TEST: Ampeg BA-110

Ampeg! A name like Donnerhall! Even if it may sound a little pathetic, in this case this statement should be taken literally. Only in very few cases is a company name as closely linked to a product as with this company and anyone who has ever experienced an SVT with a matching 8x10" box in the upper load range knows what I'm talking about. Unfortunately, as with almost all musical tactile experiences, there is a reduction in the practicality and handiness of the bass monster. Anyone who has had the pleasure of transporting the combination mentioned above, ideally with everything installed in massive flight cases, also knows what I'm talking about.

For this reason, Ampeg has for some time now felt the need to save as much of the legendary “big” sound of its cars as possible into contemporary, smaller designs in order to give ambitious beginners a taster course in Ampeg sound as well as a transportable solution for small shows or rehearsal rooms.

Ampeg also has the necessary experience when it comes to combo amplifiers, as the manufacturer had already offered a portable amplifier with the B-15 almost four decades ago to pay tribute to the slowly emerging session mode. Ampeg faces huge competition, as there are countless competitors in this segment who also want their piece of the low-frequency practice cake. With the recently introduced BA-110 (10 inch loudspeaker, 35 watts) and its little brother BA-108 (8 inch loudspeaker, 25 watts), the top dog of all-tube heads wants to establish its trademark in the small range too.


construction

The two suitcase amps are definitely transportable, as they only weigh 14.5 kilograms (BA-110) and 12.5 kilograms (BA-108). There was no compromise on stability either, as the chipboard walls are 16 millimeters thick and completely covered with Tolex. In addition, metal corners protect the housings against impacts on the edges. The front covering of the combos is removable; by pulling on a small plastic tab you can save yourself the anachronistic use of the slotted screwdriver. What emerges is a perfectly crafted 10- or 8-inch speaker, which has 2 additional bass reflex openings to give the housing dimensions, which are actually rather meager for a bass amplifier, more volume.

At first glance, you notice that the small cubes are not only designed for normal standing operation, but were also designed for wedge operation due to a flattened area on the back of the housing. Even if playing in this orientation seems very sensible in this performance class, the amps unfortunately prove to be very unstable in this playing position. Especially if the power cord is positioned on the back, the amps tend to tip over and must be prevented from doing so otherwise they will fall onto the back with just a light touch.

The amplifier section is pleasantly simple, as is typical for Ampeg. In addition to two jack input sockets with different sensitivity (active bass -15 dB or passive bass 0 dB), the combos have a standard three-band equalizer in the form of a bass, mid and treble control. External sound sources such as an MP3 player can be fed in via two RCA inputs, which can be adjusted to the volume of the bass signal using a separate volume control. As is usual in this performance class, both combos also have a headphone output, which switches off the internal loudspeaker when occupied. On the back, the combos have an FX loop-in path and a line-out, the output signal of which varies depending on the volume set on the amplifier. It's nice if you have external power amplifiers at the output, but bad if the signal is routed to the FOH position. There are no connection options for an additional box using the internal amplifier.


Practice

As a rough rule of thumb for the guitar:bass performance ratio, you can still use the well-known principle of 1:3, i.e. a bass amplifier should be able to deliver approximately three times the power as a comparable guitar amplifier. Based on this calculation example, it quickly becomes clear that the two Ampeg amplifiers were not designed for a real band contest, unless you want to get into the ring with 10 watt “guitar noises”. Moderate rehearsal room activity or ambitious practice amp use, on the other hand, is more the specialty of the two combos.

In terms of sound, Ampeg manages to shovel a lot of the classic tone into the practice amp category. Of course, no one expects the SVT tone for their pocket, but the certain “bony” tone can still be noted in both amps. While the BA-108 will find its way exclusively as a practice amp due to its speaker and performance design, the BA-110 can offer more bass foundation and assertiveness in terms of sound and volume.

Already set flat without active equalizer processing, the two combos offer a balanced sound. The powerful low-mid range, one of the characteristic Ampeg trademarks, can already be clearly heard in this setting. As expected, you should use the combination of bass control and volume moderately, otherwise it can lead to symptoms of overload. The products were not developed for heavy bass storms, common sense will undoubtedly recognize this and will not come up with the idea of challenging physics.

Nevertheless, both amps perform surprisingly confidently even at higher volumes, clipping very late and the background noise factor in terms of “rattle-and-clatter”, which is often found in small bass amps, remains largely a myth here. The full-range speakers do their job well and manage to deliver a consistently “adult” sound thanks to the combination of front speaker installation and double bass reflex opening.


Conclusion

Even though the competition in the area of bass practice amps is immense, Ampeg manages to transfer the legendary sound of its high-priced devices to a large extent into the small practice amplifiers. Thanks to a great deal of experience and the widely practiced “Developed in Home Country, Built in China” approach, the products BA-110 and BA-108 will find their way into music stores at a comparatively low retail price.

If you are looking for a small, light and portable bass amplifier combined with a decent tone, you should give the two brothers a listen. Whether you are a beginner or an ambitious user, the small cubes are a real recommendation in the field of practice amps due to the good workmanship, the coherent and simple construction and the good sound.

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Additional Informations:

Ampeg, a name synonymous with bass amplification excellence, has a storied history that has left an indelible mark on the world of music. Established in 1946, the company's journey from its humble beginnings to becoming a global leader in amplifier technology is a tale of innovation, commitment to quality, and a lasting influence on musicians across genres.

## The Genesis of Ampeg

Ampeg's origin story can be traced back to Linden, New Jersey, where Everett Hull and Stanley Michaels founded "Michaels-Hull Electronic Labs." The duo embarked on a mission to develop cutting-edge amplifiers for musical instruments. As their vision crystallized, they renamed the company "Ampeg," a portmanteau of "amplified" and "pegged," signifying their dedication to delivering amplified sound.

Ampeg's initial foray into the world of amplifiers proved groundbreaking. They introduced innovations that forever changed how bassists were heard on stage and in the studio. Their early success was driven by a commitment to producing top-tier sound quality.

## Pioneering Amplifier Technology

Ampeg's journey of innovation in amplifier technology is marked by several pivotal milestones:

### 1. Portaflex Series

The 1960s saw the introduction of the Portaflex series, a game-changer in amplifier portability. With its flip-top heads and matching speaker cabinets, the Portaflex series made it feasible for musicians to transport their equipment conveniently while retaining the powerful Ampeg sound. This innovation solidified Ampeg's reputation for both quality and portability.

### 2. SVT Series

The crown jewel of Ampeg's product lineup is the Super Vacuum Tube (SVT) series, unveiled in 1969. The SVT, a 300-watt all-tube bass amplifier head, is renowned for its unmatched power and distinctive sound. It became the go-to choice for countless legendary bassists, including James Jamerson, Jack Bruce, and Geddy Lee. To this day, the SVT remains an iconic amplifier highly sought after by musicians, a testament to Ampeg's enduring impact on the industry.

### 3. Ampeg V-4B

Another notable addition to Ampeg's arsenal is the V-4B, a versatile all-tube amplifier originally introduced in the 1970s. The V-4B is cherished for its warm, vintage tone and has garnered a devoted following among both bassists and guitarists in search of that classic Ampeg sound. It continues to be a popular choice for those who appreciate the warmth and character of tube amplification.

### 4. Ampeg Heritage Series

In recent years, Ampeg has remained at the forefront of innovation with their Heritage Series. These amplifiers combine modern features with the classic Ampeg sound, offering advanced technology while paying homage to the company's rich heritage. The Heritage Series ensures that both traditionalists and contemporary players have amplification options tailored to their preferences.

## The Signature Ampeg Sound

Ampeg is celebrated for its unmistakable sound characterized by warm, fat, and punchy tones. This distinctive sonic character is a direct result of their commitment to using vacuum tube technology in their amplifiers. The harmonically rich overdrive and deep low-end response of Ampeg amplifiers have made them a mainstay in a wide range of music genres, from rock and jazz to funk and beyond.

## Ampeg's Profound Influence on Music

Ampeg's influence on music extends beyond their iconic amplifiers. Their products have played a pivotal role in shaping the sound of countless legendary bands and musicians. From the iconic bass lines of Motown hits to the thunderous riffs of classic rock anthems, Ampeg amplifiers have been a driving force behind many seminal recordings.

Furthermore, Ampeg's dedication to innovation has set a gold standard for the entire industry. Many amplifier manufacturers have drawn inspiration from Ampeg's designs and technologies, leading to advancements in amplifier construction and sound quality across the board.

## Conclusion

In the realm of bass amplification, Ampeg stands tall as a legendary icon. With a rich history of innovation, a lineup of iconic products, and an enduring influence on music, Ampeg remains a name that musicians trust and admire. Whether you're a seasoned professional or an aspiring bassist, Ampeg's legacy continues to be an integral part of the musical landscape. The unmistakable sound of Ampeg amplifiers will resonate for generations to come, ensuring that the company's enduring impact on music endures as a timeless legend.

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20 well-known artists who are known for using Ampeg amplifiers:

1. James Jamerson - Renowned Motown session bassist.
2. Jack Bruce - Bassist for Cream.
3. Geddy Lee - Bassist and vocalist of Rush.
4. John Paul Jones - Bassist and keyboardist for Led Zeppelin.
5. Chris Squire - Bassist for Yes.
6. Jaco Pastorius - Influential jazz bassist.
7. Geezer Butler - Bassist for Black Sabbath.
8. Paul McCartney - Bassist for The Beatles.
9. Lemmy Kilmister - Bassist and frontman for Motörhead.
10. Flea - Bassist for Red Hot Chili Peppers.
11. Mike Watt - Bassist for Minutemen and The Stooges.
12. John Entwistle - Bassist for The Who.
13. Billy Sheehan - Known for his work with Mr. Big and David Lee Roth.
14. Kim Deal - Bassist for Pixies and The Breeders.
15. Krist Novoselic - Bassist for Nirvana.
16. John Deacon - Bassist for Queen.
17. Roger Waters - Bassist and songwriter for Pink Floyd.
18. Mike Dirnt - Bassist for Green Day.
19. Bootsy Collins - Funk bass legend.
20. Tina Weymouth - Bassist for Talking Heads and Tom Tom Club.

Please note that this list includes only a small fraction of Ampeg users, and there are countless other notable musicians who have also relied on Ampeg amplifiers for their signature sound.

TEST: Alvarez MD 3500

 Preface:

I still remember the time when acoustic guitars were generally delivered without pickups and recording an acoustic instrument live turned out to be a real challenge for sound engineers and musicians. Most of the time all that was left was a highly disciplined body control on the part of the artist, as the only recording was a microphone that was as sensitive as possible and every slight turn of the body completely changed the sound. A relaxed style of playing or even an entertaining stage show was completely unthinkable.

Nowadays, acoustic guitars without pickups are clearly in the minority and can usually only be found at high prices or at extra low prices. Almost the entire middle class has factory-installed acceptance systems that follow various transmission principles. What is even more unusual is the fact that the Alvarez company is releasing the MD 350, a mid-range model in a classic style, i.e. without any acceptance systems. However, the instrument can also be purchased with an integrated acceptance system as an option. The instrument comes from the ambitious Masterworks series and, to my surprise, is not manufactured in Europe or North America, but in China.




Construction:

While unpacking the plain cardboard transport box, a top-class transport case emerges from the foam beads. It has a built-in hydrometer (!) to keep an eye on the room's humidity, which is extremely important for acoustic guitars. While electric guitars are comparatively resistant to dry air, acoustic instruments are very susceptible to low humidity due to their more delicate construction and higher unpainted surfaces. The wood shrinks and is accompanied by cracks in the paint and even complete deformation of the components. To prevent this situation, Alvarez has integrated the measuring instrument into the lid of the case, a very useful and commendable device!

In terms of size, the actual instrument can be assigned to a dreadnaught, a size that is only surpassed in size by a jumbo. Even though some musicians complain about the lack of handling with a dreadnaught, this size has now become established as the standard measurement for this type of instrument. Their advantages in terms of volume, loudness and sound development are too great compared to their smaller relatives.

When it comes to choosing wood, Alvarez takes a traditional approach. The back and sides are made of solid Indian rosewood, which belongs to the black rosewood genus. By the way, the wood known as “Rosewood” in English has nothing to do with the German term rosewood due to a translation error. The double-locked 5-piece neck of the guitar appears to be made of mahogany, but unfortunately no further details could be found. However, the grain and sound support the assumption mentioned above. Deep black ebony was used as the fingerboard. A narrow but relatively high version was chosen as the fret wire.

Six gold-plated Grover tuners perform impeccable service on the headstock, which is also veneered with rosewood. The peg ends are made of a black, very non-slip plastic, which blends in beautifully with the black color of the fingerboard. An inlay made of 2 opposite A's made of mother-of-pearl completes the overall impression.

The top of the instrument is of particular importance. It is solid Engelmann spruce, a pine tree that comes from western North America. The top is optically traversed by an even grain, which gives the instrument a homogeneous look. The sound hole is surrounded by a narrow rosette and two thin lines, all very simple and tasteful. The overall simplicity of the instrument is further rounded off by a combination of tortoise and a so-called herringbone binding. In fact, all of the visual decorations on the instrument are kept very discreet. For example, the instrument only has a small oval fingerboard inlay on the twelfth fret; the usual orientation aids on the third, fifth, seventh and ninth frets are completely omitted. So if you are used to orienting yourself on the fingerboard, you should change your habits to focus on the edge of the neck, where the usual dot inlays are available.

Fortunately, the MD 350 has also addressed the issue of octave purity. The patented direct-coupled bridge, also made of ebony, has an offset at the transition from the G to the B string, which equalizes the vibration behavior of the non-wound strings in relation to the wounded strings.


Playability:

When you hold the neck of the MD 350 for the first time, the first thing you notice is the very pronounced C profile. The middle of the neck protrudes from the shaping like a small spike, a fact that some people have to get used to. Interestingly, there are no disadvantages to this form, on the contrary. This shaping was particularly effective in the picking style, as it opens up a favorable angle for the transfer of force to the fretboard, depending on the shape and size of the hand. The fretboard radius is moderate and the neck width can be described as strong but not overly fat. In combination with the neck profile, the result is an almost triangular shape, which at first glance seems unusual, but nevertheless functional. Thanks to the compensated bridge, the detuning is kept within pleasant limits even at higher registers. This means that full chords can be intoned relatively easily up to the eighth fret; only from the tenth fret onwards does a clear interference become audible.


Sound:
Mid-open! ;-) What do you mean by such a catchphrase? First of all, you have to take into account that a brand new instrument still sounds a bit brittle and awkward. Especially with a purely acoustic instrument, the woods have not yet settled in and ensure a slightly stiff attack and a relatively hard finish. However, with an experienced ear and practiced estimation skills, you can roughly estimate how the instrument has found its tonal personality after around 300-500 hours of playing time.

After the break-in period mentioned above, the MD 350 has a good chance of offering a warm and voluminous sound within the wood parameters. The aforementioned choice of wood already gives a rough direction, which is then supported without exception in the sound test. The rosewood sides and back provide a high midrange content, which is slightly above the resonance frequencies of mahogany due to the harder nature of the wood. The ebony fingerboard and bridge slightly increase the degree of hardness, only to be somewhat relativized by the mahogany neck.

What I really like is the solid spruce top, which in my opinion is yet to find its true potential. Detached from this, the instrument already has enormous volume and will have no problems asserting itself in an acoustic setting.



Conclusion:
It is becoming more and more common to notice that China is developing from a pure “cheap wage equals cheap instrument” manufacturing country into an ambitious upper middle class manufacturer, a development that Japan also went through bit by bit at the time. The import of Western knowledge, implemented through cheap Eastern wages, has in recent years taken on forms that no one would have ever dared to predict. We will probably find out relatively soon how long the almost complete abandonment of environmental protection measures and the political situation will allow this economic upgrade.

Separately from this, the bottom line is that the MD 350 is a sonically remarkable instrument built of high craftsmanship, which offers good sound quality at a low price. Visually tasteful, I think it will find its customers very quickly.

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Additional Informations:

Alvarez Guitars, a distinguished name in the world of acoustic and acoustic-electric guitars, stands as a paragon of craftsmanship, tradition, and innovation. With a history dating back to 1965, the company has earned its place among the most respected and coveted guitar manufacturers globally. This comprehensive article delves into the rich heritage, meticulous craftsmanship, diverse product range, technological innovations, and enduring influence of Alvarez Guitars within the realm of acoustic instruments.

### **A Legacy of Excellence**

Founded in 1965 by Kazuo Yairi in Nagoya, Japan, Alvarez Guitars embarked on a journey rooted in a commitment to delivering exceptional acoustic instruments. From its inception, the company has adhered to the principles of craftsmanship, attention to detail, and a deep respect for tradition. These qualities have been the cornerstone of Alvarez's legacy of excellence in the guitar manufacturing industry.

### **Craftsmanship and Tradition**

At the heart of Alvarez Guitars' enduring appeal is its unwavering dedication to traditional craftsmanship. The company's skilled luthiers draw upon decades of experience and a profound understanding of wood selection, design, and construction techniques to create instruments of unparalleled quality.

Alvarez's commitment to tradition extends to its choice of tonewoods, including premium spruce, cedar, mahogany, and rosewood, among others. The meticulous selection and treatment of tonewoods contribute to the rich, resonant tones and impeccable playability that define Alvarez guitars.

### **Diverse Product Range**

Alvarez Guitars offers a comprehensive and diverse product portfolio to cater to the needs and preferences of musicians across various genres and skill levels. Key product categories within the Alvarez lineup include:

#### 1. **Acoustic Guitars**

Alvarez's acoustic guitars encompass a wide range of body styles, including dreadnoughts, jumbos, grand auditoriums, and more. These instruments are celebrated for their warm, balanced tones and exceptional projection, making them suitable for solo performance, studio recording, and live settings.

#### 2. **Acoustic-Electric Guitars**

The company's acoustic-electric guitars seamlessly blend traditional craftsmanship with modern electronics. Alvarez incorporates industry-leading pickup systems, such as those from LR Baggs and Fishman, to ensure the acoustic integrity of the instrument is faithfully captured and amplified. These guitars are prized by performers for their versatility and stage-ready capabilities.

#### 3. **Classical Guitars**

Alvarez's classical guitars pay homage to the timeless artistry of nylon-string instruments. These guitars feature impeccable construction, traditional fan bracing, and exquisite tonewoods, delivering the rich, warm tones synonymous with classical guitar music.

#### 4. **Artists Series**

The Artists Series by Alvarez represents a pinnacle of craftsmanship, with models crafted in collaboration with world-renowned artists and luthiers. These guitars showcase Alvarez's commitment to pushing the boundaries of design and tonal possibilities.

#### 5. **Masterworks Series**

The Masterworks Series exemplifies Alvarez's dedication to uncompromising quality. These guitars are handcrafted with the utmost precision, featuring the finest tonewoods and meticulous attention to detail. They are favored by discerning musicians and collectors alike.

### **Technological Innovations**

While Alvarez Guitars remains deeply rooted in tradition, it is not averse to embracing technological innovations that enhance the playing experience. The incorporation of advanced bracing patterns, such as the FST2M forward-shifted, scalloped X-bracing, and the Bi-Level bridge system, have elevated the resonance, sustain, and intonation of Alvarez instruments. These innovations represent a harmonious blend of tradition and modernity.

### **Global Influence and Presence**

Alvarez Guitars' global influence extends across continents, earning it the trust of musicians, educators, and enthusiasts worldwide. The brand has established a strong presence in North America, Europe, Asia, and beyond, supported by an extensive network of authorized dealers and distributors.

### **Educational Initiatives and Support**

Alvarez Guitars is not only dedicated to crafting exceptional instruments but also to nurturing the musical journey of players at all levels. The company offers educational resources, including tutorials, guides, and instructional materials, to assist beginners and experienced players in mastering their craft. This commitment to education underscores Alvarez's role as a supportive partner in the musical community.

### **Conclusion: A Resonant Tradition**

In conclusion, Alvarez Guitars stands as a beacon of excellence in the realm of acoustic and acoustic-electric guitars. With a rich heritage, an unwavering commitment to craftsmanship and tradition, a diverse product portfolio, a willingness to embrace technological innovation, a global presence, and a dedication to musical education and support, Alvarez has earned its place as a venerable name in the world of guitar manufacturing. Its instruments continue to inspire and resonate with musicians, reflecting the company's enduring legacy of crafting instruments that transcend mere wood and strings to become vessels of artistic expression and musical excellence.

TEST: Alto TS 115 Vibe

 It's always interesting to see how a segment in the music sector changes. Not only is almost every area that deals with sales and acquisitions in some form subject to certain fashion trends, no, there is also creeping change, which can completely remodel an area, driven partly by requirements and partly by financial considerations.

One of these areas in sound reinforcement is the transformation of the specialist into a flexible multi-tasker who covers several areas, depending on what is required of him at the time. Please do the whole thing with a comparatively low sales price and in a weight class that the singer can even load into her VW Polo on her own if necessary. What seemed unthinkable just years ago is one of the biggest trends in the industry, we're talking about the active two-way box, which, thanks to Class D power amplifiers, works in the performance range of entire vocal systems from previous decades and whose areas of application range from P.A., monitor, sidefill tasks to extends to mobile barker sound systems.

The Alto TS115 Vibe comes into exactly this area, which, in addition to its classic task, also has an MP3 player installed for additional flexibility, which is managed from the back of the product.

construction

With dimensions of 385 x 430 x 679 mm and a weight of 18 kilograms, the Alto TS115 Vibe is in a class that you can't easily tuck under your arm for transport. In return for the power rating of 800 watts peak, it is a product that is comparably easy to handle, as long as you don't expect your front woman to set up her sound system alone.

The moderate weight can only be achieved by using light neodymium speakers in the form of a 15 inch woofer or 1 inch tweeter driver and the operation of two Class D power amplifiers. The housing is cast from durable polypropylene plastic and has no sharp edges. Four stacking feet, 6 M10 upper, lower and rear flight points and a 36 millimeter flange on the bottom allow any form of positioning in modern stage operations. In addition, two handles embedded on the sides and a recessed grip on the top help with portability.

The housing is designed in a trapezoidal shape, which minimizes the risk of edge reflection. In addition, the product can also be used as a stage wedge at a 40 degree angle thanks to the same shape. In addition to a power cable, the scope of delivery also includes a clear operating manual, which provides information about the most important features.

A solid metal grille protects the internally installed speakers from mechanical influences and also prevents objects from entering the two front bass reflex openings. A blue LED on the front of the housing provides information about the operating status of the product. The product can be operated from 100 to 240V mains voltage via the voltage control, which is only accessible internally.

All control and connection options are located on the back of the housing and have been placed slightly recessed to protect against transport damage. At the top is the illuminated display measuring 65 x 15 millimeters, with the MP3 player's controls in the form of push buttons placed directly underneath. A USB stick or a MicroSD card is used to feed tracks; the appropriate sockets are located directly next to the player. The built-in player supports the formats MP3, the Windows-based WMA and the Apple codec AAC.

If you place a stick in the product, you will receive extensive information about the memory contents with the folder name, title display, playing time and remaining titles, with small symbols in the lower right part of the display indicating whether it is a USB stick or a memory card. A single volume potentiometer regulates the output volume, with a small slider underneath deciding whether the left, right or both channels are reproduced through the speakers in a monophonic mix. By the way, the mixdown works without any phase cancellation.

A contour pressure switch can be used to activate a loudness setting in “bathtub EQ” (bass and treble in, mids out), which makes the sound more “pleasing”. This setting is a master equalizer and also influences the tone control of the applied microphone or line signals. There are no other sound or dynamic processing options in the form of filters or compressors.

Additional connections include two XLR/jack combination sockets with separate volume control. The two volume controls manage both a microphone and an applied line level. In the position 7 o'clock up to 12 o'clock, line signals are managed, from 12 o'clock to 5 p.m. the microphone signals are processed. A built-in limiter, which announces its use with a red LED, prevents the internal speakers from being overloaded and automatically reduces the volume if the level is too high.

In order to be able to connect several components to form a daisy chain operation, the Alto TS115 Vibe also has an XLR output, which picks up the signal either before or after the volume control. To prevent hum loops when linking several active systems, the system also has a switchable ground lift. A comparatively quiet fan ensures sufficient cooling within the case.

Practice

When the power switch is activated, the system boots up silently without the infamous switch-on impulse. First of all, when exposed to music, the Alto TS115 Vibe impresses with its transparent, powerful basic sound, which generates a frequency-even reproduction. Even in the crossover range, which is 2.5 kilohertz in this design, there are no frequency drops or acoustic gaps. In order to use the internal MP3 player, the USB stick or the MicroSD card must be formatted in FAT16 or FAT32; Mac formats such as OS Extended etc. are not supported.

In return, the player supports all common sample rates from the underground 8kHz up to 48 kHz, but without the CD standard audio formats AIF and WAV. If you place a microphone at the appropriate input, the maximum volume is reduced slightly for feedback reasons. It makes sense for a quick start, otherwise the usual setup techniques must be taken into account. Unfortunately, the XLR plugs cannot be locked in the socket, which results in a loss of signal flow if the position is changed carelessly.

As a stage monitor in wedge positioning, the Alto TS115 Vibe also leaves a good impression, although the symmetrical alignment of the two outer parts unfortunately does not allow for different beam angles. For an average drummer, the system can also be used as a drum fill, provided you are not a Motörhead. As expected, moderate sidefill use can also be practiced, but club stage dimensions should not be exceeded. In the P.A. In this area, the box shines with good acoustic illumination and good power reserves with a comparatively low weight.

Conclusion

The ALTO TS115 Vibe is an all-rounder on the market that shines with very good key data. Peak power of up to 800 watts with a comparatively low transport weight of 18 kilograms, road-suitable processing as well as universal mounting options up to the flown version enable a wide range of applications in the area of stage and hall sound reinforcement.

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Additional Informations:

Alto Professional, a prominent entity in the professional audio equipment domain, has solidified its position as a vanguard in the industry. Since its establishment in 2000, the company has been unwavering in its mission to revolutionize the auditory experience through a fusion of advanced technology and pragmatic design. This article delves into Alto Professional's extensive history, its multifaceted product line, technological innovations, global impact, educational initiatives, and its enduring legacy within the professional audio landscape.

### **A History of Pioneering Excellence**

Founded two decades ago, Alto Professional set out with a visionary objective: to redefine the auditory landscape. The company's core ethos has been centered on merging state-of-the-art technology with pragmatic utility to cater comprehensively to the requirements of professionals, musicians, and audiophiles. This unwavering dedication to excellence has been instrumental in elevating Alto Professional's stature within the industry.

### **A Multifaceted and Versatile Product Portfolio**

A hallmark of Alto Professional's standing is its expansive product catalog, encompassing an extensive array of equipment meticulously tailored to suit diverse audio environments and applications. Key product categories that have underscored the company's reputation include:

#### 1. **Loudspeakers and PA Systems**

Alto Professional's loudspeakers and PA systems have attained eminence for their unparalleled clarity, formidable power, and exceptional versatility. The product spectrum ranges from compact, portable PA systems, ideal for intimate venues, to high-output line arrays engineered to fill vast concert arenas. Eminent series such as the Truesonic and the Black Series have garnered accolades for their unwavering reliability and superlative sound quality.

#### 2. **Mixers and Mixing Consoles**

The company's mixing consoles and audio mixers are lauded for their intuitive design and superlative audio fidelity. From compact mixers tailored for small live performances to feature-rich digital consoles tailored for professional sound reinforcement in expansive venues, Alto Professional's portfolio caters comprehensively to a broad spectrum of mixing requisites.

#### 3. **Amplifiers and Signal Processors**

Alto Professional's amplifiers and signal processors play a pivotal role in augmenting audio performance. These devices are engineered with precision to provide nuanced audio control, ensuring that the audio signal remains crystalline and potent throughout the audio chain, from source to output.

#### 4. **Wireless Microphone Systems**

In the domain of wireless audio, Alto Professional offers cutting-edge wireless microphone systems renowned for their sonic clarity and steadfast reliability. These systems are indispensable for live performances, presentations, and myriad applications where mobility and unencumbered movement are prerequisites.

#### 5. **Studio Monitors and Recording Gear**

For recording and studio ecosystems, Alto Professional provides studio monitors and recording equipment meticulously designed to meet the exacting requirements of audio professionals. These studio monitors are lauded for their precision in sound reproduction, rendering them indispensable tools for producers and engineers demanding exacting fidelity.

### **Innovations at the Cutting Edge of Sound Technology**

Alto Professional's enduring influence stems from its unwavering commitment to technological innovation. The company continuously explores avant-garde technologies to enhance the quality and functionality of its products. This commitment to pushing the boundaries of audio technology is manifest in the seamless integration of digital signal processing (DSP) to achieve precise audio control and the utilization of advanced materials and engineering methodologies in speaker design.

### **Global Reach and Imprint**

Alto Professional's global influence within the audio industry is profound. With a presence spanning numerous nations and an extensive network of dealers and distributors, the company has effectively disseminated its products to an eclectic array of clientele. Its products find application in diverse environments, including music venues, recording studios, places of worship, educational institutions, and various settings where superior sound quality is imperative.

### **Educational Outreach and Unyielding Support**

In addition to its pursuit of audio equipment par excellence, Alto Professional is unwavering in its commitment to education and customer support. The company provides a wealth of resources, tutorials, and training programs aimed at empowering musicians, sound engineers, and audio professionals to harness the full potential of their equipment. This dedication to customer support and education has further cemented Alto Professional's status as a dependable partner in the audio industry.

### **Conclusion: A Resonant Legacy**

In conclusion, Alto Professional stands as an exemplar of excellence in the sphere of professional audio equipment. With a rich legacy, an expansive and diverse product catalog, an unrelenting dedication to technological innovation, a global footprint, and an emphasis on education and support, the company has consistently pushed the envelope of what is achievable in the realm of sound reinforcement. Alto Professional's lasting legacy transcends mere technological prowess; it is a legacy of profound influence, one that has molded the standards for audio quality and performance in professional domains. It remains an enduring beacon of inspiration for audio professionals and aficionados worldwide, underscoring Alto Professional's enduring eminence in the pursuit of audio excellence.

TEST: Alto TS 310

 Ever smaller, ever more powerful, ever lighter, with the current active full-range loudspeakers there is actually only one direction with the maxim: how can I illuminate a maximum area acoustically with a minimum of transport effort. Another contender comes from Alto, is an offspring of the current TS series and also goes by the name Alto TS 310 and once again follows the principle “Designed in the USA, Made in China”. This test will show to what extent the box can hold its own in practice with a retail price of only €233

The scope of application of the Alto TS 310

The times of specialists seem to be receding more and more into the background and can actually only assert themselves on large, professional stages. The entire consumer sector is firmly in the hands of multifunctional boxes, which also include the Alto TS 310, although Alto is in this regard. put a few more spins on it. In addition to the standards such as high stand operation and floor monitor, the Alto TS 310 is also equipped with M10 flight points, which greatly increases flexibility in stationary operation.

What's interesting is that Alto puts a lot of focus on DJ operation with their product, so that a commercially available DJ mixer actually serves as a reference in the manual as an application example for 2 speakers. To what extent the speakers, especially in the bass range, The practical test will show that the requirements are met.

The construction of the Alto TS 310

The Alto TS 310 is an active two-way speaker, which is rated at 1,000 watts RMS and a peak of 2,000 watts, a value that is definitely in the upper range in this class. In the RMS range, the breakdown is 650 watts for the 10-inch woofer and 350 watts for the 1.4-inch neodymium driver, which represents an unusually strong focus on the tweeter in terms of power output. We will discuss later to what extent these values correspond to practical suitability. The separation is at 2.5 kHz, with the beam angle once again being 90 degrees horizontally and 60 degrees vertically. The frequency response is given as 54 Hz - 20 kHz at a sound pressure of 126 dB (SPL @ 1m)

With dimensions of 524 mm x 320 mm x 300 mm, the box is extremely handy and, with a weight of 11.8 kg, is also comparatively easy to transport. The housing made of polypropylene is impeccably crafted and protects the two speakers with a solid, black metal grille. The system has two handles on the sides, which in this size are usually sufficient for transport and balancing on high stands. If you want to keep the look of the boxes for a little longer, we recommend purchasing the optional protective cover TS210, which costs €28.

Both in the upright position and in wedge operation, the Alto TS 310 is held in place by 4 shaped feet (upright operation) or a small grooved surface (wedge operation), which are machined from the polypropylene. The stability ranges from good (upright operation) to sufficient (wedge operation), but the slip resistance can only be described as moderate due to the non-rubberized surface. All controls are located on the back of the housing and have been provisionally secured with two protruding edges to prevent them from breaking off. In addition to the box, the scope of delivery also includes a power cable and a multilingual, simple manual.

The connection options on the back of the housing have been kept very simple and include the management of 2 input sources, each of which can accommodate a jack, TRS and XLR with a combination socket. A gain control with 0 dB raster allows you to adjust the level between the line and microphone signals, and a red Peal LED helps with overloading. There is no sound control at all, only a contour switch provides a bit of a scoop/loudness feeling with an increase in the treble and bass range of 3 dB. For daisy chain operation, the Alto TS 310 also has an Since the system is passively cooled, the Alto TS 310 operates at a very low noise level, which offers great advantages, especially at small events.

In practice

As elegant as the surface of the Alto TS 310 may appear when delivered from the factory, it is also susceptible to scratches, so I definitely recommend factoring the costs for the protective cover into your budget. A worn-out box may still have some charm with the local punk combo, but it seems completely out of place when it comes to a presentation. Despite the stated values in the four-digit watt range, you should not ignore the practical key data of the box. A pair of speakers will be able to adequately provide sound for a small gathering of 50 - 60 people, but no more is possible.

I tested the system in three different areas. On the one hand as a wedge in a rehearsal studio, in high stand operation in a small hall and in high stand operation in a large open outdoor area.

The first sound impression with the Contour switch deactivated and the neutral tone control is decent. The bass range is surprisingly present, significantly more than I would have expected from a 10-inch device. The highs sound a bit busy, the midrange sounds comparatively balanced. You immediately notice that the tweeter, which is slightly larger than the standard 1-inch drivers, extends nicely into the high-mids and covers a significantly better mid-range content than what is normally offered in this performance class. A good start.

Pressing the contour switch changes the sound characteristics significantly. The treble range clearly gains in presence and character and the bass range is also pushed strongly, but stops just before the drone and holds the volume surprisingly well without tipping over. In this setting, the system will already be able to cover a large part of its range of application without having to use another EQ from the console or similar. However, restrictions must be made in the area of the “physicality” of the sound. It is truly impressive what bass the Alto TS 310 gets out of the 10 inch speaker and housing construction, but of course it cannot replace an additional subwoofer. As expected, the 10-inch device has physical limits that cannot be overcome even with the best design.

Let’s now come to the “eye-catchers” of the Alto TS 310, the performance specifications. I am still of the opinion that no company does itself a favor by using the last physically determined values as a hook and selling these to the customer as a standard. For every hobby speaker who basks in the number “2,000”, there are around 10 disappointed customers who expected more from the number. The fact is that the box is loud, even very loud for its size, but in the last performance range the previously good sound of the construction turns into an unpleasantly harsh, sometimes distorted sound, which significantly reduces the quality of the product.

Not only is the “2,000 watt” peak not reached in practice, you also don’t want to push the box to its limits in the power range below that, unless you want to turn to the experimental area of music. A targeted peak power of 1 KW with a reduction of approx. 600 watts would suit the system very well and leave a really good sound impression right up to the performance limit. In this way, however, you run the risk of burdening the listener more than pleasing the listener if you use the right amount of power.

Conclusion

With the Alto TS 310, the American manufacturer has an inexpensive full-range box with good sound and high flexibility in its range. The system sounds much more mature than what the dimensions suggest and offers a wide range of possible uses with a high stand, floor monitor and flight operation.

If the manufacturer were not, like many of its colleagues, to peddle unrealistic performance specifications and thus create expectations that cannot be met in practice, the box would leave an all-round successful impression. This leaves you with a very decent sounding box, where you have to be very careful with the control path in the last quarter of the volume controls.

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Additional Informations:

Alto Professional, a prominent and distinguished name in the realm of professional audio equipment, has been at the forefront of the industry for several decades. With an unwavering commitment to delivering high-quality sound reinforcement solutions, the company has not only set the standard for excellence but has also significantly influenced the way music is experienced and presented. In this comprehensive article, we will take an in-depth look at Alto Professional's remarkable journey, its extensive and diverse range of products, its technological innovations, global impact, educational initiatives, and the lasting legacy it has created in the world of professional audio.

### **A Legacy of Excellence**

Founded in 2000, Alto Professional emerged with a visionary mission: to redefine the audio experience. From its inception, the company demonstrated a relentless dedication to combining cutting-edge technology with practicality, aiming to meet the diverse needs of audio professionals, musicians, and enthusiasts. This commitment to excellence has been a driving force behind Alto Professional's growth and influence in the industry.

### **Expansive and Versatile Product Portfolio**

One of Alto Professional's standout attributes is its comprehensive product catalog, which encompasses a wide array of equipment tailored to meet the demands of various audio environments and applications. Let's delve into some of the key product categories that have solidified the company's reputation:

#### 1. **Loudspeakers and PA Systems**

Alto Professional's loudspeakers and PA systems have become synonymous with clarity, power, and versatility. The product lineup includes everything from compact portable PA systems ideal for intimate venues to high-output line arrays that can fill vast concert halls. Notable series like the Truesonic and the Black Series have earned acclaim for their reliability and exceptional sound quality.

#### 2. **Mixers and Mixing Consoles**

The company's mixing consoles and audio mixers are celebrated for their intuitive design and exceptional audio fidelity. Whether it's a compact mixer for small live performances or a feature-rich digital console for professional sound reinforcement in larger venues, Alto Professional's lineup caters to a broad spectrum of mixing requirements.

#### 3. **Amplifiers and Signal Processors**

Alto Professional's amplifiers and signal processors play a pivotal role in enhancing audio performance. These products are engineered to provide precise audio control and ensure that the signal remains clear and powerful throughout the entire sound chain, from source to output.

#### 4. **Wireless Microphone Systems**

In the realm of wireless audio, Alto Professional offers state-of-the-art wireless microphone systems known for their clarity and reliability. These systems are invaluable for live performances, presentations, and various applications where mobility and freedom of movement are essential.

#### 5. **Studio Monitors and Recording Gear**

For recording and studio environments, Alto Professional provides studio monitors and recording gear that meet the exacting demands of audio professionals. These studio monitors offer accurate sound reproduction, making them indispensable tools for producers and engineers striving for precision in their work.

### **Innovations Pioneering Sound Technology**

Alto Professional's enduring impact is a testament to its ongoing commitment to innovation. The company continuously explores cutting-edge technologies to enhance the quality and functionality of its products. This dedication to pushing the boundaries of audio technology is evident in the incorporation of digital signal processing (DSP) for precise audio control, as well as the use of advanced materials and engineering techniques in speaker design.

### **Global Reach and Enduring Influence**

Alto Professional's influence on the global audio industry is profound. With a presence in numerous countries and an extensive network of dealers and distributors, the company has effectively reached and served a diverse range of customers. Its products can be found in music venues, recording studios, houses of worship, educational institutions, and countless other settings where premium sound quality is paramount.

### **Educational Initiatives and Unwavering Support**

Beyond its commitment to delivering outstanding audio equipment, Alto Professional places a strong emphasis on education and support for its users. The company offers a wealth of resources, tutorials, and training programs to empower musicians, sound engineers, and audio professionals to maximize the potential of their equipment. This dedication to customer support and education has further solidified Alto Professional's reputation as a trusted partner in the audio industry.

### **Conclusion: A Lasting Legacy**

In conclusion, Alto Professional stands as a pillar of excellence in the domain of professional audio equipment. With a storied history, an extensive and diverse product catalog, a relentless pursuit of innovation, a global presence, and a strong commitment to education and support, the company has consistently pushed the boundaries of what is achievable in the world of sound reinforcement. Alto Professional's enduring legacy is not only one of technological achievement but also one of profound influence, shaping the standards for audio quality and performance in professional settings. It is a legacy that continues to inspire and empower audio professionals and enthusiasts around the world, reaffirming Alto Professional's position as an enduring icon in the pursuit of audio excellence.

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.