TEST: Allpedal Devils Triad

 Some insiders will know Jeff Loomis from his work with “Nevermore”, but he made his final leap into the top league with his entry into “Arch Enemy” in 2014, where, in contrast to Michael Amott, who was primarily responsible for the is responsible for the composition work and takes over the virtuoso parts of the guitar work. I met both of them for a friendly chat at the Alpenflair Festival this year, as they both had the dressing room next to us and entered the stage after us. I was invited to watch their show from the stage, but I couldn't see whether Jeff Loomis was already using his all-pedal Devil's Triad OD/BST/REV/DEL, as he only had a large midi bar at his feet as a control center , although you can of course easily integrate your signature pedal into your setup using a looper. We have the same pedal for testing today.

The concept of the Allpedal Devil's Triad OD/BST/REV/DEL

Allpedal have come up with really nice packaging. Black, visually appealing packaging with a magnetic closure ensures a good first impression. There is also a marketing sticker and four stick-on feet if the pedal is not attached to a floorboard. The pedal itself also looks very appealing with its red, black and white skull appearance and should attract the attention of genre fans.

With his Allpedal Devil's Triad OD/BST/REV/DEL pedal, Jeff Loomis is taking up a trend that has gained massive popularity recently. We're talking about a pedal that reflects the artist's general basic sound, usually in the form of an overdrive/distortion pedal, has one or two preferred effects installed and, in case of doubt, can be used on any amp with a serial FX loop by using the FX -Return is used as a power amp and the pedal as a preamp. In this case, it is important to optimally adjust the output level of the pedal, as the combination preamp / pedal - FX return, preamp / pedal - external 19 inch power amplifier or preamp / pedal - input amp each require completely different output levels and, if adjusted incorrectly, one will be irrelevant produce a thin or muddy over-pressed sound.

The principle of the Allpedal Devils Triad OD/BST/REV/DEL, developed and built in the USA, is to accommodate four different effects in one housing, such as overdrive, boost, delay and reverb. The four functions share three ON-OFF switches, with reverb and delay having to share one switch. The entire hardware is completely black except for the boost controller, which comes in a bright red. The Drive, Reverb and Delay effects each have three control knobs, which are pleasantly stiff and have the following control options:

Drive FX: Drive: Analog op-amp with Soft Clipping 260K @ 1KhZ, Level: Off - 20db, Tone: 10db Boost @ 4KhZ | 15db cut @ 4KhZ - Gain: Increases Signal to the clipping LEDS to increase distortion.

Delay: Analog signal path with digital repeats. - Measured input impedance: 250K @ 1KhZ - Level: Volume of the repeats, dry signal always unity level. - Feedback: Number of repeats. - Delay: Time between repeats ~50ms minimum / ~500ms maximum.

Reverb: Analog signal path with digital plate reverb emulator. - Level: Volume of wet signal, dry signal always unity level. - Tone: Attenuates highs from wet signal only. - Decay: Sets the level of wet signal feedback.

Boost: Analog op-amp - Measured input impedance: 325K @ 1KhZ - Boost: Unity - 20db


Unfortunately, the labels on the respective controls are very small and can only be deciphered if you look closely. It is therefore best for the live situation to learn the respective control functions by heart if you want to access them during the show. The pedal itself is very solid, which suggests a long service life. The respective effects are each provided with an LED, which provides information about the on-off status, while a large red LED provides information about the applied mains voltage. With dimensions (W x D x H): 146 mm x 119 mm x 60 mm and a weight of 547 grams, the pedal still remains within the range of normal parameters. A standard 9V connection with a hollow plug is sufficient for the power supply.

In order to be able to use the total of four effects perfectly and distribute them on the respective amp, the pedal has an input and an output on the front for both the drive boost section and the delay reverb section. With the Allpedal Devils Triad OD/BST/REV/DEL, Jeff Loomis uses the Four Cable Method, which integrates the preamp section of the respective amplifier into the setup with the external pedal. With this method, both the pre-amp of the amplifier can access the effects of the effects pedal, and the pre-amp function of the pedal can access the power amp of the amplifier without having to go through the pre-amp. This generally allows for significantly greater flexibility in terms of sound than standard wiring.


The Allpedal Devils Triad OD/BST/REV/DEL in practice.

As expected, the Allpedal Devils Triad OD/BST/REV/DEL focuses primarily on high gain sounds of different stripes. The pedal offers a highly compressed basic sound, the sharpness of which can be adjusted somewhat. Even though many sound examples on the internet refer to hard rock or classic rock attitudes, yes, you can of course achieve good sounds with this pedal even at lower gain settings, but the primary application of this pedal is not rock, but metal. The interaction with the dynamics of your personal playing style is a bit too limited for a real rock sound, which means that the pedal irons out the level differences relatively strongly to an average level and primarily only differs in the gain range.

But this is by no means meant negatively, because a signature pedal should of course particularly reflect the characteristics of the respective artist in their preferred style and not be an all-rounder in the classic sense. As soon as we get into the metal area, the pedal can fully demonstrate its true strengths. Even at high gain settings, the sound remains comparatively transparent, both in rhythm and in solo areas. Provided you play cleanly, the high compression offers a good basis for pumping heavy sounds, also in the downtuning area.

The level, or boost function, deserves special attention, as the signal level can be increased to +40 dB by combining the two controls. This not only allows you to find the perfect level for the respective power amplifier response, as previously mentioned, but you can also use this boost function to drive somewhat discreet amps into a sweet spot in which the amp can offer its best sound quality. In particular, all-tube amplifiers that are designed to be relatively open in the output stage with a low scoop approach, such as Marshall, Hiwatt, Soundcity or similar, should benefit from the approach of the Allpedal Devils Triad OD/BST/REV/DEL.

In the area of the 4-cable method, the user also benefits from the sound quality of the reverb and delay units, which are spartan in their control but quite effective in their sound design. The two effects offer a good basis, especially if you want to give your guitar a subtle color in solo or clean passages.
For more unusual ambient sounds, I would like a slightly higher resolution and more complex control, but as I said, that's not what the pedal was designed for.

All in all, you have to attest to the pedal's sound being exactly the same as its namesake. The pedal works excellently in metal and all its varieties, which is what it was ultimately designed for. It fulfills the function of a full-fledged guitar preamp, especially for the working musician who has to travel with small equipment, so that you can use almost any amp on site as long as it has a serial FX loop.

Addendum: I initially operated the pedal with a 100 mA power supply, but this resulted in a lot of mains hum. This problem was solved with a current of 250 mA. It is therefore important to ensure that the power supply unit used offers sufficient mA.

Conclusion

With the Allpedal Devils Triad OD/BST/REV/DEL, the American company Jeff Loomis has tailored a pedal that cuts a fine figure in every style of metal. The highly compressed basic sound offers a good basis for pumping palm-muted actions as well as for sustain-rich leads.

In combination with an extensive boost function, a good amp with a serial FX loop on the venue is enough to be able to implement the majority of your personal repertoire without additional equipment, which greatly reduces the workload for the working musician.

A high-quality pedal that deserves to be tested!

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Additional Informations:

Jeff Loomis, an American guitar virtuoso hailing from Appleton, Wisconsin, has left an indelible mark on the world of heavy metal and progressive music. Born on September 14, 1971, Loomis's career is nothing short of a saga, marked by remarkable technical proficiency, creative innovation, and enduring dedication to his craft. In this comprehensive article, we will delve into every nuance of Jeff Loomis's life, career, and his profound influence on the realm of electric guitar.

### Early Life and Musical Genesis

Jeff Loomis's journey into the realm of music commenced in his formative years. Growing up in a family with a strong musical inclination, he was introduced to the guitar at the tender age of 9. It was evident from the outset that young Jeff possessed an innate gift for the instrument. His influences at this early stage included revered guitarists such as Marty Friedman and Jason Becker, whose complex, neoclassical styles would go on to shape Loomis's distinctive approach to the guitar.

### Shaping the Soundscape with Nevermore

Loomis's career breakthrough arrived when he joined the Seattle-based progressive metal band, Nevermore, in 1994. His entrance into the group marked a turning point for both himself and the band. Jeff's unparalleled technical prowess and songwriting skills quickly established him as a pivotal figure in shaping Nevermore's signature sound.

During his tenure with the band, Loomis contributed significantly to a series of critically acclaimed albums, including "Dead Heart in a Dead World" and "This Godless Endeavor." Notably, his composition "The Seven Tongues of God" showcased his ability to craft intricate guitar harmonies, marrying technical complexity with poignant melodies.

### "Zero Order Phase" and the Solo Odyssey

In 2008, Jeff Loomis embarked on a solo career with the release of his debut instrumental album, "Zero Order Phase." This opus showcased Loomis's full spectrum as a musician, intertwining elements of progressive metal, neoclassical shred, and profound melodic sensibility. The album stands as a testament to his prowess, with tracks like "Miles of Machines" and "Shouting Fire at a Funeral" becoming instant classics among guitar enthusiasts.

"Zero Order Phase" heralded Loomis's arrival as a solo artist of paramount importance, establishing him as a modern guitar hero capable of pushing the boundaries of his craft.

### The Arch Enemy Phase

In 2014, Jeff Loomis received a call that would further enhance his reputation in the metal community. He was invited to join the influential melodic death metal band Arch Enemy, stepping into the shoes of guitarist Nick Cordle. His inclusion in the band elevated Arch Enemy's sound to new heights, with Loomis's guitar solos and songwriting contributions injecting fresh energy into their music.

His work with Arch Enemy can be savored on albums like "War Eternal" and "Will to Power." Jeff Loomis's intricate leads and harmonies added depth and complexity to the band's relentless aggression, demonstrating his remarkable versatility as a guitarist.

### Signature Guitars and the Science of Sound

Beyond his playing and songwriting, Jeff Loomis has significantly impacted the world of guitar manufacturing. Collaborating with companies such as Schecter Guitar Research, he has designed signature guitar models tailored to the demands of modern metal guitarists. These instruments typically feature extended scale lengths, high-output pickups, and ergonomic designs, engineered for both precision and comfort during relentless shredding and heavy riffing.

In the realm of gear, Loomis is known for his preference for amplifiers from companies like Kemper and Randall, supplemented by a diverse array of effects pedals. His meticulous attention to his sound has resulted in a tone that is not only powerful but also highly distinctive.

### Legacy and Ongoing Influence

Jeff Loomis's contributions to the heavy metal and progressive music spheres are immeasurable. His innovative approach to guitar playing, characterized by the fusion of technicality with deep emotional expression, has served as an enduring source of inspiration for countless guitarists and bands worldwide. His legacy extends not just through his own music but also through the generation of guitarists he has mentored and influenced.

In summation, Jeff Loomis stands as an undisputed icon in the world of heavy metal guitar. His extraordinary journey, from a young guitar enthusiast in the heartland of America to a globally celebrated virtuoso, is a testament to his unwavering dedication, unparalleled talent, and a boundless passion for music. Whether blazing through complex compositions with bands like Nevermore and Arch Enemy or captivating audiences with his solo work, Jeff Loomis continues to push the boundaries of what is achievable on the six strings, leaving an enduring and indelible mark on the world of music.

TEST: Allan&Heath PA12

 What has always surprised me personally in the music industry is the fact that, despite what is now an incredibly large range of manufacturers and products, the same names are always mentioned as a reference for a product group.

Just as every outsider, for example in the guitar amplifier sector, has to believe that the entire world consists only of Marshall amplifiers, there are also a handful of names in the console sector that appear with great regularity. Is it because they were the first on the scene, because they have the greatest tradition, because the quality is above average or even because of their pretentious appearance? Who knows, maybe it's a mixture of everything.

One of these names is undoubtedly the company Allen & Heath. The British manufacturer looks back on a 30-year history and has developed and sold over 150 different consoles over the years. For testing, I have a product from the PA line, the PA12, a representative of the smaller live consoles, which are particularly characterized by their easy portability.


Construction:

The small mixer comes with a manageable weight of 12 kg and, with its dimensions of 525 mm wide x 145 mm high x 538 mm deep, does not pose any transport problems. However, as with any console, you should always include a case in the economical design, any broken ones Poties and bent faders are guaranteed to ruin your mood before the show.

The workmanship of the device is impeccable, no sharp edges, unclean burrs or poorly screwed sockets. The strong round handle on the base of the mixer proves to be very practical, so you can easily carry the console with one hand without damaging your back. Who doesn't remember the annoying "cramping around" of transporting a 16-channel or more alone when you don't have an official attack surface in the form of handles or recesses.

4 feet on the bottom of the housing and 4 more on the front ensure that the mixer can be easily placed both vertically and horizontally.

The PA12 is an 8-channel mixer plus two stereo channels. The inputs can be assigned either a microphone (XLR) or a line (TRS), with the line input overwriting the XLR input. If necessary, all microphone channels can be connected independently with 48V phantom power using a somewhat fiddly plastic switch.

As expected, below this input section is the insert for compressor operation or a similarly designed dynamic tool. The gain control has an extensive pickup gain range from -63dBu to +5dBu in the microphone and -25dBu to +10 dBu in the line range. The frequencies below 100 Hertz can be reduced using an impact sound filter.

The tone control in the mono channels is divided into two shelving filters (treble 12 kilohertz, bass 60 hertz), a low mid bandpass at 250 hertz and a semi-parametric mid control, which can be tuned from 350 hertz to 7 kilohertz.

The PA12 has a total of four auxiliary sends for monitoring or FX sends. Foldback1 and 2 are pre-fader, but post-EQ routed, AUX is connected after the fader. FX send sends the signal to the internally built-in multi-effects device. All 4 sends can be fed to external devices via corresponding out sockets.

The standard panorama control, a mute switch optically supported by a powerful red LED, a PFL switch and a peak LED round off the overall impression of the channel. The channel strip is completed by a very smooth-running 100 mm fader.

The stereo channels 9/10 and 11/12 can be fed via a total of 4 input pairs, with stereo input 1/3 being a cinch and stereo input 2/4 being a jack. If necessary, the RCA inputs can be fed directly to the stereo sum and thus offer additional returns.

The digital effects processor with 16 programs offers reverb, delay, chorus and other effects, also combined. This effects module feeds the mono & stereo channels via post-fade FX-Aux. The output of the FX module is controlled by a 100 mm fader with mute & PFL and routed to stereo mix and FB1&2 with post-fade level control. At this point, 2 TRS inputs with level control offer an opportunity to combine external FX with the internal unit. The internal FX unit can be switched off to use external effects only. The TRS footswitch jack mutes the FX channel. The effects are MIDI editable using the Allen & Heath software editor.

The output section offers semi-parametric 4-band EQ for the TRS slave outputs. The source selector for the output EQ section can be used for left/right, L&R sum/foldback1, or foldback1/foldback2. On the front of the housing there is the main outs, designed as XLR males along with a 12 volt XLR lamp connection.



Practice:

First of all, the mixer feels “good”. Even control paths, clean and practical alignment, only the faders have too little resistance for me personally. The different color coding of the potentiometer heads may bring tears to some designers' eyes, but it ensures quick and intuitive operation of the controls. After switching on the device, a bright blue (once again, no one uses red anymore ;-)) LED reports the operating status.

No matter how well thought-out the circuitry is on a mixer, ultimately it is the filters that decide whether you win or lose. Allen & Heath in particular, who are considered to be the co-founders of the “British sound” in the console sector, have a duty to prove whether they can also make a mark in the “small car class”.

After leveling the input signal, the treble shelving EQ can first prove itself. He does his job satisfactorily, if a little “stiff”. In direct comparison to a Mackie 12 kilohertz controller, which is much more “silky”, the PA12 comes up short. I personally find it a bit risky to set the bass control at 60 Hertz, as the frequency is very low and is already in the area where you have to fight against the frequency more than you can use it usefully. In my opinion, 70-80 Hertz would have been the better choice, but ultimately this remains a matter of taste. Nevertheless, the controller sounds balanced and is convincing.

I think setting a bandpass at 250 Hertz is very successful, as it allows you to penetrate relatively quickly into “damp areas” and purify them, especially in live operation. The controller does its job tastefully, if somewhat unspectacularly.

But now! If the reader has not yet found the “big bang” of this article, here it comes. The semi-parametric EQ turns out to be the absolute highlight of the channel! You might think it's a different assembly because the color of the filter stands out from the group of four. Here it is, the rough yet soft coloring of the British style, which never destroys the basic alignment or messes up the output signal with internal distortions, even with maximum cut or boost. A very successful approach!



Conclusion:

Committed to tradition. Even a company like Allen & Heath cannot rest on its laurels and must constantly assert itself in the increasingly competitive small mixer segment. With the PA12 they have undoubtedly succeeded.

The console has very extensive routing options and offers practical handling in all areas. In terms of sound, the PA12 manages to generate the traditional “British” sound to a large extent, without foregoing the helpful digital level in the signal routing and effects section. The filters sound good to excellent, the equipment is extensive, and the workmanship is clean.

All in all, a recommendable work tool with a high degree of independence in terms of sound and appearance. If it were still possible to produce this quality at this price outside of China, the impression would be perfect.


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Additional Informations:

Allan & Heath is a distinguished name in the world of professional audio equipment and live sound mixing consoles. Founded in 1969 by the eponymous company's founders, Bob Allan and Ivor Heath, this British-based manufacturer has consistently delivered innovative and high-quality audio solutions for the music and entertainment industries. This article explores the rich history, groundbreaking products, and enduring legacy of Allan & Heath.

**Historical Background:**
Allan & Heath started its journey in London, UK, during a period of significant technological advancements in audio equipment. In its early years, the company gained recognition for its custom mixing consoles, catering to the needs of a diverse clientele, including recording studios, radio stations, and live venues. This commitment to custom solutions laid the foundation for their later innovations in the audio industry.

**Innovative Products:**
Throughout its history, Allan & Heath has introduced numerous groundbreaking products that have revolutionized the world of professional audio. Some of the key innovations include:

1. **GL Series Mixers (1970s):** The GL series marked Allan & Heath's entry into live sound mixing consoles. These compact and versatile mixers became popular for their excellent sound quality and reliability.

2. **MixWizard Series (1990s):** The MixWizard series combined affordability with professional features, making it a favorite among small to mid-sized venues and mobile sound engineers.

3. **iLive Digital Mixing System (2005):** Allan & Heath made a significant leap in the digital age with the iLive series, offering modular digital mixing systems with impressive flexibility and audio quality.

4. **QU Series Mixers (2012):** The QU series brought digital mixing to a wider audience, offering intuitive touchscreen interfaces and exceptional sound quality in a compact form factor.

5. **dLive Mixing System (2016):** The dLive series represents the pinnacle of Allan & Heath's digital mixing technology, with advanced processing, extensive connectivity, and exceptional audio quality.

6. **Avantis Mixer (2019):** Avantis combines the power of dLive technology with a compact and more affordable design, catering to a broad range of users, from small venues to touring professionals.

7. **AHM-64 Matrix Processor:** This versatile matrix processor offers powerful audio routing, processing, and control capabilities, making it a key component in sophisticated audio systems.

**Impact on the Audio Industry:**
Allan & Heath's innovations have had a profound impact on the audio industry, particularly in the live sound and recording sectors. Their consoles and mixing systems are known for their reliability, sound quality, and user-friendly interfaces, making them a top choice for both seasoned professionals and emerging talents.

**Company Philosophy and Values:**
Allan & Heath has consistently upheld a commitment to excellence, innovation, and customer satisfaction. Their dedication to meeting the evolving needs of audio professionals and delivering high-quality products has solidified their reputation in the industry.

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Bob Allan was born on October 4, 1946, in London, United Kingdom. From a young age, he displayed a keen interest in electronics and sound engineering. His passion for music and technology drove him to pursue a career in audio engineering.

In 1969, alongside Ivor Heath, Bob co-founded Allan & Heath, a company that would later become a cornerstone of the professional audio industry. Bob's technical expertise and innovative spirit were instrumental in the company's early years. He played a crucial role in designing custom mixing consoles tailored to the unique needs of recording studios, radio stations, and live sound venues.

One of Bob's notable contributions was the development of the GL Series mixers in the 1970s. These compact yet powerful consoles offered exceptional sound quality and flexibility, setting a new standard in live sound mixing. Bob Allan's commitment to pushing the boundaries of audio technology led to a legacy of innovation that continues to influence the industry today.

Tragically, Bob Allan passed away on December 9, 1992, leaving behind a remarkable legacy of creativity and innovation in the world of pro audio.

**Ivor Heath: The Business Mind and Industry Pioneer:**
Ivor Heath, born on February 25, 1947, in London, UK, brought a unique blend of business acumen and technical expertise to Allan & Heath. His early career involved working with audio equipment manufacturers, giving him valuable insights into the industry's dynamics.

In 1969, Ivor teamed up with Bob Allan to co-found Allan & Heath. Ivor's role was pivotal in shaping the company's business strategies and growth. He recognized the potential for their custom mixing consoles to address the needs of various audio professionals, laying the foundation for the company's future success.

Under Ivor's leadership, Allan & Heath expanded its product range, venturing into digital mixing systems and international markets. His visionary approach led to the development of groundbreaking products like the iLive and dLive mixing systems, which gained global acclaim for their innovation and quality.

Ivor Heath's dedication to building Allan & Heath into a global brand resulted in the company's continued growth and success. His leadership and strategic vision ensured that Allan & Heath remained at the forefront of the pro audio industry.

**Legacy and Impact:**
The partnership of Bob Allan and Ivor Heath not only created a thriving company but also left an indelible mark on the professional audio industry. Their commitment to innovation, quality, and customer satisfaction has made Allan & Heath a trusted name in studios, live venues, and broadcasting facilities worldwide.

Today, Allan & Heath continues to innovate and produce cutting-edge audio solutions, carrying forward the vision of its founders. Bob Allan and Ivor Heath's legacy lives on in the products and technologies that bear their influence, as well as in the hearts of audio professionals who have benefitted from their pioneering spirit and dedication to excellence.

TEST: Alesis Transactive Wireless

 If there is one word that has truly achieved worldwide fame in recent years, it is the expression “flexibility”. There is nothing that is more feared these days than a deadlocked construct that cannot adapt to changing circumstances or demonstrate the greatest possible scope of compatibility. Now, what do these introductory words have to do with a review?

Everyone knows the situation where you want to quickly strengthen several components without much effort and, in order to present yourself, you would like to accompany yourself using MP3 from your favorite pad, pod or whatever player. The whole thing is then battery operated and so portable that even the trunk of a Smart car is enough to transport the sound system. Well, the child can be helped.

With the Transactive Wireless, Alesis is bringing a battery-operated speaker system onto the market, which is a helpful tool in terms of amplification for street musicians, small performers and PowerPoint/keynote presentations.


construction

The Alesis TransActive Wireless is a very small and easy-to-transport sound system made in China that works in both mains and battery operation. A rudimentary, three-channel mixer was integrated, which allows a microphone signal to be fed in via a combination socket, a line signal using a separate input and a stereo signal via a mini jack socket. All signals are managed with a master volume controller located on the far right. In addition, the system can play audio files from any device in the form of smartphones or tablet PCs via Bluetooth. The devices can also be charged via a USB port.

According to the manufacturer, the built-in lead-acid battery provides an operating time of approx. 50 hours, with a complete charge of the battery taking approx. 6 hours. There is a cold appliance plug on the side, over which the mains fuse has also been installed. You can also choose between 110 - 120 and 220 - 240 volts in the operating voltage. In addition, three green and one red LED provide information about the charging status of the battery.

The mono system consists of a 1 inch tweeter and an 8 inch woofer, has 25 watts of continuous power and can handle short peaks of 50 watts. Both speakers are protected by a black perforated plate. With dimensions of 290 mm x 380 mm x 440 mm and a weight of 12.9 kilograms, the product actually fits in any trunk and, if necessary, can also fit in the footwell of a small car. The Alesis TransActive Wireless does not have a protective cover; only 8 silver-anodized protective corners offer protection during transport. If you want to improve the system's radiation characteristics, there is also a 35 millimeter speaker flange for a speaker stand on the underside of the housing.

A transport trolley concept is integrated into the product and has a double telescopic rod. To lift the product, there are plastic carrying troughs on each side of the housing. To hold the Bluetooth devices, there is a passive plastic tray on the top of the case, which can handle pretty much any tablet. Even my iPad, which is embedded in the bulky Otterbox, found room in the depression without any problems.

If a device is paired with the Alesis TransActive Wireless System via Bluetooth, a blue LED lights up in the middle of the front panel, provided that you have previously entered the authorization code, as is usual with Bluetooth devices. You can silently disconnect the Bluetooth connection at any time using a tip switch below the LED.

When it comes to operating instructions, the manufacturer seems to only want to target inexperienced users, as the most important steps are roughly outlined on just 3 DIN A5 pages. Admittedly, the lack of sound control on all channels does not allow fine-tuning the sound anyway, but in my opinion a few more practical tips or at least a font larger than 3 millimeters letter height would be appropriate.



Practice

Anyone who looks at the design of the Alesis TransActive Wireless will quickly be clear about the area of application of this tiny device. 25 watts of transistor power rev up an acoustic guitar and also ensure better speech intelligibility in a pedestrian zone, but are not enough to adequately illuminate larger areas acoustically. In addition, there is no real boost to be heard in the deep bass range below 400 Hertz, but this was not to be expected due to the design. What has been solved very nicely, however, is the treble range, which fortunately does not have any excessive highs or angular S and Z sounds.

Electric guitar preamps can also be convincing with an appropriate amp/speaker simulation; in fact, nothing stands in the way of using the rocking solo entertainer accompanied by garage band. If you also own a flat screen or other monitor in addition to an Apple TV, you could even bring in the appropriate video feed via Airplay or iPad / iPhone and generate a real multimedia performance using the simplest means, probably if you have a bright concept.

You should always keep in mind that the missing tone control may have to be managed on the instrument or a preamp. In the case of an acoustic guitar, which today mostly has an active preamp with tone control, this should not be a problem. However, with a microphone, especially since there is no corresponding gain control, the sound is generated exclusively by the microphone type without further processing. It is therefore important to try out whether the individual combination suits your personal taste.

What's interesting is that, although both signals are present on one channel, you can simultaneously play back a signal via Bluetooth and via the Aux-In input. The respective volume must of course be adjusted to the signal sources in advance. A mono signal is generated internally from the stereo signal present without causing disruptive phase cancellations.



Conclusion

With the Alesis TransActive Wireless you are purchasing an extremely compact sound system, which, thanks to its coherent concept, represents the perfect solution for street musicians, solo entertainers and audio presentations. The very good connection to all common Bluetooth devices, including their management, and the extremely easy handling make it possible for even those who don't like technology to achieve good results straight away.

The small dimensions, the universal possible uses and the very long battery life enable the product to be used flexibly and with great practical suitability.

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Additional Informations:

Alesis, a leading manufacturer of audio devices such as synthesizers, signal processors, drum machines, amplifiers, recorders, mixers, and speakers, was founded in Hollywood, California in 1984 by Keith Barr¹². Hollywood, known worldwide for its association with the film industry, is a neighborhood located in the central region of Los Angeles, California.

## Hollywood: The Birthplace of Alesis

Hollywood is synonymous with the glamour and excitement of the American film industry. The neighborhood is home to several historic studios, and its name has come to be a shorthand reference for the industry and the people associated with it. Hollywood was incorporated as a municipality in 1903 and was consolidated with the city of Los Angeles in 1910. The area began attracting movie studios in the early 20th century, and it quickly became the center of American film production.

### Hollywood Walk of Fame

One of the most iconic attractions in Hollywood is the Hollywood Walk of Fame, which consists of more than 2,600 five-pointed terrazzo and brass stars embedded in the sidewalks along 15 blocks of Hollywood Boulevard and three blocks of Vine Street. The stars bear the names of a mix of musicians, actors, directors, producers, musical and theatrical groups, fictional characters, and others for their contributions to the entertainment industry.

### Hollywood Sign

The Hollywood Sign, originally created as an advertisement for local real estate development, is now one of the world's most evocative symbols – a universal metaphor for ambition, success, glamour, and a beacon for dreamers everywhere. It's situated on Mount Lee, in the Hollywood Hills area of the Santa Monica Mountains.

### Universal Studios Hollywood

Universal Studios Hollywood is a film studio and theme park packed with film sets and thrilling rides which are sure to delight the whole family. Visitors can take a guided tour of the studios and explore behind the scenes of some of Universal's most popular movie sets.

### TCL Chinese Theatre

The TCL Chinese Theatre, opened in 1927, is one of the most iconic movie theaters in the world and has hosted numerous premieres and events over the years. The theater's forecourt contains the handprints, footprints, and autographs of popular film personalities from the 1920s to the present day, making it a popular tourist attraction.

### Hollywood Bowl

The Hollywood Bowl is a modern amphitheater in the Hollywood Hills neighborhood of Los Angeles that is used primarily for music performances. It has a seating capacity of 17,500 and is known for its band shell, a distinctive set of concentric arches that graced the site from 1929 through 2003, before being replaced with a somewhat larger one beginning in the 2004 season.

### Griffith Observatory

Located in Los Angeles' Griffith Park, the Griffith Observatory offers stunning views of the city and the stars. The observatory hosts fascinating exhibitions and features a spectacular planetarium, and has been the setting for numerous films and TV shows.

In conclusion, Hollywood, the founding city of Alesis, is a place that embodies the charm of the past and the sophistication of the present. It's a city that thrives on the enchantment of the film industry and continues to offer a wealth of attractions for locals and tourists alike.

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Alesis, a renowned designer and marketer of consumer electronic products, faces competition from several companies in the industry. Here's a detailed look at some of these competitors and their products:

## iSTYLE

iSTYLE is a reseller of electronics¹. While not a direct manufacturer like Alesis, iSTYLE offers a wide range of electronic products, including audio devices. Their product line includes various brands, providing customers with a broad selection to choose from. This extensive range can pose a challenge to Alesis as customers have the opportunity to compare Alesis products with those of other brands in one place.

## AselsanNET

AselsanNET is a company that markets consumer electronics devices¹. Like Alesis, AselsanNET operates in the consumer electronics sector, but it's not clear whether they produce musical instruments or audio equipment similar to Alesis. However, any company marketing consumer electronics could potentially compete with Alesis by offering alternative products.

## Funai

Funai, also known as Funai Electric, is a retail company that sells and markets consumer electronic products¹. Funai's product range includes audio and video equipment, which could serve as alternatives to Alesis products. Funai's strength lies in its established presence in the consumer electronics market and its wide distribution network.

## Distribuidora Santiago

Distribuidora Santiago is a distributor of consumer electronic products. As a distributor, Distribuidora Santiago might offer products that compete with those of Alesis. The company's influence on the market depends on the brands and products it distributes.

In conclusion, while Alesis has carved out a niche for itself in the market of electronic musical instruments and audio equipment, it faces competition from various quarters. These competitors range from manufacturers of similar products to resellers and distributors offering a variety of consumer electronic products. Alesis, like any company, must continue to innovate and deliver high-quality products to maintain its competitive edge in this dynamic market.

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# Top Revenue Generators for Alesis

Alesis, a renowned company in the music industry, offers a wide range of products. Here are some of their best-selling products that have significantly contributed to their revenue:

## 1. Alesis Strike Pro Special Edition
The Alesis Strike Pro Special Edition is one of the most expensive kits offered by Alesis. It's a large setup with highly responsive mesh pads, making it perfect for any drummer to use as a practice option. This kit is also the number one Alesis product at Thomann, a major music retailer⁴.

![Alesis Strike Pro Special Edition]

## 2. Alesis DM10 MKII Pro
The Alesis DM10 MKII Pro is the second-best kit offered by Alesis. It's an intermediate kit packed with useful features for everyday practice. All the drum pads have mesh surfaces and are tunable, making noise complaints a non-issue.

![Alesis DM10 MKII Pro]

## 3. Alesis Nitro Mesh
The Alesis Nitro Mesh is a beginner kit that has more than 9,000 ratings on Amazon, making it probably the most popular electronic drum set in the world¹. It's also listed as the best beginner kit by Drum Helper².

![Alesis Nitro Mesh]

## 4. Alesis Turbo Mesh
The Alesis Turbo Mesh is another popular product from Alesis. It's listed as the best budget kit by Drum Helper. More than 5,000 pieces of this kit have been sold by Thomann⁴.

![Alesis Turbo Mesh]

## 5. Alesis SR-16
The Alesis SR-16 is an all-time best-selling drum machine. It's a classic piece of equipment that has been in production for many years, demonstrating its enduring popularity.

## 6. Alesis DM5
The Alesis DM5 is an all-time best-selling rack-mount drum sound module. It's a versatile piece of equipment that can be used in a variety of musical settings.

These products have not only generated significant revenue for Alesis but also helped establish the company as a leading brand in the music industry. Each product offers unique features and capabilities, catering to a wide range of musicians from beginners to professionals.

TEST: Alesis IO Dock II

 Would Apple ever have dreamed that its iOS series would become a kind of centerpiece, or rather processor power, for an entire armada of hardware devices? One could definitely assume it from the demeanor of Steve Jobs, but I personally believe that even Mr. Turtleneck Sweater himself could have predicted this unexpected boom.

Ultimately, of course, the whole thing makes sense. The new processors in the iPad and iPhone actually release unimagined computing power, although even the best clock speeds cannot hide the fact that when it comes to hardware, the connection options have still not been raised beyond the level of a toy. Selling a seemingly pitiful headphone connection in mini jack format as an audio output and a fiddly Lightning or 30-pin connector as an official interface is simply laughable for a professional musician. It may be that these interfaces are visually appealing and functionally adequate in the IT area, but in the studio or especially on stage, every musician is overcome with cold horror when they see these plastic nuggets.

Knowing this fact, several manufacturers have specialized in reducing iOS devices to their core competence, computing power and optical resolution, and supplying a hardware dock with the necessary connections in the most robust design possible via the main interface. One of these providers is the company Alesis, founded in 1984 by Keith Barr, which achieved world fame thanks to groundbreaking inventions such as the MIDIVERB and the legendary ADAT recording system. With the Alesis iO Dock II, which is now in its second version, the system tries to combine the best of both worlds at a very affordable price.

construction

Let’s start with external values first. With dimensions of 216 mm x 267 mm x 32 mm and a weight of just under 950 grams, the Alesis iO Dock II is the size of an iPad, which is stored in a massive Ottercase. The product, manufactured in China, is made entirely of black plastic, with some parts having a high-gloss finish and others with a matt finish. In order to be able to handle the problem of the different thicknesses of the various iPads from the first to the fourth generation, the Alesis iO Dock II has a thin plastic adapter, which adjusts itself individually to the different thicknesses by folding up a small, centrally attached plastic lock can be adjusted. Simple to implement, but solved in a practical way. When it comes to software flexibility, there shouldn't be any problems either. According to the manufacturer, the Alesis iO Dock II is compatible with almost every Core Audio or Core MIDI app from the Apple App Store.

If you push your iPad into the hardware dock as far as it will go, you have the option of accessing the iPad's interface via an adapter, which is attached to the lower part of the housing using a small cable. Two different adapter heads (Lightning + 30pin connector) are supplied from the factory and can be easily exchanged. Admittedly, visually this cable solution doesn't exactly leave the highly aesthetic impression that Apple generally stands for. In practice, however, a comparatively simple but sensible solution can be created for little money. In addition, with this solution, all previously released iPads, with the exception of the iPad Mini, can actually be integrated into the recording process. It should also be mentioned that, despite the guide rail adapter, the iPad Air is not 100% firmly anchored and can be moved. In my opinion, Alesis will certainly deliver an adapter soon if they don't want to lose connection to the latest iPad generation.

However, it should be mentioned that the iPad is not locked in this dock. This poses a risk of the iPad slipping out of its anchorage and pulling on the cable during transport. I therefore recommend removing the iPad from the dock when not in use to avoid damage during transport. With four glued-on, soft rubber feet, the Alesis iO Dock II had the necessary stability even on smooth surfaces.

Both side parts and the back of the housing are used for the necessary connection of peripherals. In addition to a USB port, MIDI In and MIDI Out sockets are also available on the left, which generates a wide range of control options for all kinds of external peripherals. On the right there is a 6.25 mm stereo headphone jack along with the associated volume control and the sum control for the main output. On the back we start on the far left with the two main outs in jack format. To the right of it there is a direct monitoring switch with which you can monitor the input sources directly without processing the iPad. When it comes to inputs, the Alesis iO Dock II only has two combination sockets, which can be supplied with 48V phantom power via a switch if necessary. This means that high-quality condenser microphones can also be integrated into the recording process.

Both inputs have simple input controls, although input number one can optionally be switched to high-impedance use of guitar signals. This is helpful if you want to use a guitar software plugin, for example in Garageband or similar. However, the extent to which the sonic output of the simulations even comes close to a real guitar setup will not be discussed here. However, I find the freely definable foot switch very helpful, if only to be able to start the recording process with it. Nothing is worse than touchscreen smear when it comes to on-the-fly shooting.

The conclusion is an on/off switch (no longer necessarily standard in this price range) and the connection for the included power supply, which has a lockable strain relief. An avoidably small point, but so important in mobile operations. How many times has this power plug slipped out of the socket, I can't even count it anymore!

Practice

Plugged in and started, new German: plug-and-play, the motto here is that drivers of any kind are not required. First of all, the haptic feel for the iPad changes enormously. The narrow, slightly fragile disc has become a serious wedge, which gives the product stability and better handling. The signal supply via the adapter plug works perfectly, but I am always worried about what could happen if I lose one of the adapters. A possibility to store them in a housing or park them would be a great thing.

In contrast to the first generation, the Alesis iO Dock II no longer has a video output. However, this is compensated for by the Airplay Mirroring function. In collaboration with the Apple TV, for example, you can configure a TV set as an oversized monitor according to your needs.

During normal operation there were no problems with the interaction with various software programs. Whether GarageBand, Cubasis or Auria, all apps ran flawlessly without any problems. It goes without saying that a product in this price category cannot be used as a final DAW for high-end productions, so the sound of the preamplifiers used can be described as appropriate. When it comes to functionality, however, there is absolutely nothing to criticize.

Conclusion

With the Alesis iO Dock II, the American manufacturer continues the success story of the first generation. With a logical concept and practical detailed solutions, Alesis transforms the iPad into an ambitious mobile recording station, which compensates for the iPad's internal interface weaknesses with serious connections and great flexibility in terms of signal flow. Only the lack of two important adapters for the iPad Air and iPad Mini reduces the very good overall impression a little.

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Additional Informations:

Alesis: Pioneering Innovation in Music Technology

Introduction:
Alesis, a renowned name in the world of music technology, has played a pivotal role in shaping the landscape of musical instruments and audio equipment. Founded in 1984 by Keith Barr in Hollywood, California, Alesis has consistently strived to provide musicians, producers, and audio enthusiasts with innovative and affordable solutions that enhance their creativity and performance. This article delves into the rich history, innovative products, and the enduring legacy of Alesis.

**Historical Background:**
Alesis was established during an era when digital technology was rapidly advancing, and traditional music equipment was being revolutionized. The company's initial focus was on developing digital signal processing (DSP) chips, which were instrumental in creating more advanced and affordable musical instruments and audio gear. These chips allowed for the replication of sounds with greater precision and flexibility, marking the beginning of Alesis' journey into the world of music technology.

**Innovative Products:**
Throughout its history, Alesis has introduced a wide range of groundbreaking products that have left an indelible mark on the music industry. Some of the key innovations include:

1. **Alesis HR-16 Drum Machine (1987):** Alesis made waves with the HR-16, a drum machine that provided realistic drum sounds and patterns, effectively replacing traditional acoustic drums in many recording studios and live setups.

2. **Alesis ADAT (Alesis Digital Audio Tape) (1991):** ADAT revolutionized the recording industry by offering affordable digital recording solutions. It became a standard in studios worldwide, making multi-track recording more accessible.

3. **Alesis QuadraVerb (1989):** The QuadraVerb was one of the earliest affordable digital effects processors, offering a wide range of high-quality effects for musicians and producers.

4. **Alesis Andromeda A6 (2000):** This analog synthesizer is considered one of Alesis' masterpieces. It boasts a rich sound palette and became highly sought-after by synthesizer enthusiasts and electronic musicians.

5. **Alesis V Series Electronic Drums (2014):** Alesis has been a pioneer in electronic drum kits, providing drummers with realistic feel and responsive drumming experiences.

6. **Alesis MultiMix Series Mixers:** Alesis has consistently produced affordable yet high-quality mixers, catering to both beginners and professionals in the audio industry.

**Impact on the Music Industry:**
Alesis' innovations have had a profound impact on the music industry. They democratized music production by making professional-grade equipment more accessible and affordable to musicians and home studio enthusiasts. The ADAT, in particular, transformed the recording landscape, enabling artists to record and produce their music with greater ease and efficiency.

**Company Philosophy and Values:**
Alesis has always been guided by a commitment to innovation, affordability, and quality. Their dedication to pushing the boundaries of technology while keeping products accessible to a wide range of users has earned them a loyal following among musicians and audio professionals.

**Acquisition by inMusic Brands:**
In 2001, Alesis was acquired by inMusic Brands, a leading company in the music and audio technology industry. This partnership has allowed Alesis to continue its legacy of innovation while benefiting from the resources and expertise of a larger organization.

**Continued Innovation:**
Alesis continues to innovate with products like electronic drum kits, MIDI controllers, synthesizers, and digital audio workstations (DAWs). They have also embraced advancements in digital connectivity, ensuring that their products remain relevant in an ever-evolving technological landscape.

**Conclusion:**
Alesis, founded on the principles of innovation, affordability, and quality, has left an indelible mark on the music industry. From pioneering digital recording technology with ADAT to creating innovative electronic drums and synthesizers, Alesis has consistently empowered musicians and producers to realize their creative visions. As they continue to evolve and adapt to new technological advancements, Alesis remains a trusted name for musicians and audio enthusiasts worldwide, cementing its legacy as a trailblazer in music technology.

TEST: Alesis iMultimix 8

 Do any of you still know the legendary Tascam Portastudio? In version 144 or later the improved 244 version? The dream of all young producers (including the reviewer), using semi-parametric EQs (listen, listen) on crazy 4 tracks using an audio cassette (for all models made in the eighties and later, these were the plastic cases with the strange tape inside ...) banned.

This association inevitably flashed through my head when I held the Alesis iMultimix 8 USB in my hands for the first time, with the big difference that you won't find anything that even remotely has to do with tapes here.

Instead, the media high-flyer from Cupertino is used as the mixer's integrated recording medium, with which Apple is turning from a niche product into the mainstream cool factor number one. 1 succeeded.

To avoid misunderstandings, the Alesis is not a hardware multi-track recorder (which will have taken over the status of an audio cassette in the near future thanks to the continued focus on the PC as a recording medium), but rather a compact small mixer, which is particularly suitable for... Rehearsal rooms or in the podcaster's study should soon be available.


construction

Metal! Finally a product in the lower price category, which, apart from the plastic side panels, comes in a solid metal construction. Unfortunately, this only applies to the frame construction, all of the mixer's pots are attached directly to the circuit board with plastic axles and no screws to the frame and are therefore a bit wobbly in their control.

With dimensions of 34 cm x 7.6 cm x 25 cm (W x H x D) and a weight of 2.5 kg, the mixer has a very compact appearance. The Steinberg Cubase LE recording software and power supply are also included in the scope of delivery.

The product is not built in China, as one would usually expect, but in Malaysia.

The iMultimix8USB is an eight-channel mixer with a division of 4 microphone/line and two stereo channels. The mixer can be connected directly to the computer via a USB (1.1) port.

Unlocked XLR and balanced jack line sockets are used as input sockets for the first four channels, which can be supplied with phantom power via a switch on the back if necessary.

Channels one and two can be configured directly for high-impedance instruments such as electric guitars using a switch, while channels three and four activate a low-impact sound filter at 75 Hz with the same switch. A small gain control without dB display takes care of the necessary level adjustment.

The microphone channels have a three-band tone control (treble and bass as shelving controls), which operate at the frequencies 12 kHz, 80 Hz and a mid band at 2.5 kHz with +/- 15 dB each.

The stereo channels only have jack input sockets and do not have a gain control. Experience has shown that other line-level instruments such as MP3 players or drum machines can also be connected here. The mixer also has a stereo 2 track RCA in/out and a headphone output.

The mixer has a built-in digital multi-effects device with 100 memory locations, which can be selected using an endless controller. The usual effects such as various reverb/room algorithms, modulation effects and delays are offered.

Two mono sends and two stereo returns manage the AUX area, with each channel being equipped with two AUX send controls (A=Pre-Level, B=Post Level). AUX-B also controls the effect level in the built-in processor.

Level knobs without 0 dB raster, a panorama knob and a peak LED round off the channel strip.

The Alesis has two sum outputs, which are divided into Control Room and Main Outs, each with a volume potentiometer for adjusting the output volume. The signal present (PC, mixer, iPod) is routed via several pressure switches. Two eight-digit LED chains and two AUX returns manage the total range.

The highlight of the entire construction, however, is the iPod dock, which can be adjusted to the different iPod sizes using a rotary control on the right side of the device by moving the back wall.

However, the full range of functions in terms of recording and playback are only available to the iPod 5th generation and iPod nano 2nd generation. iPod 4th/3rd as well as iPod nano 1st generation and iPod Mini only have the playback function, iPod 2nd/1st generation and iPod shuffle are completely excluded.

The iPod section has its own drive buttons



Practice

The entire concept of the Alesis is almost self-explanatory in practice. Anyone who has taken a more serious look at a console concept and has mastered the most important routings will not find any problems here.

Unfortunately, handling the potentiometers is a bit fiddly; Pan, EQ and AUX are simply far too close together, so turning the controls is anything but fun.

However, you will be rewarded with an audio-technically unexpectedly high-quality implementation. Both the filters do a good job in terms of sound technology, as does the effects processor, which sounds very good for this price range. Here you can see the years of experience that Alesis has been able to gain in the FX sector over decades. Who hasn't worked on the MIDIVERB II before ;-)

All controls do what they claim to do, the wiring is easy to understand, the iPod design works quickly and easily, even the power supply plug was secured with a screw connection.

What is there to complain about when the most important detailed solutions have been solved properly and the really important functions of a mixer are undoubtedly convincing.


Conclusion

The conception of the Alesis iMultmix8USB is not uninteresting at all, quite the opposite. Above-average workmanship for this price, combined with passable-sounding filters and a very good FX unit, in addition to the iPod storage concept, turn the product into a small highlight.

Anyone who wants to listen to his creative outpourings on the way from the rehearsal room to the home and have them digitally preserved in the practice cellar in the shortest possible time can't go wrong with the Alesis.

I expected less and was pleasantly surprised. Rarely enough …

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Additional Informations:

Alesis is an American company that has been a game-changer in the music industry. The company designs and markets a wide range of electronic musical instruments, including audio processors, mixers, amplifiers, audio interfaces, recording equipment, drum machines, professional audio, and electronic percussion products. Alesis is part of the inMusic Brands and is based in Cumberland, Rhode Island.

## Founding and Early Years

Alesis was established in 1984 by Keith Elliott Barr, co-founder of MXR. The company was founded in Hollywood and quickly experienced commercial success, leading to a move to a large office building in Santa Monica, close to well-known companies like Sony and Media Ventures. Leveraging Barr's ability to design custom integrated circuits, Alesis was able to introduce technologically advanced products at prices within the reach of most project studios. The company's first product was the XT Reverb, an all-digital reverb introduced in 1985 that carried an unprecedented low price of $799.

## Innovations and Milestones

In 1986, Alesis produced the first under-$1000 16-bit professional effects processor, the MIDIverb⁷. This product had a 12-bit A/D converter and MIDI control⁷. Later that year, Alesis introduced the Microverb, which lacked MIDI but had a 16-bit A/D converter⁷. These early products were particularly popular due to their exceptional price-performance ratio⁸.

In 1987, Alesis introduced the MMT8 hardware sequencer and the very successful HR-16 drum machine⁷. These products followed the same principle as the company's earlier offerings: many features for comparatively little money⁸.

In 1991, Alesis introduced the ADAT digital tape recorder at the Winter NAMM Show⁷. Each ADAT could record 8 tracks of 16-bit audio on an S-VHS videocassette tape, and up to 16 ADATs could be connected together to record 128 tracks of audio simultaneously⁷. With the same digital resolution as an Audio CD and a price that was a fraction of the other digital recording solutions for home recording at the time, the ADAT was a tremendous success⁷. Its impact on the recording industry has been recognized by induction to the Technical Excellence & Creativity (TEC)nology Hall of Fame⁷.

## Acquisition and Expansion

In 2001, Alesis was acquired by Jack O’Donnell. Under his leadership, the company has delivered more solutions and value to musicians than ever before. The company ventured into producing the world's most affordable analog mixers with built-in Digital Signal Processing (award-winning MultiMix Series Mixers), an advanced yet affordable full line of electronic percussion products (USB Pro Kit, DM5 Pro Kit, SURGE Cymbals, Performance Pad), as well as highly innovative and adaptable computer audio interfaces and controllers (MasterControl)⁶.

## Products and Services

Alesis' products range from keyboards, synthesizers, hard disk recorders, iPod recording and playback devices, electronic drums, mixers, signal processors, effects units, amplifiers, and speakers. The company is dedicated to creating gear that empowers musicians, producers, and engineers at all skill levels to unleash their full creative potential at home, on-stage, and in the studio¹.

## Reviews and Reputation

While Alesis has been praised for its innovative products and affordable prices, some customers have expressed dissatisfaction with the company's customer service. Some users have reported issues with product reliability and have criticized the company's warranty period. Despite these criticisms, Alesis continues to be a popular choice among musicians and producers for its wide range of products and commitment to innovation.

## Conclusion

Alesis has revolutionized the music industry with its innovative products and commitment to making professional studio recording products affordable for entry-level musicians and recording artists. The company continues to be on the leading edge of professional audio and music technology. Alesis' passion for innovation is unmatched, and they continue to inspire musical creativity and develop musical experiences for all their stakeholders.

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Detailed information about the Alesis products:

- **Alesis XT Reverb**: This was Alesis' first product and marked the beginning of the company. It is a digital reverb device that came onto the market in 1985. It was developed by Keith Barr, the founder of Alesis. The XT Reverb was the company's first rack format product and was offered at a very competitive price.

- **Alesis MIDIverb**: Produced by Alesis in 1986, the MIDIverb was the first professional 16-bit effects processor available for under $1000. It had a 12-bit A/D converter and MIDI control.

- **Alesis Microverb**: The Microverb was also released in 1986 and was similar to the MIDIverb, but did not have a MIDI port, but a 16-bit A/D converter.

- **Alesis MMT8**: The MMT8 is a simple MIDI sequencer that is still used by some of the biggest names in electronic music. It was launched in 1987. It has a sequencer with 100 patterns and 100 songs¹⁵.

- **Alesis HR-16**: The HR-16 is one of the first drum machines from Alesis. Released in 1987, it features 49 sounds, including 10 kicks, 7 snares and a full ethnic set, all in 16-bit samples¹⁴¹⁵.

- **Alesis ADAT**: ADAT stands for Alesis Digital Audio Tape. This technology was developed by Keith Barr of Alesis and presented at NAMM on January 18, 1991. At the time, Alesis was a relatively small company known for its high-quality digital reverb equipment.


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Keith Elliott Barr was a pioneer and innovator in the audio industry, best known as the founder of Alesis Electronics. He was born in 1949 and passed away on August 24, 2010, at the age of 60 due to an apparent heart attack.

Barr had a keen interest in electronics from an early age. At the age of 12, he created a biomedical device for his uncle's medical practice. Despite being held back in the ninth grade for failing a history course, he took every science course at the school and then left on his 16th birthday¹. Largely self-educated in electronics, Barr worked as an engineer and technician¹.

In 1973, Barr co-founded MXR Innovations in Rochester, N.Y., with Michael Laiacona (later founder of Whirlwind USA) and Terry Sherwood. MXR Innovations produced guitar effects, such as phase shifters and distortion pedals, and rackmount studio devices. Barr was known to disappear for months at a time, roaming the Caribbean in a sailboat, only to emerge back in Rochester with a pile of new designs and product ideas. After a dozen years, the company ceased operations¹.

Barr moved to California later that year¹. One of his main reasons for moving was the benefits of being located near the nation's largest music studio and entertainment community. Another reason was integrated circuits (ICs). Barr explained in an interview that when ICs first started conceivable for small companies, you had to work closely with big companies—like Texas Instruments, National Semiconductor, or Motorola—to have your gate arrays made up¹.

In 1984, Barr formed Alesis, the name stemming from the phrase "Algorithmic Electronic Systems". Alesis' first product was the XT Reverb, developed in 1985. Barr brought in a friend named Russell Palmer to handle the business side of Alesis and oversee its sales.

Alesis introduced the ADAT digital tape recorder at the 1991 Winter NAMM Show. Each ADAT could record 8 tracks of 16-bit audio on an S-VHS videocassette tape, and up to 16 ADATs could be connected together to record 128 tracks of audio simultaneously. With the same digital resolution as an Audio CD and a price that was a fraction of the other digital recording solutions for home recording at the time, the ADAT was a tremendous success².

Keith Elliott Barr's contributions to the audio industry have been recognized by induction to the Technical Excellence & Creativity (TEC)nology Hall of Fame². His innovative spirit and dedication to affordable, high-quality audio equipment have left a lasting impact on the music and audio industry.

TEST: Alesis Guitarlink Wireless

 A wireless guitar transmitter for under 100 euros? Can something like this work well and can a product that operates within these strict financial regulations withstand the rigors of everyday life on stage? Alesis takes up the ball and brings the Alesis Guitarlink Wireless, a Chinese-made product onto the market that wants to attract attention with a close to double-digit retail price.

construction

A lot has happened in the mobile communications sector in recent years. Many frequencies that could only recently be used for the transmission range of transmitter systems or radio links have been transferred by the government to mobile communications or used for other purposes. In addition to the frequency bands 790-814 MHz and 838-862 MHz, which may still be used until December 31, 2015, only three transmission ranges may be used from January 1, 2016.

On the one hand there is the 823-832 MHz LTE center gap, 863-865 MHz EU-HFB (Harmonized Frequency Band) and the ever popular 2.4 GHz. The interested observer and connoisseur of the technology will now notice the following:

1.) 823-832 MHz: Whenever someone with an LTE cell phone is nearby, they can simply chop up and garble your signal depending on their transmission strength. Dropouts are the result, which True Diversity can, however, compensate for in high-quality systems.

2.) 863-865 MHz: This range is also used by fleet/bundle radio, various taxi companies, private rescue services, etc. You have to use 500MW to get a guitar/Vox signal to the receiver.

3.) 2.4 GHz: Oh, aren't all our cell phones transmitting on this frequency, or aren't the majority of our WLAN systems also in this range? Extremely clean channel separation is therefore absolutely necessary in order not to cause transmission chaos.

Alesis has opted for the least evil of the above-mentioned problem and placed its signal transmission in the 2.4 GHz range. So far so good. If the hardware does its job perfectly, nothing can go wrong. Essentially, the Alesis Guitarlink Wireless System consists of two components plus a power supply for the receiver. In an emergency, however, it can also be powered by two AAA batteries. Its counterpart, the transmitter, also requires this battery configuration for operation.

When it comes to weight and dimensions, you can't actually use even smaller values. Both the receiver and the transmitter weigh just under 100 grams each, all without batteries, of course. While most of the competition's receiving units require at least half a rack width of 9.5 inches as a minimum, the Alesis Guitarlink Wireless Receiver is content with the dimensions of a cigarette pack. However, this concept also prevents the product from being used in a rack, so the Alesis Guitarlink Wireless can only be used as a pure “amp top” device. Alternatively, the small housing can also be mounted on the pedalboard.

However, it has four simple but very non-slip rubber feet, which give the very light housing the necessary stability even on smooth surfaces. In my opinion it seems impossible to attach even fewer controls to a case of this type. Only an on/off switch on the back of the housing, an input socket for the power supply and a volume control and output socket adorn the receiver.

The counterpart in the form of the transmitter was also kept very simple. The manufacturer only installed an on/off switch on the back of the device. Both units also have a pair switch and an indicator light. The transmitter was equipped with a permanently installed, approx. 50 centimeter long cable, which in terms of length normally covers a waistband solution. However, a professional belt solution will not be possible with this cable due to its length. Most straps have a narrow strap end in the last few centimeters before anchoring, where the transmitter cannot clamp properly. Unfortunately, the cable does not reach the wide part of the belt.

In addition, the cable is quite stiff and, depending on the area of use, resists being curved accordingly. An open concept with a corresponding plug connection would have been a better solution in every respect, including transport. When it comes to processing, you also have to pay tribute to the low selling price. When it comes to the housing, one is inclined to speak of plastic, not plastic, and the on/off sliders are of a simple design and have a corresponding amount of play in the guidance.


Practice

When it comes to pairing, the Alesis Guitarlink Wireless is the ideal partner for those who don't like technology. Unpacked, switched on, and the connection is established. If you have any difficulties, all you have to do is press the two plastic buttons on the transmitter and receiver at the same time. The manufacturer specifies a range of 20 meters, which should easily be sufficient in a normal club environment. With large open-air stages, problems could arise under certain circumstances, for example if a catwalk is used intensively. It is therefore advisable to carry out a range check during the sound check.

Let's come to the big setting feature of every guitar transmitter, the sound. While the first generation stations years ago were able to make up a lot of ground in heavy metal with a compressed, treble-heavy and mostly non-dynamic signal, current versions try to at least come close to the familiar sound of a high-quality cable. Unfortunately, the Alesis Guitarlink Wireless only achieves this with some compromises.

On the one hand, the signal is significantly more musty than with a simple 6 meter standard cable for just under 10 euros. With a correspondingly higher quality cable, the difference would probably have been even more noticeable. The amplifier also no longer responds as sensitively to the guitar's volume control due to limited dynamics in signal transmission.

Another limitation that is noticeable in practice is the lack of volume control options. Although I turned the volume control on the receiver up to full stop, the signal was quieter than the cable version, which can also lead to a loss of sound. The expected overdrive of the amplifier's preamplifier at full deflection did not occur. The absence of a level display is particularly noticeable in this area. It would be helpful to have a simple visual control of the level present, at least with a 3-fold LED chain. Therefore, the manufacturer probably played it safe and left a few headroom dB more room.

As a final point, it must be mentioned that unfortunately the background noise also increased significantly, especially with high gain settings on the amp or when using an external distortion, and unfortunately it could not be eliminated by turning down the guitar signal. Only a volume pedal, which is placed behind the receiver in the signal path, or deactivating the distortion / changing channels on the amplifier during breaks in playing leads to a reduction in the background noise level.



Conclusion
With the Alesis Guitarlink Wireless, a manufacturer is able to push a guitar transmitter into the double-digit sales range for the first time. Easy to use, small dimensions and extremely light weight make the product a very helpful travel luggage utensil for the mobile musician.

On the other hand, the above-mentioned points are compensated for by compromises in the area of sound and increased background noise, so that the bottom line is that a simple, easy-to-use transmitter is left for quick use.

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Additional Informations:

Alesis is an American company that designs and markets a wide range of electronic musical instruments, audio processors, mixers, amplifiers, audio interfaces, recording equipment, drum machines, professional audio, and electronic percussion products³. The company was established in 1980 and has since revolutionized the music industry with its innovative products⁴.

## Founding and Early Years
Alesis was founded in Hollywood in 1984 by MXR co-founder Keith Elliott Barr³. Leveraging his ability to design custom integrated circuits, Barr's company introduced technologically advanced products at prices within the reach of most project studios³. Alesis' first product was the XT Reverb, an all-digital reverb that carried an unprecedented low price of $799³.

## Innovations and Products
Alesis has a diverse range of products that includes keyboards, synthesizers, hard disk recorders, iPod recording and playback devices, electronic drums, mixers, signal processors, effects units, amplifiers, and speakers¹². The company's passion for inspiring musical creativity and innovation through new technology is consistent across all its products⁴.

In 1986, Alesis produced the first under-$1000 16-bit professional effects processor, the MIDIverb³. This was followed by the introduction of studio-quality drum machines (HR-16 and SR-16) and synthesizers, studio monitors, and mixing consoles⁴.

## Breakthrough with ADAT
1991 proved to be a groundbreaking year for Alesis with the introduction of the ADAT Multi-Channel Digital Tape Recorder³. Each ADAT could record 8 tracks of 16-bit audio on an S-VHS videocassette tape, and up to 16 ADATs could be connected together to record 128 tracks of audio simultaneously³. This technology allowed any artist or musician to record studio-quality recordings⁴.

## Recent Developments
In 2001, Alesis was acquired by Jack O’Donnell⁴. Under his leadership, the company has delivered more solutions and value to musicians than ever before⁴. The company ventured into producing the world's most affordable analog mixers with built-in Digital Signal Processing (award-winning MultiMix Series Mixers), an advanced yet affordable full line of electronic percussion products (USB Pro Kit, DM5 Pro Kit, SURGE Cymbals, Performance Pad), as well as highly innovative and adaptable computer audio interfaces and controllers (MasterControl)⁴.

## Conclusion
Alesis continues to be on the leading edge of professional audio and music technology⁴. The company is dedicated to delivering the most innovative and inspiring professional audio gear for musicians, producers, and engineers of all levels⁴. With its commitment to innovation and quality, Alesis is set to continue its legacy of revolutionizing the music industry⁴.


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The name "Alesis" resonates with innovation and excellence in the music technology industry, but have you ever wondered how this distinctive name came into existence? In this in-depth article, we will embark on a journey through time to unveil the fascinating story behind the birth of the name "Alesis" and the visionary mind responsible for it.

1. The Visionary Behind Alesis:
   The story of Alesis begins with Keith Barr, a brilliant engineer and passionate musician. Keith Barr's dual interests in engineering and music converged to form the foundation of Alesis, but the name itself was a product of careful consideration.

2. The Birth of Alesis:
   In 1984, Keith Barr founded Alesis Corporation in Hollywood, California. The name "Alesis" was not a random choice; rather, it was a deliberate selection that carried a profound significance.

3. Deciphering the Name:
   The name "Alesis" is unique and captivating. It is often believed to be derived from a combination of "Al" (referring to the first two letters of the founder's first name, Alan) and "esis," which was associated with a range of abstract concepts, including synthesis, synthesisers, and essential elements.

4. A Personal Touch:
   The inclusion of the first two letters of Keith Barr's first name, "Al," in the name "Alesis" adds a personal dimension to the brand. It reflects the founder's deep commitment to his vision and his dedication to making a profound impact on the world of music technology.

5. The Significance of "Al":
   The incorporation of "Al" into the name Alesis serves as a subtle tribute to the visionary founder, who not only possessed an extraordinary talent for engineering but also possessed a profound love for music. This personal touch is a testament to Keith Barr's role as the driving force behind the company.

6. A Name to Remember:
   Alesis' unique and memorable name played a significant role in setting the company apart in the competitive music technology industry. It not only sounded distinctive but also conveyed a sense of creativity and forward-thinking.

7. Keith Barr's Legacy:
   Keith Barr's innovative spirit and commitment to pushing the boundaries of music technology are embodied in the name "Alesis." His vision of making high-quality music equipment accessible to all musicians has endured through the company's products and its enduring legacy.

Conclusion:
The name "Alesis" carries with it a rich history and a profound story of a visionary founder, Keith Barr, who combined his engineering expertise with a deep love for music to create a brand that has transformed the music technology industry. The name "Alesis" is not merely a combination of letters; it is a symbol of innovation, creativity, and the enduring spirit of one man's vision. It continues to inspire musicians and enthusiasts worldwide, serving as a reminder of the remarkable journey that began with a name and blossomed into a legacy.

TEST: AKG K702

 What hasn't already been written, discussed and philosophized about headphones, as you can use them to get every conceivable gradation of quality, from the cruel "earphones" at iPod level that are barely tolerable for voice messages, to the almost perfect, three-dimensional sound reproduction thanks to dummy head recordings in terms of listening pleasure.

While the “healthy middle range of quality” on headphones is now almost exclusively used by instrumentalists in the studio for recording compositions, the gap in quality awareness among end users is becoming ever wider, similar to the income situation of Germans. While in one corner a conscious ear for frequencies is actually no longer present, the other corner takes a diametrical path towards maximum upgrades in terms of materials, sound behavior, impulse fidelity and wearing comfort.

A product from the second category is the AKG K702, a pair of headphones which, according to the manufacturer, are only equipped with the best components, but are also in the high-price segment with an impressive RRP of just under €400. The test will show whether the “Made In Austria” headphones, which are in the top weight class, the reference class, are worth their price.


Construction:

The K702 is a dynamic headphone designed with an open design. This means that despite using the headphones, the ambient noise can be heard to a large extent. The advantage lies in the communication with the “outside world”, which can be made much easier from a psychological and practical perspective than with closed systems.

The disadvantage of an open design, for example, is that a drummer will prefer closed headphones to record his parts due to the very high sound level of his instrument. In general you can say, “the louder your instrument, the more closed” (forgive me for this outrageous illustration).

The K702 has a commercially available shape, but what immediately catches the eye is, in addition to the elaborate headband construction, the oversized ear capsules, which should provide one or two surprises during the test.

In terms of technical data, the K702 is in the green zone in all categories, or even far beyond it. For example, a frequency response of 10 - 39,800 Hertz is more suitable for the “higher, faster, further” group and provides 50% of the human hearing with measurement data beyond the hearing threshold.

With a nominal impedance of 62 ohms, the K702 is pleasingly low and can therefore make full use of its sensitivity of 105 db SPL / V. Its weight of 235 g is moderate due to the complex construction, but can be described as light for the components it offers.

The headphones have the standard 6.3 mm jack plug, which can be converted into a 3.5 mm mini jack plug by simply unscrewing the top cover. Both connectors are gold-plated and thus ensure optimized signal flow.

An unusual but very useful feature is the headphones' detachable cable. Finally, when storing or transporting the product, you can store or transport the cable separately and you don't always have to resort to the terrible "I'll wrap you around an earpiece" or the infamous "knot solution with pre-programmed cable break". Since I've been working with headphones, the cable problem has always annoyed me, so you can't praise such a comparatively simple feature enough!

A very complex “cable solution” leads to optimal placement of the headphones on the head. The padded leather strap is optimally placed on the head using two threads on each side using a return system on the two guide rails and thus adapts to almost any head shape.


Practice:

During the first use, the large ear capsules are immediately noticeable in terms of wearing comfort. On the one hand, you have the very pleasant effect that, due to the fact that the entire ear is free under the capsule without any pressure point, there is no blood congestion in the auricle, even after long periods of use. Who doesn't know the annoying itching that occurs after a while with almost every pair of headphones due to the difficult blood supply to the outer ear.

The unpleasant side effect, however, is that the ear capsules (at least with my face shape) now rest on the cheekbones due to their size and exert a slight pressure from the outside in. Not overly strong, but at least enough to give my brain a brief “what’s that” effect. However, this is a purely subjective impression that cannot be generalized. Every face is different, so an individual comparison must be made. This is probably just a matter of habit.

In terms of sound, the K702, like many devices in the higher quality range, initially comes across as a bit “brittle” or “angular”. Where did that come from? Well, a reference device must be able to do one thing above all else: the neutral reproduction of a signal without the oh-so-popular “whitewashing effect”.

While the majority of “instrumentalist headphones” with their soft, over-present bass, slightly lowered high-mids and defused high-frequency range are primarily intended to provide a “feel-good” effect for the artist and an associated increase in performance, a reference Product to face the unvarnished truth and reproduce every dented frequency curve in all its “tonal ugliness”.

Therefore, any experienced headphone user will at first listen to the K702 have a slight over-presence in the mid to high mid range. However, this is primarily due to the frequencies being reproduced as linearly as possible and is initially interpreted as “harsh” or “sharp” due to the hypersensitivity of human hearing in the midrange.

In addition, the light neodymium magnets have a faster response and do not “swallow up” the high frequency range as quickly as their sometimes slower relatives, which also contributes to the present sound. If you know how to integrate these behaviors into your listening behavior, the experienced sound engineer/sound engineer will find the K702 to be a highly impulse-fidelity headphone that is not disturbed by high sound pressure and unexpected level peaks.


Conclusion:

The AKG K702 has fulfilled its claim to be a reference class! Processing, construction and detailed solutions are at the highest level and ensure a long service life and practical handling.

If you have become familiar with the sonic characteristics of the K702, or if you have already sensitized yourself to the point where you know how to interpret the frequency curve and the impulse behavior tonally correctly, you have a tool with the K702 The top class is available, which fulfills its function to the fullest extent and with the highest quality!

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Additional Informations:

The Intricate Genesis and Significance of the AKG Company Name

AKG, a revered name in the realm of audio equipment, is not merely an acronym; it is a symbol of audio excellence, rooted in history and innovation. The name "AKG" carries a story that encapsulates the essence of the company's commitment to audio technology. In this extensive article, we will embark on a comprehensive journey into the origins, evolution, and profound significance of the AKG company name.

1. The Visionary Founders:
   To unravel the true essence of the AKG name, we must first delve into the visionary minds behind the company's inception. In 1947, Dr. Rudolf Görike and Ernst Pless, two Austrian engineers with a profound passion for audio technology, embarked on a remarkable journey to redefine the audio equipment industry. Their shared vision laid the foundation for what would become the AKG brand.

2. The Birth of AKG:
   At the heart of the AKG name lies an acronym - "AKG" stands for "Akustische und Kino-Geräte," which translates to "Acoustic and Cinema Equipment" in English. The selection of this name was not arbitrary; it was a deliberate choice that beautifully encapsulated the essence of the company's mission and aspirations.

3. Deciphering the Name:
   "AKG" signifies more than just a name; it is an embodiment of purpose. "Akustische" signifies "Acoustic," underlining the core essence of AKG's commitment to the realm of sound and audio technology. "Kino-Geräte," translated as "Cinema Equipment," highlights the company's initial focus on providing top-notch audio solutions for movie theaters, emphasizing the founders' ardent desire to elevate the cinematic experience through audio innovation.

4. Pioneering Innovation:
   AKG set forth on its journey with a profound commitment to innovation and quality. The company rapidly garnered recognition for its high-quality microphones, headphones, and other audio equipment, ushering in a new era in sound reproduction technology.

5. Global Expansion:
   AKG's relentless pursuit of excellence and innovation transcended national boundaries. The brand quickly gained international acclaim, solidifying its position as a global pioneer in audio technology.

6. Musical Influence:
   AKG microphones played an instrumental role in shaping the music and recording industry. Iconic musicians such as The Beatles and Frank Sinatra entrusted their studio recordings to AKG microphones, highlighting the brand's indispensable role in the world of music.

7. AKG and Samsung:
   In 1993, AKG became a part of the Samsung Group, a South Korean conglomerate with a global presence. This strategic alliance enabled AKG to continue its legacy of innovation while leveraging Samsung's worldwide reach and resources to propel the brand even further.

Conclusion:
The name "AKG" transcends mere nomenclature; it is a testament to a storied history of dedication, passion, and innovation. From its humble origins in Vienna, Austria, as "Akustische und Kino-Geräte," AKG has evolved into a globally acclaimed brand synonymous with unparalleled sound quality and revolutionary audio solutions. The name "AKG" remains a beacon of the visionary spirit of its founders and the unwavering commitment to providing extraordinary audio experiences to both professionals and enthusiasts alike.

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The Austrian audio industry boasts a storied history of innovation and craftsmanship, contributing significantly to the global landscape of sound technology. From the early pioneers of audio equipment to modern-day innovations, this comprehensive article will take you on a journey through the evolution of the Austrian audio industry, highlighting key milestones, prominent figures, and its enduring impact on the world of sound.

1. The Pioneering Years:
   The roots of the Austrian audio industry can be traced back to the late 19th century when inventors and engineers began experimenting with sound reproduction technology. One of the earliest contributors was Ernst Siemens, who patented the carbon microphone in 1877, a groundbreaking invention that played a pivotal role in early telephone communication.

2. Founding of AKG Acoustics:
   A milestone moment in the history of Austrian audio technology occurred in 1947 when Dr. Rudolf Görike and Ernst Pless established AKG Acoustics in Vienna. The company quickly gained recognition for its high-quality microphones and headphones, setting new standards in sound reproduction.

3. Neumann's Impact:
   Georg Neumann, a renowned Austrian inventor, and engineer founded Neumann Microphones in 1928. His innovative microphone designs, such as the U 47 and U 87, became industry standards, favored by musicians, broadcasters, and studios worldwide.

4. Innovations in Loudspeakers:
   The Austrian audio industry made significant contributions to loudspeaker technology. Companies like Prosonic and T+A Elektroakustik produced world-class loudspeakers that earned acclaim for their precise sound reproduction.

5. Expansion of Austrian Audio Brands:
   Austrian audio brands expanded their reach globally, with their products being used in diverse applications, from recording studios to live performances. AKG's microphones were adopted by iconic musicians, while Neumann's studio microphones became a staple in professional recording studios.

6. Integration of Technology:
   Austrian audio companies embraced technological advancements, incorporating features such as noise-canceling technology, wireless connectivity, and digital signal processing into their products to meet the demands of modern consumers.

7. AKG's Acquisition by Samsung:
   In 1993, AKG was acquired by the Samsung Group, a South Korean conglomerate. This partnership enabled AKG to access greater resources and expand its presence in the global audio market while maintaining its commitment to quality and innovation.

8. Modern-Day Innovations:
   The Austrian audio industry continues to innovate in the 21st century. Companies like Austrian Audio, a successor of AKG, specialize in cutting-edge microphones and headphones, carrying forward the legacy of Austrian excellence in audio technology.

9. The Legacy of Excellence:
   The Austrian audio industry's legacy is marked by a commitment to excellence, precision, and innovation. Austrian-made audio equipment continues to be synonymous with top-tier quality and reliability, earning the trust of professionals and enthusiasts worldwide.

Conclusion:
The history of the Austrian audio industry is a testament to the nation's enduring dedication to pushing the boundaries of sound technology. From pioneering inventors and iconic brands like AKG and Neumann to modern-day innovations, Austria's contribution to the world of audio equipment is profound and enduring. As we continue to witness advancements in sound technology, the Austrian audio industry stands as a beacon of excellence, shaping the way we experience and appreciate sound in our lives.