the rich, natural sound produced by ribbon microphones. Dooley's fascination with audio began in his youth, and he spent years honing his skills and knowledge in the field. His dedication to capturing authentic sound led him to found AEA, with the aim of preserving and enhancing the classic ribbon microphone technology.
In the early years, AEA focused on repairing and maintaining vintage ribbon microphones, particularly those produced by RCA. Dooley's expertise and meticulous attention to detail earned him a reputation as a master craftsman. This experience laid the groundwork for AEA's later innovations in ribbon microphone design and manufacturing.
## Ribbon Microphones: The Heart of AEA
Ribbon microphones are known for their natural, smooth sound, making them ideal for recording vocals, strings, brass, and other acoustic instruments. Unlike condenser microphones, which use a diaphragm to capture sound, ribbon microphones use a thin, corrugated metal ribbon suspended within a magnetic field. This design allows for a more accurate and detailed capture of sound waves, resulting in a warm and balanced audio output.
### AEA R44 Series
One of AEA's most iconic products is the R44 series, a faithful reproduction of the legendary RCA 44 ribbon microphone. The original RCA 44, introduced in the 1930s, set a high standard for broadcast and recording quality. AEA's R44 series maintains the classic design and sound characteristics of the original, while incorporating modern materials and manufacturing techniques to ensure durability and consistency.
The R44 series is renowned for its ability to capture the full frequency spectrum with remarkable clarity and depth. It features a bidirectional polar pattern, which captures sound from the front and rear while rejecting noise from the sides. This makes it an excellent choice for capturing the ambiance of a room or recording in stereo.
### AEA R84
Another standout product in AEA's lineup is the R84 ribbon microphone. Designed as a more versatile and affordable alternative to the R44, the R84 has become a favorite among recording engineers and musicians. It offers a smooth, extended frequency response and a natural, open sound that is well-suited for a wide range of applications, from vocals to percussion.
The R84's compact size and lightweight design make it easy to position in any recording setup, while its robust build ensures reliable performance in various environments. It also features AEA's proprietary Big Ribbon™ technology, which uses a larger ribbon element to capture more low-end detail and provide a fuller sound.
### AEA KU4
The AEA KU4 is a modern interpretation of the rare RCA KU3A, also known as the “Skunk Mic” due to its unique appearance. The KU4 is a unidirectional ribbon microphone, offering the rich, smooth sound of a ribbon mic with the directionality of a cardioid pattern. This makes it an excellent choice for isolating sound sources in challenging acoustic environments.
The KU4's design reduces proximity effect, allowing it to capture close-up vocals and instruments without excessive bass buildup. Its tailored frequency response provides a natural and detailed sound, making it a valuable tool for both studio and live recording.
## Innovations and Contributions
AEA Audio is not only known for its high-quality products but also for its contributions to the field of audio engineering. The company's commitment to innovation and excellence has led to several advancements in ribbon microphone technology.
### Big Ribbon™ Technology
One of AEA's notable innovations is the Big Ribbon™ technology, which uses a larger ribbon element to capture more low-end detail and provide a fuller, more natural sound. This technology is featured in several AEA microphones, including the R84 and the KU4. The larger ribbon element allows for a more accurate capture of low-frequency sounds, making these microphones ideal for recording bass-heavy instruments and vocals.
### Active Ribbon Microphones
AEA has also developed a line of active ribbon microphones, which incorporate onboard electronics to provide higher output levels and improved signal-to-noise ratio. These microphones, such as the A440 and the N22, offer the smooth, natural sound of a ribbon mic with the added convenience and flexibility of active electronics. This makes them well-suited for use with a wide range of preamps and recording setups.
### TRP Ribbon Preamp
Understanding that ribbon microphones require preamps with high gain and low noise, AEA developed the TRP (The Ribbon Pre) specifically to meet these needs. The TRP is a high-gain, low-noise preamp designed to complement the unique characteristics of ribbon microphones. It provides the clean, transparent amplification needed to capture the full detail and nuance of ribbon mic recordings.
## AEA in the Studio
AEA's ribbon microphones have found their place in some of the world's most prestigious recording studios, used by top engineers and artists to capture everything from orchestral performances to rock vocals. The natural, detailed sound of AEA microphones has made them a go-to choice for recording professionals seeking to achieve the highest quality audio.
### Notable Users and Recordings
Many renowned artists and engineers have relied on AEA microphones to capture their recordings. For instance, Grammy-winning engineer Al Schmitt used the R44 on recordings with artists such as Frank Sinatra and Diana Krall. The R84 has been used by producers like Ross Hogarth for its versatility and natural sound, making it a staple in studios across genres.
### Educational Outreach
AEA is also committed to educating the next generation of audio engineers. The company frequently participates in workshops, seminars, and industry events to share its knowledge and expertise. By providing resources and training, AEA helps aspiring engineers understand the unique qualities of ribbon microphones and how to use them effectively in various recording scenarios.
## Conclusion
AEA Audio has established itself as a leader in the field of audio engineering, with a legacy built on the excellence of its ribbon microphones. From the faithful reproduction of classic designs to the development of innovative new technologies, AEA continues to push the boundaries of what is possible in audio recording. Through its commitment to quality and education, AEA ensures that the rich, natural sound of ribbon microphones will continue to inspire and captivate listeners for generations to come.