TEST: IK Multimedia iRig Pro HD

The mobile man! I remember how I dragged my Tascam Portastudio 244 in a specially made flight case to the rehearsal room and back almost 30 years ago and was of the firm opinion that it would not be more comfortable in terms of mobile recording technology. Old guys like me can only smile about these thoughts today, colleagues of younger age will probably not be able to understand the name Portastudio for a long time.

What has happened in mobile recording technology can be easily explored by anyone with the necessary search terms, but some manufacturers tend to outdo each other in features and control options in the smallest space, which often degenerates into completely overloaded menus on tiny displays.

The Italian company IK Multimedia, on the other hand, consistently takes a different approach with its iRig series by accommodating high-quality technology with minimal control options in the smallest possible space and leaving the preservation of the signals to the DAW. For the test, we have the latest offspring of the company, the IK Multimedia iRig Pre HD, which enters the race for the first time with a maximum sample rate of 96 kHz and with a retail price of less than 100 euros.


Design and features of the IK Multimedia iRig Pre HD

The IK Multimedia iRig Pre HD is a very small USB audio interface designed specifically for microphone operation. With dimensions of 40 mm x 110 mm x 34 mm and a weight of only 75 grams (without batteries), it really fits in any jacket pocket. In contrast to the iRig Pro series, which still has 4 small rubber feet for the purpose of a slip barrier on smooth surfaces, the IK Multimedia iRig Pre HD relies on an attachment to the microphone stand by means of a narrow strip of Velcro tape, which is fed from behind through two narrow slots on the battery cover.

Sounds cheap, unfortunately it is. Of course, you don't want to ruin the dimensions of your product with tightly mounted clamps, but there are definitely more professional solutions for a tight fit here. The housing is made of plastic and was painted in matte black. The Velcro strap, which is designed as a cable tie, unfortunately turns out to be fiddly in use and does not fit tightly, rating failed.

The accessories also include a USB cable for connecting to the computer, as well as a mini USB-Lightning cable. IK Multimedia does not make a big deal out of its Apple affinity, but Android users can access an optional USB cable if needed. In addition, 2 AA batteries are included and there are corresponding download links to the iRig Recorder and VocaLive apps.


Power supply and connections of the IK Multimedia iRig Pre HD

As expected, the IK Multimedia iRig Pre HD receives its operating voltage via the included USB cables, i.e. PC or iPhone / iPad. The included German-made AA batteries are only used for 48 V phantom power, which is required by condenser microphones. The associated On / Off switch is located on the side of the housing. How long the operating time of the two batteries in phantom mode, I could unfortunately not find out. While the sister models from the pro series have to be operated with a 9V block, it should not be a problem financially to carry a spare pair of batteries.

Since the IK Multimedia iRig Pre HD was only designed for microphone operation, there is also only one XLR jack on the bottom of the case. Here, the microphone signal can be set to Direct Monitor mode via another switch on the side of the case.

The internally installed microphone amplifier works in Class A technology and has a frequency response of 20 Hz to 20 kHz according to the manufacturer. The gain is controlled via a small level control wheel on the side of the housing. A multi-color LED on the top of the housing acts as a visual control, which indicates the signal strength from blue (too low level) to green / orange (optimal level) to red (clipping!).

The front side, on the other hand, houses the USB connector as well as the connection of a 3.5 mm mini-jack, to which headphones can be connected. The headphone amplifier has a power of 100 mW at 50 ohms, which will be important later in the practical part.


The IK Multimedia iRig Pre HD in Practice

The minimalist concept of the IK Multimedia iRig Pre HD has advantages and disadvantages, which are in the nature of things. On the one hand, the risk of operating errors is comparatively low and allows even beginners to quickly access a vocal or voice recording. On the other hand, the lack of a volume balance control between the playback and direct signal means that there is a risk of incorrect leveling of the incoming signal. To what extent this can become a problem is of course in the hands of the user, one should just not make the mistake of declaring the product as a pure "beginner's product" due to its dimensions and ease of use.

According to the manufacturer, the preamplifier has a gain level of up to 40 dB. This value can be described as practical as long as you stay within the large pool of common dynamic and condenser microphones. However, if you are working with unusual microphones, such as ribbon microphones or older dynamic microphones, it is possible that the catch-up amplifier will break down before an adequate working level is reached. In this case, it is important to weigh up and try out in advance whether the intended combination seems promising.

There is also a consideration in advance regarding the use of the headphone amplifier. Headphones in the lower and mid-range price segments are usually offered in low-impedance versions and can be operated with the IK Multimedia iRig HD's internal headphone amplifier at sufficient volume without any problems.

In the high-end of the studio headphone segment, however, you also come across representatives with an ohm number of up to 600 ohms from time to time. Here the headphone amplifier comes to its limits and will probably not be able to produce sufficient volume. On the other hand, these representatives are also in the studio anyway mostly operated with their own special amplifier, so that the question of use does not arise at all.

Sonically, the components preamplifier, converter and headphone amplifier leave a good impression. Starting with the preamp, which has a very low noise floor and is pleasantly impulse resistant. The product can't generate the highest sound culture, but it would be presumptuous to expect this at a two-digit price. A bit of thinning can be heard in the bass and the resolution in the treble range is merely "decent", but as I said, who would blame the Italian-made product.

A significant difference in a 96 kHz recording can be heard in a direct comparison, especially in the high-frequency range, but it remains to be seen whether this will come through later in a regular mix. The more subtle and discreet the music to be preserved, the more the HD range makes sense, the more the noisy "bully guitarists" take the reins, the more you can forget about the HD range.



Conclusion

With the IK Multimedia iRig Pre HD, the Italian manufacturer has a high-quality miniature vocal interface on the market for a very attractive price. In addition to its compact dimensions, the product impresses in particular with its simple and intuitive handling, which even recording novices can quickly grasp.

By using 2 pcs. AA batteries, you can also build up the phantom power, which is indispensable for condenser microphones, which gives the flexibility a massive push forward. In combination with a device of the iOS class or after purchasing a separate cable also in the Android universe, you have the possibility to perform microphone-based recordings with the minimal equipment microphone - cable - iRig - cable - device - headphones, wherever the muse kisses you.

Additional informations:

IK Multimedia is a renowned technology company that specializes in developing innovative music production tools and software. Since its inception in 1996, IK Multimedia has been at the forefront of the music industry, providing musicians, producers, and audio engineers with cutting-edge solutions for their creative needs. With a diverse range of products and a commitment to quality and innovation, IK Multimedia has established itself as a leader in the field of music technology.

Company History: IK Multimedia was founded in Modena, Italy, by Enrico Iori and Davide Barbi. The company initially focused on software development and digital signal processing for the music industry. In 1997, they introduced their first product, the T-RackS analog mastering software, which quickly gained recognition for its high-quality audio processing capabilities.

Over the years, IK Multimedia expanded its product portfolio to include hardware and software solutions for recording, mixing, mastering, and live performance. Their dedication to innovation and collaboration with industry professionals has allowed them to create products that meet the evolving needs of musicians and audio engineers.

Product Range: 3.1 Software: IK Multimedia offers a wide range of software products designed to enhance music production. Their flagship software includes AmpliTube, a powerful guitar and bass amp modeling suite, and SampleTank, a comprehensive sound library and virtual instrument platform. These products provide musicians with the ability to achieve authentic sounds and emulate classic gear in a digital environment.

Other notable software offerings from IK Multimedia include T-RackS, which provides professional-grade mixing and mastering tools, and Syntronik, a collection of meticulously sampled vintage synthesizers. Additionally, IK Multimedia offers software for mobile platforms, such as iOS and Android, enabling musicians to create music on-the-go.
3.2 Hardware: In addition to software solutions, IK Multimedia manufactures a range of hardware products designed to complement their software offerings. Their hardware lineup includes audio interfaces, MIDI controllers, microphones, and speakers. These devices are engineered to provide high-quality audio capture, precise control, and accurate monitoring, catering to the needs of both studio and live performance environments.

Notable hardware products from IK Multimedia include the iRig series, which offers portable audio interfaces and controllers for mobile devices, and the AXE I/O series, which provides professional-grade audio interfaces tailored for guitar and bass recording.
Industry Partnerships: IK Multimedia has established strategic partnerships with prominent companies and artists in the music industry. Collaborations with renowned gear manufacturers such as Fender, Orange, and Ampeg have allowed IK Multimedia to incorporate the iconic tones of their amplifiers into their software products. These partnerships ensure that IK Multimedia's software accurately replicates the sound and feel of revered gear, providing musicians with a realistic and versatile recording experience.
Additionally, IK Multimedia has collaborated with notable artists and producers, including Joe Satriani, Slash, and Steve Vai, to create signature products that cater to the specific needs and preferences of these musicians. These partnerships further demonstrate IK Multimedia's commitment to delivering innovative solutions that meet the demands of professionals.

Awards and Recognition: IK Multimedia's dedication to excellence and innovation has earned them numerous awards and accolades. Their products have received recognition from industry-leading publications and organizations, highlighting their impact on music production. Some notable awards include the TEC Award for Outstanding Technical Achievement, MusicTech's Gear of the Year, and the MIPA Award for Best Mobile Music Making App.

Conclusion:

IK Multimedia has emerged as a trailblazer in the music technology industry, consistently pushing the boundaries of what is possible in music production. With a diverse range of software and hardware solutions, strategic partnerships, and a commitment to quality, IK Multimedia continues to empower musicians, producers, and audio engineers worldwide.

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.

TEST: IGS One LA

Admittedly, there are fewer and fewer, but they still exist, the manufacturers of 19 inch outgear, which have dedicated themselves to the real dinosaur segment. Just those who with large, heavy and expensive equipment either try to keep a legendary sound alive with high-quality copies, or to develop new products with a construction-related high technical effort, which want to set new standards in the genre. The Polish company IGS Audio definitely belongs to the mentioned manufacturers, which among other things has a 19 inch and a 500 version on the market with the IGS Audio One LA, which wants to prove once again that an analog signal routing is still sonically superior to a plug-in.

The construction of the IGS Audio One LA

To make one thing clear up front, I have absolute understanding for the fact that the vast majority of all productions are only done in the box with appropriate plugin solutions. The administration is easier, the total recall a boon and above all, corresponding plugin copies are much, much cheaper than the analog originals. The constantly dwindling income in the music sector can be compensated to a certain extent and in the final product it is only possible to hear out whether and what was stored with which signal flow with a very high level of specialist knowledge and a correspondingly trained ear. Nevertheless, you can hear very well even on the YouTube videos with less sound quality in the A/B comparison, why economically stable producers still prefer to fall back on the analog original in the free choice.

The IGS Audio One LA is just such an original, or rather a copy of an original. The experienced reader will quickly realize that it is a copy of the legendary LA-2A Leveling Amplifier made by Teletronix Engineering Company, later renamed United Recording Electronics Indistries, better known as UREI. The compressor combines two control possibilities of the first hour, we are talking about an analog tube circuit in combination with the control possibility of a photocell. For a more detailed explanation of the different working methods of the various compressor types, I like to refer to the workshop "What is a compressor", which can be viewed at this link )https://www.amazona.de/workshop-was-ist-ein-kompressor/).

The compressor sits in a massive 2U cabinet and is designed as a mono compressor. For stand alone operation without rack mounting, the IGS Audio One LA has 4 stout, unscrewable rubber feet on which the product rests in this mode of operation. Those who want to operate the compressor in stereo can order a matching pair from IGS. A link jack on form of an RCA-RCA cable is located on the rear panel. This is all that is needed to synchronize two devices. Perfect stereo tuning is achieved by hand-selected tubes and Elma switches.

The IGS Audio One LA is based on an all-analog circuit and uses balanced input and output transformers, the input transformer being a Sowter 4383 and the output transformer being an Edcor 15k/600. Two 6N2P-EW or 6N1P-EW dual triodes are used to amplify the signal, while the compressor unit is also equipped with a 6N2P-EW triode or a 6AQ5 pentode. The compressor unit is controlled by a T4BX photocell. The original solution used the TELETRONIX electroluminescent plate, which illuminated the photoresistor. IGS Audio has developed its own photocell on this basis, which is equivalent to the T4B and is called T4BX. The operating voltage of the 4 tubes is 245 volts, and the entire unit runs on a balanced 4 dBu signal.

The control possibilities of the compressor

Due to the IGS Audio One LA's design as an opto-compressor, the product comes with a clear, almost spartan front panel layout, but this undoubtedly makes it easier to use. The IGS Audio One LA offers a completely centerline mirrored layout, which is dominated by two powerful knobs and a large VU meter. At first glance, the arrangement of the 24-position gain and peak reduction knobs may seem a bit confusing, as the gain knob on the left controls the Make Up function and the peak reduction knob on the right controls the reduction of dynamics. In most cases, the Make Up knob is located on the front panel on the right as the last link in the signal chain.

The VU Meter can be switched in its mode of operation with a toggle switch to the left of the VU Meter. Either it shows the amount of dynamic reduction or it shows the output level of the signal. To the right of the VU Meter is a bypass switch that removes the compressor from the signal path. Attention, the switch position "IN", means, the bypass is inactive, speaks a signal processing takes place. Another toggle switch selects the compressor or limiter function, with the compressor fixed at 4:1 in soft knee mode and the limiter operating at ∞:1 ratio. The On / Off switch and the corresponding red lamp on the front panel are the final touches. All switches and controls seem to come from another century in their design and haptics, but all components seem in their solidity, as if they would survive the next decades without any problems. The rear panel offers only XLR balanced In / Out, a power socket and a fine-wire fuse.

The IGS Audio One LA in practice

It is quite great how the simple switching of a powerful toggle switch or turning the gridded knobs sends the user on a time travel almost 6 decades into the past. Every movement of the knobs / switches is concluded with a corresponding haptic "clack" or "clonk", so that every change of the level setting is also concluded acoustically once again. This makes even screwing with the product really fun!

From the very first notes, you get the feeling that the IGS Audio One LA has an "Auto Mode" switch. No matter how you turn it, a completely "wrong" setting can hardly be set on this compressor. The basic parameters are set very tastefully and allow especially in the first recording stage very quickly and very intuitively a good to very good sound. As flexible and fast as current VCA compressors may be, they cannot achieve the musical approach of an opto compressor, especially in the vocal range.

The IGS Audio One LA is really very discreet and compresses very well, especially in the medium dynamic range. Due to the sluggish response, the one or other fast dynamic peak slips through its fingers (listen to the first note in the acoustic guitar sample), but the IGS Audio One LA nevertheless also processes this peak by tastefully catching up the following notes to a round overall picture without any dynamic break.

This compressor is one of those "ear-pleasers" that settle in your brain within milliseconds and which you immediately perceive as a standard in your perception. If you switch the compressor to bypass, this notorious emptiness in the sound comes to bear, which immediately diminishes the expressiveness of any unprocessed sound, or significantly reduces its intensity. Yet it is precisely the fine resolution of the IGS Audio One LA that makes it seem unspectacular on the one hand, essential on the other. Even if no active compression is set on the device and the signal is only sent through the electronics more or less unprocessed, especially somewhat "brittle" recorded signals clearly gain in warmth and "pleasantness", so that their sound image appears rounder and more balanced.

This compressor undoubtedly has this legendary addictive potential, which leads to the fact that at some point you would like to send every signal, except for highly compressed signals such as high gain guitars, through the IGS Audio One LA. I therefore give to consider, who tries this compressor once, should absolutely count on the fact that he would not like to give the same back again, too good is the standard that can be achieved, which sets in within a very short time.

Conclusion

With the IGS Audio One LA, the Polish company once again introduces an outstanding compressor in its portfolio. The product, whose circuitry is based on the legendary LA-2A Leveling Amplifier from Teletronix Engineering Company, convinces with an outstanding basic sound and almost foolproof operation. Especially in the area of vocals, the IGS Audio One LA refines the output signal many times over and, due to the tube / photocell circuit, gives it a rich portion of warmth without coloring the signal too much.

An outstanding product, definitely test it once!

Additional informations:

IGS Audio is a prominent company in the pro audio industry, specializing in the design and manufacturing of high-quality analog audio equipment. With a strong emphasis on craftsmanship, innovation, and attention to detail, IGS Audio has established itself as a trusted brand among audio professionals worldwide. In this comprehensive review, we will explore the history, product range, and reputation of IGS Audio.

Company History: IGS Audio was founded in 1997 in Poland by engineer and musician Jacek Gawłowski. From its inception, the company's mission has been to create audio gear that combines vintage analog sound with modern reliability. Drawing inspiration from classic studio equipment, IGS Audio has developed a reputation for producing units that capture the warm, musical character of vintage gear while incorporating modern features and reliability.
Product Range: IGS Audio offers a diverse range of analog audio equipment, catering to various aspects of the recording and mixing process. Their product line includes microphone preamps, equalizers, compressors, limiters, tape simulators, and more. Each unit is meticulously designed and built to meet the demands of professional audio engineers and musicians seeking high-quality sound and exceptional performance.

Build Quality and Craftsmanship: One of the hallmarks of IGS Audio is its unwavering commitment to exceptional build quality and craftsmanship. Each piece of equipment undergoes rigorous quality control to ensure that it meets the highest standards. The company utilizes top-grade components and employs skilled technicians who handcraft and assemble the units with great precision. This dedication to craftsmanship results in audio gear that is not only sonically impressive but also reliable and durable, with a long lifespan.

Sound and Performance: IGS Audio's analog audio equipment is widely acclaimed for its exceptional sound quality and performance. The company's products are designed to impart a unique analog character and warmth to audio signals, adding depth, dimension, and musicality to recordings and mixes. Engineers and musicians appreciate the sonic richness and harmonic detail that IGS Audio gear brings to their productions. Whether it's the smooth and musical tones of their preamps, the transparent and dynamic control of their compressors, or the vintage vibe of their equalizers, IGS Audio delivers equipment that inspires creativity and elevates audio productions.

Innovation and Customization: While IGS Audio draws inspiration from classic analog designs, they also incorporate innovative features and functionalities into their products. The company continually seeks to push the boundaries of analog audio technology, offering unique solutions that enhance the creative possibilities for users. Additionally, IGS Audio provides customization options, allowing customers to tailor their equipment to specific needs and preferences. This commitment to innovation and customization further sets IGS Audio apart in the pro audio market.

Reputation and Industry Recognition: Over the years, IGS Audio has earned a stellar reputation within the pro audio community. Their equipment is trusted and used by renowned recording engineers, producers, and musicians worldwide. The company's commitment to quality, innovation, and customer satisfaction has garnered them numerous industry awards and accolades, further solidifying their position as a respected brand in the audio industry.

Conclusion:

IGS Audio has firmly established itself as a leading manufacturer of analog audio equipment, offering a wide range of high-quality products that combine vintage warmth with modern reliability. Their dedication to craftsmanship, attention to detail, and commitment to innovation have made them a trusted choice among audio professionals. With their exceptional sound quality, versatility, and customization options, IGS Audio continues to be at the forefront of analog audio gear, providing engineers and musicians with the tools they need to create outstanding recordings and mixes.

TEST: Ibanez FRIX6FDDQM Iron Label

As an instrument maker in the electric guitar sector, you really don't have it easy at the moment. In a market that is saturated to the hilt, you have to come up with something in the area of "aesthetically" shaped bodies in order not to bring the millionth variation of Strat and co. onto the market. The people responsible at Ibanez must have said something similar to themselves and have come up with the Ibanez FRIX6FDQM-BMG Iron Label, a fusion of various classics.

The construction of the Ibanez FRIX6FDQM-BMG Iron Label

For the company's internal processes, the cryptic alphabet soup, which Ibanez now uses almost without exception as a model designation, may be a helpful thing, but for the ambitious guitar fan, the whole thing turns out to be a bit exhausting at times. The model on test comes from the comparatively new FR series, which at first glance looks like a fusion of Strat, Paula and EvH. Since even China has meanwhile increased its production costs and Indonesian workers are in no way inferior to their Chinese colleagues in terms of craftsmanship, more and more manufacturers are moving the production of their cheaper lines to Indonesia, where the FR line is also manufactured.

If you look at the individual components of the instrument, it is already visible at first glance that Ibanez has placed great emphasis on an all-rounder, that is, a guitar with which you can basically cover the entire evening repertoire of a cover band. Let's take a look at the individual components in detail.

The components of the Ibanez FRIX6FDQM-BMG Iron Label

For a good all-rounder, it is of course important to cover the two great forefathers of the electric guitar, as there are the big F and the big G plus their flagships in terms of wood selection and hardware. Ibanez jumps here truly very intelligently from branch to branch and helps itself in each case to the strengths of the protagonists, enriched with a few interesting Japanese details.

The 2-piece, asymmetrically glued body of the instrument is made of Nyatoh, a Southeast Asian species of the sapote plant family, which is supposed to be very similar to the wood type mahogany in appearance and sound. Here, too, the commercial skills of Leo Fender were probably taken into account, who at the time only used woods that grew on his doorstep and where transport costs were as low as possible. In times of ecological footprints a not to be neglected plus point in the production!

The top is made of cloud maple and is finished in a burst varnish, described by the manufacturer as Black Mirage Gradation, pronounced "Black Fata Morgana finish". Well, the last color step on the right bell bracket is indeed black, but the finish fades from dark to light and back again on the headstock in a NATO green hue. The reader may decide for himself if he likes the color, for camouflage-heavy U.D.O. or Sabaton tribute bands at least an interesting alternative.

The three-piece neck (Maple / Purple Heart / Maple) has an asymmetrical shaping, which at a width of 43 mm and a thickness of 19 mm at the nut expands to a thickness of 58 mm at the 24th fret and a thickness of 21 mm at the 12th fret. The fingerboard radius is kept very flat at 400 mm, typical of Ibanez, and Jumbo Frets are also used. A special feature are the luminescent side dots, which are intended to facilitate orientation on the fingerboard on a sparsely lit stage. The bound fingerboard itself is made of ebony and has no inlays. The long scale length of 648 mm is used. The neck is quadruple bolted and sits bombproof in the neck pocket.

In terms of hardware, the color black is used and six locking tuners from Gotoh are installed, which do not have to be tagged due to the angled headstock. As a bridge, a product from the in-house Gibraltar series with the designation Standard II is used, which includes an interesting detail on closer inspection. In order to be able to guarantee the eternal problem of octave purity over all sets of strings when the strings are fed through the body, the holes of the two lowest bass strings were optionally moved a little to the rear in order to be able to better adjust the individual riders in the rear area. If you are now wondering why these double holes were also made on the top treble strings, I guess the bridge is also supposed to be used on the left-handed models, where said situation is reversed. Cleverly done.

Or even such small details as the truss rod cover. While other guitars, even in the high-end league, require the annoying workflow of "loosen strings - remove cover screws - remove cover - tune strings - adjust trussrod - loosen strings - put cover on - tighten cover screws - tune strings" when readjusting the neck, the Ibanez FRIX6FDQM-BMG Iron Label has a simple, snap-in flap that can be folded away sideways with a fingernail as a cover. Why isn't something like this standard? I can only hope that the system is patent protected, so the other manufacturers would at least have an excuse, if they do not use such a system.

In terms of pickups, DiMarzio products are used again, this time the Fusion Edge humbucker series, both of which are designed to be spilt. Apparently these pickups are made exclusively for Ibanez, at least they don't show up on the regular DiMarzio website. By means of a pleasantly heavy three-way switch and a coil tap switch, you can call up the variations Humbucker Neck Serial - Humbucker Neck / Bridge Serial - Humbucker Bridge Serial - Inner Coil Neck - Inner Coil Neck / Bridge and Inner Coil Bridge. Logical, simple and usable for 95% of all common sounds. A tone control was omitted, only a volume control was placed on the instrument.

The Ibanez FRIX6FDQM-BMG Iron Label in practice

It may not come across that way in the photos, but the menagerie of the colors green (top), red-brown (body), purple and natural (neck) is already a daring composition, but should not say anything about the sound. Connected to a H&K Triamp MK III with a Marshall 4x12 Cabinet with Celestion G75 Speaker and 2 pcs. SM57 in Fredman method the Ibanez FRIX6FDQM-BMG Iron Label turns out to be a real all-rounder.

In particular, the flexible pickup circuit allows a wide range to emerge in the clean / crunch range. Hardly a characteristic sound, which would not be hit by the six pickup configurations. In addition, the bandwidth can be increased many times over with the volume control. Clean and crisp single coil sounds are just as familiar to the guitar as powerful rumbling humbucker crunches, whereby the single coil sounds on the neck pickup differ marginally from the classic under the 24th fret due to their discreetly inward moving orientation. However, this is not to be understood in a judgmental way, at the latest with Steve Morse with his up to 6 coils on his instruments, you can experience how impressive coils sound in positions where you would not expect them.

The attack behavior of the Ibanez FRIX6FDQM-BMG Iron Label also knows how to please. The guitar is very "snappy" in its response, swings up quickly and has nothing in common with the sometimes discreet sluggishness with which many a mahogany body goes to work. Once again, I spontaneously think of the area of application in a cover band, where many sounds are needed without constant instrument changes. Such a guitar in combination with a highly flexible combo like the Hughes&Kettner Black Spirit 200 Combo (https://www.amazona.de/test-hugheskettner-black-spirit-200-combo-gitarrenverstaerker/) and the whole repertoire of the evening is set.

For a smoky blues evening in old-man style, the instrument seems to me too tangy in its approach, but I'm sure this approach was never planned by Ibanez either. The Ibanez FRIX6FDQM-BMG Iron Label seems more like it was designed for the modern player who can do without a vibrato system, especially since you really get a lot of instrument for the store price thanks to Indonesian manufacturing. Interestingly, I also didn't notice a single point where you could feel or hear the Asian manufacturing.

Conclusion

With the Ibanez FRIX6FDQM-BMG Iron Label, modern guitarists get a lot of instrument for their money. The guitar impresses with great flexibility, very good workmanship and interesting details, from which many a big name can sometimes take a leaf out of the book.

Additional informations:

- Ibanez Guitars is a renowned Japanese guitar manufacturer known for producing high-quality instruments for guitarists of all skill levels. The company was founded in 1908 by Hoshino Gakki and began as a music store selling imported stringed instruments. Over the years, Ibanez has developed a reputation for producing innovative and reliable guitars that have earned the respect and admiration of guitarists around the world.

Ibanez's guitar designs have always been innovative, with the company continually pushing the boundaries of what is possible in guitar manufacturing. In the 1950s and 1960s, Ibanez produced copies of popular American guitars, but by the 1970s, the company was developing its own designs. One of the most significant developments was the introduction of the Ibanez Roadstar, a versatile guitar that quickly became popular with both professional and amateur guitarists.

In the 1980s, Ibanez cemented its reputation as a leading guitar manufacturer by producing the Ibanez JEM, a signature guitar designed in collaboration with virtuoso guitarist Steve Vai. The JEM featured a range of innovative features, including a double-locking tremolo system and a monkey grip handle. The JEM became a popular guitar among shredders and metal guitarists, and it continues to be one of Ibanez's most iconic designs.

Today, Ibanez produces a wide range of guitars, from entry-level instruments for beginners to high-end models for professionals. The company's product lineup includes electric guitars, acoustic guitars, basses, and ukuleles, all of which are known for their quality and reliability.
One of Ibanez's most popular product lines is the RG series of electric guitars. The RG series features a sleek, modern design and is known for its fast playability and versatile tone. The RG series has been used by guitarists in a variety of genres, including metal, rock, and fusion.
Another popular Ibanez guitar is the Artcore series of semi-hollow electric guitars. The Artcore series features a classic design and a warm, rich tone that is well-suited to jazz, blues, and rockabilly styles. The Artcore series has been used by guitarists such as George Benson and John Scofield.

In addition to producing high-quality guitars, Ibanez is also known for its commitment to innovation. The company has developed a range of unique features, including the Edge tremolo system, the Tight-End bridge, and the Fishman Fluence pickups. These features have helped to distinguish Ibanez guitars from other brands and have contributed to the company's continued success.

Overall, Ibanez Guitars is a leading guitar manufacturer that has earned the respect and admiration of guitarists around the world. The company's commitment to innovation and quality has made it a favorite among professional and amateur guitarists alike, and its wide range of products ensures that there is an Ibanez guitar to suit every style and skill level.

Ibanez Guitars' Iron Label Series is a highly regarded line of instruments that caters to the needs of modern metal and hard rock guitarists. Known for their exceptional build quality, powerful tones, and sleek aesthetics, the Iron Label guitars have become a go-to choice for players seeking high-performance instruments that can handle the demands of heavy music genres. In this comprehensive review, we will delve into the key features, design elements, and sonic capabilities of the Iron Label Series.

Design and Construction: The Iron Label guitars feature a distinct design aesthetic, blending modern and aggressive elements with a touch of elegance. These guitars are built with precision and attention to detail, ensuring optimal playability and reliability. The body shapes often found in the Iron Label Series include the popular RG and S series, known for their ergonomic contours and comfortable feel. These guitars are typically crafted from high-quality tonewoods, such as mahogany, ash, and maple, which contribute to their rich tonal characteristics and sustain.

Neck and Fretboard: The necks of Iron Label guitars are designed to facilitate fast and effortless playability, ideal for high-speed riffing and shredding. Typically, they feature a slim and fast profile, allowing for smooth navigation across the fretboard. The fretboards are usually made of high-grade rosewood or ebony, ensuring excellent note articulation and a smooth playing surface. The frets are well-dressed and polished, allowing for accurate intonation and comfortable fretting.
Pickups and Electronics: One of the standout features of the Iron Label Series is the powerful and versatile pickup configurations. Ibanez incorporates high-output pickups, often from renowned manufacturers like EMG or Seymour Duncan, to deliver a wide range of aggressive and articulate tones. These pickups are specifically selected to excel in high-gain situations, providing clarity, tightness, and ample sustain. The pickup configurations vary across the Iron Label models, offering options like HSS, HH, or HSH setups, allowing guitarists to achieve their desired tonal palette.

Hardware and Tremolo Systems: Ibanez understands the importance of reliable hardware in the world of heavy music, and the Iron Label Series is equipped with top-notch components. The guitars often feature high-quality locking tuners, ensuring precise and stable tuning, even during intense playing sessions. Additionally, many models in the series are equipped with double-locking tremolo systems, such as the Ibanez Edge Zero II or the Gibraltar Standard II, enabling guitarists to perform expressive dive bombs and extreme pitch modulation while maintaining tuning stability.

Tonal Versatility: While the Iron Label Series is primarily known for its metal and hard rock capabilities, these guitars offer a surprising degree of tonal versatility. With the help of the carefully selected pickups and versatile control layouts, guitarists can achieve a broad spectrum of tones, ranging from warm and clean sounds to searing leads and crushing rhythm tones. The guitars excel in high-gain situations, delivering tight and articulate distortion tones ideal for heavy genres, but they are equally capable of producing beautiful cleans and dynamic crunch tones.

Conclusion: The Ibanez Iron Label Series has rightfully earned its place as a leading choice for guitarists who demand powerful and reliable instruments for metal and hard rock music. With their exceptional build quality, attention to detail, and a wide range of tonal options, these guitars provide players with the tools they need to express their creativity and deliver intense performances. Whether you're a professional musician seeking a workhorse instrument for the stage or a dedicated enthusiast looking to explore heavy music genres, the Iron Label Series from Ibanez is a compelling option that is sure to impress.

TEST: Ibanez AZ24047

It has become a little quiet around the 7-string faction. After Steve Vai chose Ibanez as the protagonist of all prog fans with the Universe model at the end of the eighties and the band Korn introduced the 7-string guitar into the mainstream, this design took over the part of the "missing link" between the traditional 6-string concept and the "do-we-really-need-a-bassist-yet" 8-string djent range. Also, the downtuning trend that was at its zenith years ago, where a standard 6-string is transposed down several semitones, has taken over much of the 7-string territory. For the test we have an Ibanez AZ24047 in classic black, which is preparing to reclaim some of the lost territory.

The special features of the Ibanez AZ24047

What would Ibanez be without its model designations that are as long as a bull's-eye and indecipherable to the layman? One should really take up the cudgels for the music dealers, who have to deal with the columns of numbers every day. Be that as it may, the Japanese will probably not give up this designation policy, one must live with it.

Once again, the Japanese-made instrument comes with the classic Powerstrat attributes, i.e. Strat-like body, powerful pickups and a vibrato system, whereby the "thick pants" department has turned out comparatively moderate on this model from the Prestige series. Rather, one gets the impression Ibanez doesn't want to create provocation in both the color scheme and the general layout, both with the public and with bandmates. One may interpret the brown-black color scheme as discreet or as banal, just as one likes it.

In terms of workmanship, Ibanez once again shows its class, although for a model of this LIga, which has a retail price of 2,199, - €, the general headroom regarding uncleanliness will also be very low. Here the pedant will probably be allowed to search all day, he won't find any reason to nag.

Japan has built several special features into the Ibanez AZ24047. Not quite new anymore, but still always a highlight in terms of vibration behavior is the neck made of roasted maple mounted in the bolt-on process. As is well known, this type of wood in particular benefits from the process in terms of vibration behavior and gives the instrument already in dry mode an exceptionally long sustain for the construction screwed neck / vibrato system. As expected, the dimensions of the neck are slightly thicker than usual due to the seven strings, resulting in the following values:

Width: 47 mm at the nut, 66 mm at the 24th fret.
Thickness: 20.5 mm at the 1st fret, 22.5 mm at the 12th fret
Fingerboard radius : 305 mm

The neck is 4-bolted to the alder body and, as is often the case with Ibanez, is in a rounded neck socket, which makes it much easier to play in the upper registers. 24 stainless steel jumbo frets on a long scale (648 mm / 25.5") are also standard on this model. The truss rod is accessible from the top of the headstock and due to this construction already brings a not to be underestimated weakening of the sensitive transition point to the headstock. Although this circumstance is somewhat compensated for by the more massive neck, increased caution is (as always) called for in the case of lateral impacts in this area.

The forced somewhat extended headstock accommodates 7 locking tuners from Gotoh and provides the necessary contact pressure for the three treble strings by means of a triple string tree. The vibrato system is also supplied by Gotoh and draws attention directly by the fact of silence. Silence? Yep, finally a manufacturer has read the test reports and given the total of four vibrato springs inside each a rubber sleeve, which eliminates the terrible "reverb spiral effect" of other vibrato systems. Small detail, extremely large effect! A locking system does not use the Ibanez AZ24047, instead the saddle is a Graph Tech BLACK TUSQ XL.

Pickups and circuit

For the Ibanez AZ24047, the Japanese leave their house and court supplier in terms of pickups, DiMarzio, and give preference to Seymour Duncan with three pickups of the Hyperion series. All pickups are passive and based on Alnico magnets. Two switches, an unfortunately somewhat wobbly 5-way and a mini-switch allow for quite complex sound management, which the attached picture explains comprehensively. A limp comparison would roughly divide the two modes into a Strat and an LP approach. As I said, it's limping. A master volume and master tone control round out the sound management. The string set is from D'Addario and goes by the name EXL 110-7 (.010/.013/.017/.026/.036/.046/.059).

In terms of accessories, Ibanez once again sets standards with this model that many other manufacturers could take an example from. Not only that the instrument is delivered in a high-quality plastic case, no, the highlight is the included multitool Hex Wrench MTZ11, which contains all the keys needed to adjust the instrument, like a Swiss Army knife. The manufacturing costs for such a product will probably be around 3-4 euros internally, why doesn't every manufacturer have such a tool in the functional scope. The external effect outweighs this investment many times over!

The Ibanez AZ24047 in practice

If one looks apart from the somewhat more massive dimensions of the neck, one has the feeling to hold a regular Ibanez Powerstrat in the hands. Weight, dimensions and handling are the same as always and easily fit into the personal playing experience. Thanks to a string space of 10.5mm, you don't really feel a significant difference from a fingering and touch perspective unless you analyze your fretboard from "top to bottom" (tonally from bottom to top).

The low B string adds only 5 additional bass notes to the tonal spectrum, but the fingerboard is completely different. It takes time to adjust your scales and voicings to the changed sound spectrum, it is after all a completely independent instrument. The typical metal head will possibly tune the B-string down to A, penetrate the high gain channel on the amp, fire off one power chord after the other in barre fret style and only in the rehearsal room, on stage or during the demo recordings think about where you can somehow accommodate the bass player tonally. Small tip, bassist from the band take and keyboarder purely. They can do more in terms of sound and can be placed much better in the overall sound. The lot of the heavy bass player in 2021. P.S. Only a fraction of all downtuned metal productions still have a "real, played" bass and even that can hardly ever be found in the sound.

However, it would be very unfair to limit the Ibanez AZ24047 to simple low-frequency banging. In terms of versatility, the instrument has much more to offer, which alone shows the large pickup selection. Like the RG series, the AZ series offers a very comprehensive and balanced sound from clean to all types of crunch to lead and high gain, with which you can cover a lot of playing styles. In principle, a very good instrument for a Dream Theater tribute band that has to play 2 sets of classic rock songs in the evening for the sake of catchiness (if there is such a band ;-)

The instrument is fun to play due to the very good vibration behavior and proves to be similar to the enclosed multitool in terms of flexibility. You can play everything that the "normal" sound range gives and has for the "fat department" again the low B-string in Petto, which can be brought in normal tuning also still very musical. The comparatively discreet appearance (please keep in mind the neon coloring of some Ibanez models) allows the use even in areas where the artist has to keep himself visually in the background.

Conclusion

With the Ibanez AZ24047, Japan's biggest name in electric guitars has a very good and above all flexible 7-string at the start. The instrument impresses with a very good workmanship and an unusually good vibration behavior, due to the roasted neck and the components used.

Due to the extensive circuitry, the guitar offers an excellent basis for all musical performances that require great flexibility in terms of sound, such as the always popular Top 40 cover band or but product presentations.

Oh, yes, be creative yourself is of course also very well possible with this instrument! ;-)

Additional informations:

Ibanez Guitars is a renowned Japanese guitar manufacturer that has been a prominent player in the music industry for over six decades. Known for its exceptional craftsmanship, innovative designs, and diverse range of instruments, Ibanez has become a trusted brand among musicians worldwide. This comprehensive report aims to provide an in-depth overview of the company, including its history, notable achievements, product range, manufacturing processes, and global impact.

History and Background Ibanez was founded in 1957 by Hoshino Gakki, a Japanese music company primarily involved in the distribution of sheet music and musical instruments. Initially, Ibanez focused on producing traditional Spanish classical guitars, but it soon expanded its offerings to include electric guitars, bass guitars, acoustic guitars, and other musical instruments.
In the 1960s and 1970s, Ibanez gained recognition for producing high-quality, affordable replicas of popular American electric guitars. This not only allowed beginner musicians to afford professional-grade instruments but also put Ibanez on the map as a serious competitor in the guitar market. Over the years, the company developed its own unique designs and technologies, establishing a distinct identity and loyal customer base.

Notable Achievements Ibanez has achieved several significant milestones throughout its history. One of its most notable accomplishments was the introduction of the Ibanez JEM series, a line of signature electric guitars designed in collaboration with legendary guitarist Steve Vai. These guitars showcased advanced features such as the innovative "Monkey Grip" handle, the double-locking tremolo system, and DiMarzio pickups, revolutionizing the industry and capturing the attention of guitarists worldwide.

Additionally, Ibanez made substantial contributions to the evolution of heavy metal and rock music. The brand's guitars gained popularity among metal guitarists due to their fast necks, aggressive tones, and high-performance features. Many renowned musicians, including Joe Satriani, Paul Gilbert, and John Petrucci, have collaborated with Ibanez to develop signature guitar models, further solidifying the brand's position in the rock and metal genres.
Product Range Ibanez offers a vast range of guitars and related instruments to cater to musicians of all genres and skill levels. Their product lineup includes:

Electric Guitars: Ibanez electric guitars are renowned for their versatility and playability. They offer a wide array of models, ranging from classic designs inspired by iconic instruments to cutting-edge modern instruments with advanced features.

b. Acoustic Guitars: Ibanez acoustic guitars are crafted with attention to detail, ensuring rich tones and superior playability. The company produces acoustic guitars suited for various playing styles, including steel-string acoustic, classical, and acoustic-electric models.

c. Bass Guitars: Ibanez bass guitars are highly regarded for their outstand
ing build quality, innovative designs, and exceptional tonal range. The company offers an extensive selection of bass guitars, catering to the needs of professional bassists, beginners, and everyone in between.

d. Amplifiers and Effects: In addition to guitars, Ibanez produces a range of amplifiers and effects pedals designed to enhance the tonal possibilities for guitarists. These products offer a wide range of sound-shaping capabilities, from vintage-inspired tones to modern high-gain distortion.
Manufacturing Process and Quality Control Ibanez maintains stringent quality control measures throughout the manufacturing process to ensure the highest level of craftsmanship and reliability. The company employs experienced luthiers and utilizes state-of-the-art technology to create instruments that meet the expectations of musicians worldwide.

TEST: Ibanez AD9

How the tastes of the times change! Once again, a retro flash hits my ears when I receive the Ibanez AD9 for testing. Why? OK, let's get back in our infamous time machine and whiz back in time over two decades.

In the blissful days of the nascent eighties, analog processor management was the name of the game. The burgeoning digital technology was still in its infancy, but was already revealing itself as the holy grail of the music industry in terms of promotion and pricing. My AD80 Analog Digital Delay, which I still own today, had the charm of a Fiat at that time with its maximum 300 ms delay and couldn't really cause a storm of enthusiasm within the music scene.

Duller repetitions of the original signal and 18 volts operating voltage (2x 9 volt blocks stuffed into the small housing, both empty after a few hours, no batteries commercially available and stabilized 18 volt power supplies only available via dark paths as imports) did not want to give rise to real joy.

But then (drum roll!), the I/O converters came upon us as if by magic and revealed frequency responses beyond our imagination, coupled with delay times that reached 1000 ms with the ease of a feather (drum roll over!). Tataaaa!

So little Axel was willing to invest and bought for the unimaginable price of 1.600,- DM!!! a Roland 19 inch digital delay, equipped with 8!!!! memory locations and a max. delay time of 1.800 ms (..but then only with half the frequency response, full frequency range was available up to 900 ms...). The pure madness, I was thrilled, I was who!

Back to the present. Digital technology is an ancient hat, so old that it led to a never expected price drop of about 95% for my wonderful 19 inch delay. In return, a diametrical price development was revealed concerning my "old cucumbers" in the pedal area (I also still have an old Tube Screamer ;-)). What I have not already gotten everything in offers for my old Tretminen from the house Ibanez. Suddenly all the then so low valued features were absolutely hip! I can't help but smile mischievously....

As I said, now the little fellow has caught up with me again, let's see if he can reproduce his grandfather's (now highly appreciated) idiosyncrasies tonally.


Construction:

They've already nailed the original color tone at Ibanez, though the adjective "beautiful" is in the eye of the beholder. I found the telecom-heavy color scheme honestly always a bit "exhausting", but hey, you should see my old Ibanez Flanger in yellow, you can only look at it with sunglasses, so strictly colored it comes ;-)

But that's it with the original replica, everything else was subjected to a maturation process and changed accordingly. The housing now has the same dimensions as all pedals from this Ibanez series, that is, it was slightly widened. In addition, a more massive steel housing was installed, which is significantly more stable than the old alloy, but also brings at least 50% more weight on the scale.

Three potentiometers control the ranges "Delay Time" (10 ms - 300 ms), "Delay Level" and "Repeat". The functions of the knobs are self-explanatory. All potentiometers are quite stiff, which has the advantage that the selected setting cannot be changed so quickly by an unintentional touch. Since these devices are literally "trampled underfoot", heavy-duty potentiometers on pedals are a real plus.

The AD9 is optionally operated with a 9V block or an appropriate power supply, gone is the search for the then factually non-existent 18V counterpart (which also became very hot during operation).

While the AD80 was still equipped with the (at that time very popular) noise-free FET switch, the AD9 is equipped with a (nowadays very popular) true bypass, whose switching process is also noise-free. Whether one prefers a bypass of the signal around the processor electronics, or as in former times in the middle, is up to everyone. Of course, the sound is changed when the signal is routed through, which in turn has its sonic appeal in terms of authenticity. To each his own....

Another change is the stereo layout of the AD9 with which two amplifiers can be controlled (Dry / Wet). Very nicely suited for spatial slapbacks.



Practice:

The first listening impressions after completed wiring provide another retro flash for me. Yes, this is analog! Nice and musty, a bit wooden and with the slightly musty charm of a rehearsal room that has already had a water ingress and, thanks to non-existent cross-ventilation, still has a nimble armada of fungal spores.

Not a high-gloss digital blast, but a very warm, unobtrusive room effect that is second to none. The aim is not to reproduce a natural echo as faithfully as possible, as it occurs in nature, but rather to create a very own signal repetition, condensed by the built-in compander, which integrates itself into the personal playing.

In direct A/B comparison to the AD80, the sound of the AD9 seems "tidier" and "clearer". This makes for better localization possibilities, but also has a bit less charm than the "rumbling Neanderthal" from the late seventies. There is always something unpredictable about the AD80's signal processing, which is more mulish and uneven. Depending on personal taste, this has advantages or disadvantages.

As before, short slapbacks are the AD9's specialty. Especially for sixties music or rock'n'roll attitudes an analog delay is suited like no other device. A direct digital competitor stinks here on the full line, too clean and true to the original the signal repetition sounds from the speakers and takes the retro aspect out of the music.

A very special peculiarity has been robbed from the AD9 in comparison to the AD80, or let's better say, a protective circuit has been built in. The AD80 could turn into a real hell machine, if you didn't pay attention to the values of the repeat and blend controls.

If both values exceeded about the 3 o'clock position, the AD80 slowly cranked up with the repeats and continuously increased the volume until it ended in a completely overdriven, infernally loud feedback loop, which could only be deactivated by pressing the bypass switch. For experimental music certainly a real gain, but for occidental sound culture rather an imposition.

I will never forget one of my shows where I reproduced three different sounds with three different amps. One amp per sound, thick pants everywhere you look, those were the days, my friend ;-)). The AD80 was connected to one amp and due to a setting error it had swung up quite a bit, i.e. the amp was being driven at full load, but I couldn't hear that because I had switched to another amp at that point. In the middle of a soulful ballad, I had to change the sound and I was greeted by a crashing and whistling soundclaster that is unparalleled. It was hell!


Conclusion:

The AD9 does exactly what it was built to do. It produces a very warm, musical, stand-alone delay that has become rare in this day and age of digital delays.

A true repilka of its grandfather, the AD80, it is not, for that it lacks the "rowdy", but it shines with higher practicality, better handling and higher operational reliability.

A real treat on the floorboard!

Additional information:

- Ibanez is a renowned guitar manufacturer that has established itself as a prominent player in the music industry. With a rich history spanning several decades, the company has consistently delivered high-quality instruments known for their exceptional craftsmanship, innovative designs, and versatility. This comprehensive report aims to provide an in-depth analysis of Ibanez, covering its history, product range, technological advancements, notable collaborations, and overall impact on the guitar industry.

History and Background: Ibanez was founded in Nagoya, Japan, in 1908 by Hoshino Gakki as a sheet music store. The company ventured into guitar production in the 1930s, manufacturing Spanish-style acoustic guitars. Throughout the mid-20th century, Ibanez gained popularity by producing replicas of well-known guitar models from renowned American manufacturers, eventually carving a niche for itself in the global market.

Product Range and Innovation: Ibanez offers a wide range of guitars, catering to diverse musical styles and player preferences. Their product line includes electric guitars, acoustic guitars, bass guitars, and classical guitars. Ibanez electric guitars are particularly renowned for their sleek designs, comfortable playability, and exceptional tone. The company is known for its innovative features, such as the Ibanez Edge and Lo-Pro Edge tremolo systems, the versatile switching system known as the "Super Switch," and the active electronics found in their premium models.

Technological Advancements: Ibanez has consistently pushed the boundaries of guitar technology, introducing several groundbreaking features over the years. They were among the pioneers of the extended range guitar, introducing the legendary Ibanez Universe in collaboration with guitarist Steve Vai. Ibanez also played a significant role in the development of the seven-string guitar, making it accessible to a wider audience. Furthermore, the company has been at the forefront of ergonomic guitar design, ensuring player comfort and playability through innovations such as the Ibanez RG body shape and thin, fast neck profiles.

Collaborations with Renowned Artists: Ibanez has built strong relationships with influential musicians across various genres. These collaborations have resulted in signature models that reflect the unique playing styles and preferences of the artists. Some notable artists associated with Ibanez include Steve Vai, Joe Satriani, Paul Gilbert, John Petrucci, Tosin Abasi, and George Benson. These collaborations have not only enhanced Ibanez's reputation but have also contributed to the evolution of guitar playing techniques and musical expression.

Impact on the Guitar Industry: Ibanez has had a profound impact on the guitar industry, influencing both musicians and manufacturers alike. The company's commitment to quality control, affordability, and innovative designs has made high-quality instruments more accessible to aspiring musicians worldwide. Ibanez's influence is evident in various genres, including rock, metal, jazz, and fusion, with many renowned guitarists opting for Ibanez guitars due to their reliability, playability, and tonal versatility.

Manufacturing Process and Quality Control: Ibanez maintains high manufacturing standards to ensure consistent quality across its product range. The company utilizes a combination of traditional craftsmanship and modern manufacturing techniques to achieve the desired results. Each instrument undergoes rigorous quality control measures, including thorough inspections, setup adjustments, and meticulous attention to detail. This commitment to quality has earned Ibanez a reputation for producing instruments that offer exceptional playability and tonal characteristics.

Customer Satisfaction and Support: Ibanez places great emphasis on customer satisfaction and provides excellent support services. The company offers warranties on its instruments, ensuring peace of mind for customers. Ibanez also has an extensive network of authorized service centers and dealers worldwide, ensuring easy access to repairs, maintenance,

- Digital delay pedals are indispensable tools in the arsenal of guitarists, allowing for the creation of captivating and atmospheric sounds. As a fundamental effect in the world of guitar pedals, digital delay units offer a wide range of functionalities, from simple repeats to complex rhythmic patterns. This comprehensive report aims to provide a thorough analysis of digital delay pedals, covering their history, technical features, popular models, applications in different music genres, and notable advancements in recent years.
History and Development: The history of delay effects can be traced back to the 1940s when tape-based delay units were first introduced. However, it was not until the advent of digital technology in the late 1970s that digital delay pedals became commercially available. Early digital delay units utilized digital signal processing (DSP) to sample and repeat the incoming guitar signal, offering greater control and flexibility compared to their analog counterparts. Since then, digital delay pedals have undergone significant advancements in terms of sound quality, features, and processing capabilities.

Technical Features: Digital delay pedals employ digital signal processing algorithms to capture and reproduce the guitar signal with precise control over delay time, feedback, and modulation. These pedals typically offer a wide range of delay time settings, often extending from milliseconds to several seconds. Many digital delay units also incorporate tap tempo functionality, allowing guitarists to synchronize the delay time with the tempo of their performance. Other common features include modulation effects (such as chorus or flanger), tone shaping controls, and stereo outputs for enhanced spatial effects.

Popular Models and Notable Advancements: The market is flooded with a plethora of digital delay pedals, each offering its own unique set of features and sonic capabilities. Some popular models include the Boss DD-7, TC Electronic Flashback, Strymon Timeline, Eventide TimeFactor, and Line 6 DL4. In recent years, manufacturers have focused on enhancing the sound quality and versatility of digital delay pedals. This has led to the introduction of advanced algorithms, improved analog-to-digital and digital-to-analog converters, increased memory for storing presets, and the integration of MIDI and USB connectivity for seamless integration with other musical equipment and computer-based setups.

Applications in Different Music Genres: Digital delay pedals find applications across various music genres due to their versatility and ability to add depth and texture to guitar sounds. In rock and pop music, digital delay is often used to create spacious and ambient effects, as well as rhythmic patterns. In genres like shoegaze and post-rock, digital delay pedals are frequently employed to achieve cascading walls of sound and ethereal atmospheres. Additionally, in experimental and electronic music, digital delay units serve as powerful tools for manipulating and transforming guitar sounds in real-time.
Creative Uses and Techniques: Digital delay pedals offer a myriad of creative possibilities for guitarists. Some popular techniques include:
Slapback: Setting the delay time to a short duration (around 50-150ms) to create a vintage-style slapback echo effect commonly heard in rockabilly and old-school country music.

Infinite Feedback: Increasing the feedback control to create sustained, self-oscillating sounds that can be used for ambient textures or as a sonic backdrop for improvisation.
Rhythmic Patterns: Utilizing the tap tempo functionality or preset rhythmic patterns to generate complex delay patterns that synchronize with the music, adding a rhythmic element to the guitar sound.
Reverse Delay: Utilizing the reverse delay feature to produce backward-sounding repeats, creating surreal and otherworldly textures.

TEST: Hughes & Kettner Era 1

With hardly any other instrument are joy and sorrow as close together as with the acoustic guitar. On the one hand, the instrument is bursting with independence in terms of transport and flexibility, just think of the countless bed-in-the-cornfield style possibilities regarding singer/songwriter, on the other hand, you can pack your bag when the volume bullies of the electric guitar or drum faction unpack their potency.

Only the feeding of the monitor system including all the disadvantages such as the dependence on the monitor man and the eternal fight against the low-frequency feedback was until recently the measure of all things to get an ear on a stage. As far as I know, almost 30 years ago it was Trace Elliot, among others, who heard the plea of acoustic guitar players and developed an acoustic combo similar to an electric guitar combo, which was of high quality, but also heavy and expensive.

As expected, it was a bass amp manufacturer who had an open ear for acoustic guitarists, since the electric guitar amps and especially their cabinets with their essential treble clipping by the 12 inch speakers were anything but open for a specialized amp for acoustic instruments. Quote: "The wimps still have their wedge solution", see above, a real drama.

Thanks to Class-D power amplifiers and state-of-the-art manufacturing methods, the middle ages of acoustic amplifier technology are long behind us and have been taken over in recent times, especially by manufacturers who primarily drew attention to themselves through their success in the electric guitar sector. The Saarland-based manufacturer Hughes & Kettner can now also join this merry band, which with the German-made Hughes & Kettner Era 1 releases an in many respects extraordinary amplifier onto the market, or should we better speak of a miniature P.A.?


Design and construction

In order to give the Hughes & Kettner Era 1 special treatment during its development, the company secured the services of acoustic specialist Michael Eisenmann, who was a leader at the renowned acoustic amplifier manufacturer AER.

Even if one sees the Hughes & Kettner Era 1 primarily as an amplifier for an acoustic guitar with a built-in pickup, one should be aware from the outset that the combination of a 250 watt power amplifier with a 1 inch dome tweeter / 8 inch bass speaker can also amplify other acoustic instruments such as accordion, string instruments or zither. Due to the wideband playback, keyboards or vocal microphones can also be connected, which, due to the four-channel mixer section, quickly turns the amplifier into a typical "vocal system".

Conceptually, the Hughes & Kettner Era 1 has 2 identical channels, which, in addition to a gain control and a 3-band tone control, also have an FX selector for the internally installed 16-fold FX device along with FX control. An EQ switch can be used to change the center frequencies of the tone controls, with Mode 1 being designed more for steel string instruments and Mode 2 more for nylon string instruments. Similarly, Mode 1 is more preferable for male voices, Mode 2 for female voices. The exact frequency processing results as follows: Bass control 80 Hz (Mode 2 at 110 Hz) to +/-10 dB, Treble at 10 kHz (Mode 2 at 12 kHz) to +/-10 dB, Mid control at 700 Hz (Mode 2 at 1200 Hz) to +/- 6 dB.

Furthermore, each channel has a clip indicator, a shape switch, which in typical loudness style slightly lowers the mids and emphasizes the bass and treble, and a mute switch, which mutes the individual channels if necessary. This has particular advantages if you are on the road with 2 guitars and want to prevent the second guitar from resonating during the performance. The switching action can also be completed using a foot switch. Hughes & Kettner offers the FS-2 for this purpose, but it is not included.

All these controls and switches are located next to volume control for channel 3 and a master notch and master volume control recessed downwards on the top of the housing for transport reasons. All inputs and outputs of the Hughes & Kettner Era 1 are located on the rear of the housing.

While channels 1 and 2 are fed via lockable combo jacks (XLR / TRS), whereby 48 V phantom power can be optionally connected and thus designed for the amplification of acoustic instruments and microphones, channel 3 (mini stereo jack) and channel 4 (TRS) are responsible for feeding MP3 players or high-level instruments. Both channels nevertheless have a separate volume control.

As a circuit trick one has to see the FX Send over channel 4, with which an external FX processor can be used. In this case, the internal FX processor is disabled and the FX knob controls the external FX device. Attention, in this case set the FX portion to 100% for the external processor! In order to be able to forward the incoming signals to a P.A., the Hughes & Kettner Era 1 has a DI Out in XLR form, which can be tapped either before or after the tone control and has a ground lift.

Two other special features make the Hughes & Kettner Era 1 stand out from the competition. First, the amp has an optical output and an auto sleep function. The optical S/PDIF Toslink allows direct access to the interface of the computer and, as an optical fiber, is known to be insensitive to ground loops of all kinds. The Auto Sleep switch takes over the order according to 1275/2008/EG for the energy saving regulation for electronic devices manufactured in Germany, where the device has to deactivate after a certain time in sleep mode. This can be switched off here if required.

Case

With dimensions (W x H x D): 351 x 285 x 290 mm and a weight of just over 10 kilograms, the Hughes & Kettner Era 1 is very easy to transport thanks to the carrying handle attached to the top of the case. There are no edge protectors in the classic sense, but the padded cover absorbs most of the external impact. It also accommodates the included slider, which angles the combo between 25 - 35 degrees as desired. A 35 mm flange has also been thought of for high stand operation.

Practice

In order to be able to evaluate the Hughes & Kettner Era 1 neutrally, I first make a completely neutral setting, that is, both the tone control of the amplifier, as well as the tone control of the Fishman preamp on the test guitar Framus Legacy FD 28, are at 0 dB. First impression, the amp sounds very balanced and significantly louder than the very clear dimensions of the cabinet would suggest. Of course, there remain the comparatively harsh mids and bony highs that just about every piezo pickup in the bridge area gives off, but that's not the amp's fault.

I'll continue to leave the guitar's tone control out of it, which, by the way, won't change during the course of the test. As it turns out, this amp really doesn't need EQ support from the guitar; on the contrary, it interferes rather than helps, since the tone controls of acoustic guitar preamps tend to be designed for typical wedge operation in their center frequencies. In the studio, you should record a guitar with a high-quality condenser microphone anyway.

The tone control of the Hughes & Kettner Era 1 is truly very discreet and practical. No level jumps and especially no over- and under-presence with +/- 15 dB or more, which no one needs in live performance anyway and which only make for a harsh or thin sound. Rather, the treble control is particularly pleasing, which helps the so important "sparkle" area of the guitar on the jump. The Shape switch undoubtedly crystallizes as a highlight. After activation, the exact frequency curve is formed, which offers the guitar the necessary assertiveness within a band context.

In general, it seems that the Hughes & Kettner Era 1 actually only changes the guitar's volume, the instrument is spared unpleasant sound bending. The basic sound of the instrument is preserved and is simply raised and improved in terms of volume. Quite outstanding.


Conclusion

With the Hughes & Kettner Era 1, the Saarland-based company treads new ground at the highest level. The amplifier shines with an excellent basic sound, combined with practical detail solutions and the best workmanship.

Anyone looking for a small amplifier with a very big sound should definitely shortlist this amplifier.

Be sure to test it!

Additional informations:

- Hughes & Kettner is a well-respected German company that designs and manufactures high-quality guitar amplifiers and effects pedals for professional musicians and guitar enthusiasts around the world. The company was founded in 1984 by a group of experienced engineers and musicians who were passionate about creating innovative, reliable, and great-sounding guitar gear.

One of the company's core values is to listen to the needs and feedback of their customers, which has led to a continuous process of research and development. As a result, Hughes & Kettner has earned a reputation for producing some of the most advanced and feature-rich amplifiers on the market, with a wide range of products that cater to players of all styles and skill levels.

The company's flagship product line is the TriAmp series, which includes the TriAmp Mark 3, TriAmp MK II, and the TriAmp MK I. These amps are known for their versatility and ability to produce a wide range of tones, from crystal-clear clean sounds to heavy distortion. The TriAmp series also features a unique three-channel preamp design, which allows players to switch between different gain stages and EQ settings on the fly.
Hughes & Kettner also produces a range of other high-quality amplifiers, including the GrandMeister Deluxe, Black Spirit 200, and TubeMeister Deluxe. These amps are designed with modern features such as built-in effects, wireless connectivity, and power scaling, which allows players to adjust the output power of the amp to suit their playing environment.

In addition to amplifiers, Hughes & Kettner also produces a range of effects pedals, including the Replex tape echo simulator, Tube Factor overdrive pedal, and the Rotosphere rotary speaker simulator. These pedals are built with the same attention to detail and quality as the company's amplifiers, and are designed to provide guitar players with a range of unique tonal options.

One of the unique features of Hughes & Kettner products is the ability to connect to the company's proprietary software, which allows players to customize and save their amp and pedal settings. The software also provides access to a range of additional features, such as remote control and firmware updates.

Hughes & Kettner products are used by a range of high-profile artists, including Alex Lifeson of Rush, Paul Gilbert, and Doug Aldrich. The company's commitment to quality, innovation, and customer satisfaction has helped them establish a loyal following among guitar players around the world.

In conclusion, Hughes & Kettner is a highly respected and innovative company that produces high-quality guitar amplifiers and effects pedals. Their commitment to customer satisfaction and constant innovation has helped them establish a reputation as one of the premier guitar gear manufacturers in the world. Whether you are a professional musician or a guitar enthusiast, Hughes & Kettner has something to offer that will enhance your playing experience.

- Acoustic guitar amplifiers are designed to enhance the sound of acoustic guitars by amplifying the natural tone of the instrument while preserving its warmth and character. They are commonly used by guitarists who perform in venues that require amplification, such as coffeehouses, small clubs, and concert halls. In this report, we will explore the features and benefits of acoustic guitar amplifiers.

One of the primary features of acoustic guitar amplifiers is their ability to accurately reproduce the natural sound of the instrument. This is achieved through the use of specialized speaker systems and preamps that are designed to capture and amplify the delicate nuances of acoustic guitar playing. Some models also feature built-in effects such as reverb and chorus, which can further enhance the sound of the guitar.

Acoustic guitar amplifiers come in a range of sizes and power ratings, with smaller models designed for practice and intimate performances, while larger models are capable of filling large concert halls. They also feature a range of inputs and outputs, allowing them to be used with a variety of instruments and equipment, such as microphones and external effects processors.

One of the key benefits of acoustic guitar amplifiers is their portability. Many models are designed to be compact and lightweight, making them easy to transport to gigs and rehearsals. Some models also feature battery power options, which makes them ideal for outdoor performances or locations where power outlets are not readily available.
Acoustic guitar amplifiers are also versatile in their applications. They can be used in a range of musical genres, from folk and country to jazz and rock. They are also suitable for use with a variety of acoustic instruments, including guitars, violins, and mandolins.
When selecting an acoustic guitar amplifier, it is important to consider the wattage and size of the unit, as well as its features and connectivity options. Additionally, it is important to choose an amplifier that complements the natural sound of your instrument, rather than one that adds unnecessary coloration or distortion.

In conclusion, acoustic guitar amplifiers are a valuable tool for guitarists who perform in a range of settings. They offer the ability to amplify and enhance the natural sound of acoustic instruments while preserving their character and warmth. With a range of features and benefits, acoustic guitar amplifiers are an essential piece of equipment for any musician looking to take their performances to the next level.