TEST: IGS Zen

Well? Already formulated a rough opinion about the product based on the preview image? ;-) Yes, I know, outgear has it more than just difficult nowadays. Within their productions, everyone loves the mostly better resolution, the larger headroom and the more "musical" way of working of the 19 inch bolides, which capture the quintessence of the studio atmosphere both optically and haptically. However, if you apply the economic yardstick and briefly calculate how much more revenue was generated by that very product, you sadly move within a very short time in the realm of hobby. Nevertheless, the industry offers a stable base of high and highest-quality dynamic processors, such as the IGS Audio Zen, which has some technical features to offer in addition to an omnipresent appearance and a retail price of just under 3,000 €.

Construction and conception of the IGS Audio Zen

Vintage! This is the first word that comes to mind, both for me and probably for many users who are reading this article. Indeed, the IGS Audio Zen, whose manufacturer is based in Poland, calls up just about everything in terms of visual and tactile attributes that one associates with the classics of analog signal routing. According to company info, the concept of the IGS Audio Zen is based on the "legendary compressors of Abbey Road Studios," which were used extensively by the Beatles, for example. Unfortunately, it was not mentioned exactly which compressors are involved in terms of the exemplary character.

However, you can already see at first glance that the IGS Audio Zen gets by with significantly fewer controls. Similar to a Vari-Mu compressor, the IGS Audio Zen has no ratio control, not even a threshold control can be found on the control panel. Instead, there are 2 massive chickenhead controls for attack and release per channel in the upper section, whose eleven-digit control options are defined by a grid and can be increased by a factor of 4 via a mini-switch. The individual ranges are as follows:

Attack: 5 ms, 8 ms, 12 ms, 18 ms, 25 ms, 37 ms, 50 ms, 62 ms, 75 ms, 87 ms, 100 ms
Release: 10 ms, 25 ms, 50 ms, 100 ms, 200 ms, 350 ms, 500 ms, 625 ms, 750 ms, 1000 ms, 2000 ms

If you now consider the quadrupling of the values, you will indeed get extreme control paths, which would probably be used less in music title production, but would cut a very good figure in the score area, for example. Another mini-switch allows a preset setting from compressor to limiter, which is done via a corresponding soft knee / hard knee adjustment.

Another chickenhead control per channel manages a high-pass filter, which can be set to 60 Hz, 90 Hz, 120 Hz or 240 Hz, or can be switched off completely. Interesting is the AMP position, where the sidechain circuit is bypassed and the compressor works like a 36 dB amplifier, which is also known as THD model. Two illuminated pushbutton switches activate the On / Off function by means of a True Bypass, while a Link switch combines the two channels into a stereo module. Two large VU meters, which display the gain reduction, also provide the right vintage flair.

If you still have a rather tired "So what?" on your lips up to this point, you'll raise your eyebrows at the latest when you turn the input and output controls. This is no longer vintage, this is already military standard brand cold war. The black knobs with a 24-fold, extremely difficult to use grid could also be used in any Russian submarine. Overwinding by means of a too fast movement? Not being able to find the last setting exactly? Impossible with these knobs! In fact, these knobs represent a haptic highlight, it's just really fun to move these knobs!

The rear panel

The back of the 3 HE large bolide, which comes with its dark blue / black finish and with 9 kg weight also quite masculine, is quickly dealt with. Per channel 1x XLR male and XLR female In / Out, done. Additional connections? No, everything is vintage in its purest form. Interestingly, the IGS Audio Zen is delivered with four strong rubber feet, which allows the compressor a stable stand even outside the rack operation.

Unfortunately, the manufacturer is very stingy in terms of info material with a comprehensive clarification and also the matching website offers only very spartan information about the still almost 3,000 € expensive product. Not every user wants to struggle through the innards of the technology, but a little more detail would be desirable in my opinion for real gear nerds.

The special feature of the IGS Audio Zen

As the product name suggests, a special diode called a Z-diode operates inside the IGS Audio Zen. A Z-diode, also called a Zener diode, is a diode that is designed to operate permanently in the reverse direction in the breakdown voltage range. In reverse direction, Z-diodes are reverse-biased at low voltages, just like normal diodes. While the Z-diode is operated in the reverse direction, it operates in the forward direction like an ordinary diode. Z diodes are referred to as Zener or avalanche effects, which cause the current to increase abruptly once a certain reverse voltage is reached. Zener diodes are designed so that their breakdown voltage has a very specific value and they can be operated in the breakdown voltage range. Over a wide range of current levels, the voltage drop across the Zener diode is then exactly equal to the breakdown voltage. The Zener effect, named after its discoverer Clarence Melvin Zener (1905-1993), is the occurrence of a current (Zener current) in the reverse direction in a highly doped semiconductor junction by free charge carriers.... In silicon diodes, the Zener voltage is mostly between 2 V and 5.5 V.

Musically this means a high own life and a corresponding sound coloring of the compressor, just like nearly all other signal managers from the sixties / seventies era put their stamp on the signal. In other words, if you take a fast and tonally neutral VCA compressor as a comparison object here, you probably won't find many similarities. However, it is questionable whether the IGS Audio Zen tends to take on the already very own behavior of an Opto compressor, adopts the sluggish but "sticky" behavior of a Vari-Mu, or perhaps even ventures into FET realms in terms of response. The curiosity rises.

The IGS Audio Zen in practice

What is already noticeable during the first control movements is the intuitive operation of the product. Due to the reduced control elements, the targeted sound is found quite quickly, whereby especially the input control has a special function. In this case, the knob not only functions as a simple catch-up amplifier, but also intervenes massively in the sound depending on the gain level. However, this is done in a highly musical manner, so that even with strong saturation, the feeling of an unpleasant semiconductor distortion never arises.

The greatest strength of the IGS Audio Zen clearly lies in the "gluing" of the audio signal, so that the transitions between the different dynamic levels are adjusted extremely tastefully. Once you have found your personal attack / release setting, you can devote yourself in peace to the gain control, which almost allows sound processing beyond the dynamic range. Especially with percussive signals, the IGS Audio Zen can show its full strengths by very skillfully cushioning the peak without affecting the transients. Indeed, the subsequent catching up of the dynamically lower signal stages allows for dramatic loudness increases. I checked several times to see if I had normalization turned on during MP3 conversion, because the processed signal seemed not just louder, but many times louder.

If you manage to get involved with the basic sound of the IGS Audio Zen, you will indeed be amazed with almost any source material how much the signal at hand gains in punch and assertiveness. P.S. If you're wondering about the distortion in the Synth Loop soundfile, this was done on purpose to show how the compressor sounds in the extreme range.

Conclusion

With the IGS Audio Zen, the Polish company carries a sonic heavyweight in its portfolio. The compressor sounds excellent in every respect and offers extensive processing options within the signal path despite reduced parameter access. The product shines with intuitive handling, a very good basic sound and attack / release times that can be extended up to 2000 ms, respectively 8000 ms, and thus enable applications far beyond the regular rock / pop productions.

Although the IGS Audio Zen in its price range undoubtedly meets strong competition, who is looking for a high-end outgear compressor, which already provides excellent sound results after seconds, should definitely test the product once.

Additional informations:

IGS Audio is a Polish-based company that has been pioneering the development of high-quality analog audio equipment since 1997. The company has gained a reputation for designing and manufacturing top-of-the-line audio processing tools that have been used by engineers, producers, and musicians worldwide. In this comprehensive review, we will delve into the key features, design elements, and sonic capabilities of IGS Audio's product line.

Design and Construction: IGS Audio's products are designed with a focus on sound quality and durability. The company uses only the highest quality components, including transformers, capacitors, and resistors, to ensure optimal sound reproduction and minimal noise. The products are built with solid construction, using robust metal casings that can withstand the rigors of professional studio environments.

Preamps: IGS Audio's preamp lineup is known for its warm, natural, and detailed sound. The company offers a variety of preamps, each with its own unique characteristics and tonal coloration. The Neve-inspired 1176-based preamps are particularly popular, providing a classic vintage sound that is highly sought after by many audio professionals. Additionally, the company offers preamps with transformer or transformerless designs, providing a variety of sonic options to suit different recording needs.

Compressors: IGS Audio's compressors are renowned for their ability to add character and depth to audio signals. The company offers a range of compressors, including the SSL-inspired 500 series, the FET-based VCA compressors, and the tube-based Vari-Mu compressors. Each compressor is designed to provide a unique tonal character and level of compression, making them suitable for a wide range of audio applications.

Equalizers: IGS Audio's equalizers are designed to provide transparent and musical tonal shaping capabilities. The company offers a range of EQs, including the Pultec-inspired 500 series, the 19-inch rack-mountable Neumann-inspired EQs, and the mastering-grade S-Type EQs. Each EQ is designed to provide precise control over the frequency spectrum, enabling audio professionals to tailor the sound of their recordings to their exact requirements.

Limiters: IGS Audio's limiters are designed to provide transparent and accurate gain reduction, while preserving the natural dynamics of the audio signal. The company offers a range of limiters, including the 500 series and rack-mountable Vari-Mu limiters, each with their own unique tonal characteristics and compression profiles.

Conclusion: IGS Audio has established itself as a leading brand in the world of analog audio processing. The company's commitment to sound quality, durability, and innovation has made it a go-to choice for audio professionals worldwide. With a product line that includes preamps, compressors, equalizers, and limiters, IGS Audio offers a comprehensive range of tools that enable engineers, producers, and musicians to achieve the highest possible sonic quality in their recordings. Whether you're looking for vintage-inspired analog character or transparent and accurate audio processing, IGS Audio has something to offer.