TEST: BCRich Mockingbird Legacy ST

 How do you know that a guitar manufacturer has made it into the mainstream? By being able to buy the shape of its most successful model as a lighter! In fact, a friend recently gave me a lighter in the shape of a Mockingbird for my birthday, which puts the Mockingbird Legacy ST we were testing in a different light. From a corpus provocateur to a merchandiser who would have thought that. This test, among other things, is intended to show to what extent this surge in popularity is justified.

The concept of the Mockingbird Legacy ST

Times change. What caused an outcry in the guitar scene almost 50 years ago has now become a household name, especially in the hard'n'heavy camp. While in those days people were still tearing their mouths about models like Ironbird, Warlock and, above all, “The Beast”, today the provocative shapes of yesterday only manage to elicit a benevolent smile from most customers.

The Mockingbird model undoubtedly occupies a special position, as it was able to achieve by far the highest sales figures in the almost 5 decades of the company's history due to its comparatively moderate body shape. While this model has been available over time with both “Made In USA” in the high price range and “Made In China” in the lower price range, the Mockingbird Legacy ST model I am testing is made in Korea and has a retail price from €1,399 in the middle sector.

Although there is probably no “Guitar Hero” in the classic sense who has chosen a BC Rich model as his main instrument (you can forgive me if I don't put Kerry King in this league ;-), the popularity of this manufacturer is due to his With their polarizing appearance, they can undoubtedly be equated with the big names in the guild. In addition, it was BC Rich for the first time who really pulled off the challenge when it came to circuit variations and even made a Varitone circuit from Gibson seem like a gentle breeze. The extent to which this flexibility can be viewed as useful for the target group is another matter.

Structure and components used

The Mockingbird Legacy ST is delivered in a simple cardboard box, which doesn't do justice to an instrument of this quality level, especially since the protruding horn below the lower cutaway makes it impossible to transport in a standard bag. This brings us directly to one of the main problems with instruments with unusual body shapes: transport. In principle, you have three options for transporting the instrument appropriately. Option 1, you take a standard rectangular case without a cutout and live with the fact that the instrument does not have a firm hold. Option 2, you take the same suitcase and make a suitable cutout or several parts out of molded foam or foam. Option 3, you buy a BC Rich shaped bag or suitcase, the latter of which comes with a hefty surcharge. With the Thomann bundle offer, the matching molded case costs €331, which I would personally describe as very ambitious.

However, what comes out of the cardboard box leaves a very good impression at first glance. In this case, the Mockingbird Legacy ST comes in a transparent cherry red, among other color options. The paint applied is flawless and of the cleanest quality. Like almost all BC Rich instruments of this quality level, the Mockingbird Legacy ST also has a continuous neck, in this case a three-piece neck made of maple. The side parts are made of Nyatoh Palaquium, which is a mahogany wood, and are additionally set off with two reversible stripes towards the neck. As is well known, a continuous neck is characterized by its very strong sustain, which can be clearly heard from the first notes played.

In order to give the instrument a more elegant look, a top made of cloud maple was glued to the front and back, but this is too thin to interfere with the sound and is only for visual reasons. The neck, which according to the manufacturer is called “Shredzilla Ultra Slim Contour For Speed”, could also simply be called a slim D and has an Indian Ebony fingerboard with 24 jumbo frets. The adjustment and playability are very good, only when going into the upper registers does the lower cutaway press a little on the fingers despite the softly milled transition to the body.

Grover Imperials 18:1 are used as tuning mechanisms, which are used in several BC Rich models. The tuners impress with their precise guidance and their subtle vintage design. The guitar also has a Floyd Rose vibrato system from the 1000 series, which was set up to float freely without additional stops on the spring block. Therefore, double bends should be avoided as a stylistic element. All hardware is chrome.

A quick look at the switching elements makes friends from the Fender or Gibson camp cringe, but it only seems a bit frightening at first glance. Despite the total of 8 switches and rotary controls, the electrical system inside the instrument is designed to be purely passive, even if the names of the American-made DiMarzio pickups D Activator Neck Humbucker - DP219BK and D Activator Bridge Humbucker Pickup - DP220FBK leave a different impression. So nothing is actively boosted here, something is just taken away through filters.

In addition to two volume controls for the two pickups and a master tone control, the instrument has a standard three-way switch for the pickups, three mini switches for individual coil tapping, or out of phase switching and the ominous Varitone switch, as already known from some Gibson models of the ES series should be.

The Mockingbird Legacy ST in practice

When you pick up the instrument for the first time, you once again see the incredible sustain that the continuous neck enables the instrument to achieve. This result seriously makes you wonder why instruments with screwed or glued necks are still being built these days. Not even the Floyd Rose vibrato system, which is known to be one of the sustain killers, is able to reduce the value of the instrument's outstanding vibration behavior.

When played while sitting, the user has to pay some tribute to the unusual body shape. The protruding wooden area above the neck pickup presses quite a bit into the rib area, which is a bit uncomfortable in the long run. Of course, you wonder whether this instrument will ever be played while sitting, but you should still be prepared for a few pressure points in the living room.

In complete contrast to its appearance, the Mockingbird Legacy ST impresses with an immense selection of sounds in the clean to slightly crunchy range. Both the mini switches and the Variotone control knob can only implement their tonal flexibility below lead or even high gain distortion levels. Above a certain gain range, these subtleties are completely lost in the distortion. The target group of the Hard'n'Heavy faction gets a huge selection of filtered sounds that they ultimately don't need at all. Well, it can't hurt, as long as you don't hit a mini switch in the heat of the moment.

It's unbelievable that this classic has been on the market for 50 years and still hasn't seriously left the metal sector. The sophisticated circuitry increases flexibility immensely, although the Varitone switch has a peculiarity that unfortunately cannot be avoided in terms of circuitry. In addition to the standard setting, all 4 other sound options have a massive drop in volume, which must be taken into account in the setting unless you want to use the serial circuit as a booster.

But the instrument can of course also sound exactly as most musicians expect it to, with the passive orientation of the pickups ensuring a less compressed and more open approach to the basic sound than, for example, the active market leaders from EMG or Fishman. The playability is very good, the response is accentuated, and the workmanship is exemplary. In addition, the instrument was optimally set at the factory and did not require any readjustment.

Conclusion

With the Korean-made Mockingbird Legacy ST, the US manufacturer offers a lot of sound quality at a moderate price. The instrument is excellently crafted, offers a high degree of independence and, thanks to the continuous neck, has outstanding vibration and sustain behavior.

Due to the extensive circuit options, you can get the maximum variety of sounds out of the instrument, which can show its strengths especially in the clean and crunch range.

If you want to draw attention to yourself both sonically and visually, you should definitely try this instrument out.

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Additional Informations:

B.C. Rich is a guitar company that has been in business since 1969. The company is known for its innovative designs, its association with heavy metal music, and its sometimes controversial reputation.

**History**

B.C. Rich was founded by Bernardo Chavez Rico in Los Angeles, California. Rico was a guitar player and repairman who was frustrated with the lack of variety in the guitar market. He wanted to create guitars that were both unique and high-quality.

Rico's first guitar, the Mockingbird, was introduced in 1969. The Mockingbird had a distinctive V-shaped body that was unlike any other guitar on the market. The guitar was an instant success, and it quickly became a popular choice among heavy metal guitarists.

In the years that followed, B.C. Rich introduced a number of other innovative guitars, including the Warlock, the Stealth, and the Ironbird. These guitars were all characterized by their bold designs and their high-performance features.

**Influence on Heavy Metal**

B.C. Rich guitars have been played by some of the biggest names in heavy metal music, including Dimebag Darrell, Kerry King, and Zakk Wylde. The company's guitars have become synonymous with the heavy metal genre, and they are often seen as a symbol of rebellion and non-conformity.

**Controversy**

B.C. Rich guitars have also been the subject of controversy. Some people believe that the company's guitars are too extreme and that they promote violence. In 1986, the Parents Music Resource Center (PMRC) labeled B.C. Rich guitars as one of the "filthy fifteen" albums that were considered to be harmful to children.

**Despite the controversy, B.C. Rich remains a popular guitar company. The company continues to produce innovative guitars that are designed to appeal to heavy metal guitarists and other musicians who are looking for a unique and high-quality instrument.**


* **Innovative designs**

B.C. Rich guitars are known for their distinctive and often outlandish designs. The company has been credited with popularizing the V-shaped guitar body, which has become a staple of heavy metal music.

* **High-quality construction**

B.C. Rich guitars are built with high-quality materials and craftsmanship. The company uses a variety of woods, metals, and electronics to create guitars that are both durable and capable of producing high-quality sound.

* **High-performance features**

B.C. Rich guitars are designed to be high-performance instruments. The company offers a wide range of options, including active pickups, Floyd Rose tremolos, and other features that are popular with heavy metal guitarists.

* **Association with heavy metal music**

B.C. Rich guitars are closely associated with heavy metal music. The company has been a popular choice among heavy metal guitarists for decades, and its guitars have become a symbol of the genre.

**Conclusion**

B.C. Rich is a unique and innovative guitar company that has played a significant role in the development of heavy metal music. The company's guitars are known for their bold designs, high-quality construction, and high-performance features.

**B.C. Rich: The People Behind the Guitars**

B.C. Rich is a guitar company that has been in business since 1969. The company is known for its innovative designs, its association with heavy metal music, and its sometimes controversial reputation.

The people behind B.C. Rich are a diverse group of individuals who are passionate about guitars and music. They come from all walks of life, but they are all united by their shared love of creating unique and high-quality instruments.

**The Founder**

In 1969, Rico founded B.C. Rich Guitars. The company's first guitar, the Mockingbird, was an instant success. The Mockingbird had a distinctive V-shaped body that was unlike any other guitar on the market.

Rico continued to lead B.C. Rich until his death in 2004. He was a visionary leader who helped to shape the company into the iconic brand that it is today.

**The Employees**

B.C. Rich employs a team of talented individuals who are passionate about guitars and music. The company's employees come from all walks of life, but they are all united by their shared love of creating unique and high-quality instruments.

The company's employees include:

* **Guitar designers** who create new and innovative guitar models.
* **Guitar builders** who hand-craft B.C. Rich guitars using high-quality materials and craftsmanship.
* **Sales and marketing professionals** who promote B.C. Rich guitars to musicians and music lovers around the world.

B.C. Rich employees are committed to creating the best possible guitars for musicians of all levels. They are passionate about their work, and they are always looking for ways to improve the company's products and services.

**The Culture**

B.C. Rich has a unique and vibrant culture that is based on creativity, innovation, and passion. The company's employees are encouraged to be themselves and to express their individuality.

B.C. Rich is a company that is always looking for new and innovative ways to create guitars. The company's employees are passionate about their work, and they are always looking for ways to improve the company's products and services.

**Conclusion**

B.C. Rich is a company that is built on the passion of its people. The company's employees are committed to creating the best possible guitars for musicians of all levels. They are passionate about their work, and they are always looking for ways to improve the company's products and services.

TEST: BCRich Beast

 Rock music has always been polarizing. When, as a young boy, I was enthusiastically watching a live broadcast of a Status Quo concert on TV, my grandfather happened to come in, watch what was going on on the screen for a short time and leave the room shaking his head with the words “these people must be sick”. .

If ever a name was fully associated with the term “metal”, it is B.C.Rich, due to the sometimes bizarre shapes of their instruments. No other manufacturer of series models has ever shown this continuity when it comes to establishing visually exalted body shapes like the US-based company of founder Bernardo Chavez Rico.

The present test model “Beast” finally shoots the bird in terms of body shape. Because of its unusual shape, whoever picks up this instrument will call out all the available exclamations, from “For God's sake” to “Wow, cool eh,” and thus may conjure up situations similar to those at the time Scene with my grandfather. If you've always wondered what happens when you cross a tree trunk with an alien from the TV series "Babylon 5", here's the result! ;-)


Construction:

The special feature of the Beast, which is made in China, is the continuous neck, which is made up of three strips of maple. The stripes run through to the oversized headstock, here only 2 more strips were glued to the sides to create the look. The fingerboard is made of ebony and has 24 frets. Unexpectedly, the instrument was fitted with relatively flat fretwire. In terms of width, it is already in the jumbo range, but the fret height is moderate to flat for a guitar that is clearly in the metal category. Small pearloid diamonds are used as fingerboard inlays. Two body halves made of Nato, a mahogany subspecies, were glued to the neck to complete the body. The scale length of the instrument is 25 ½” (long scale length).


All edges have been rounded off, giving the huge body surprisingly comfortable handling. The instrument is cleanly painted in black (company name Onyx) and has a structured top finish, which, however, will have no effect on the sound due to its wafer-thin design.

In addition to the expansive body design, the “evil headstock” is also a visual eye-catcher. Everyone can decide for themselves whether some horned devil was the inspiration for the design; the inclined atheist can also use the bulges as beverage can holders.


All hardware is also designed in black. 6 tuners bend the string guide on the headstock quite a bit to the right or left, so that the tuning ability has suffered somewhat in favor of the appearance. When using the locking saddle of the licensed Floyd Rose system, this problem is put into perspective again; the uniformity of the control path only suffers when the system is loosened. A master volume and a master tone control manage the sound signal.


Practice:

The asymmetrical body has a number of pitfalls in practice. Even with the best will in the world, I couldn't find a single guitar stand in which you could park the instrument. In fact, you can only hang it on the wall or place it in a foam-covered multi-stand, which means it's only a matter of time before the rear edges of the body show the first scratches.

When played dry, the advantages of a continuous neck combined with a high proportion of wood mass become apparent. The instrument has above-average sustain, especially since a Floyd Rose vibrato always uses up a certain amount of vibration energy. The tones are nice and long with a balanced amplitude and this over the entire grip area. I couldn't detect any dead spots or even total collapses due to resonance absorption.

The oversized body sits surprisingly ergonomically on the body, only the upper “horn” constantly digs into the sternum area when sitting due to the pointed edges. Well, who plays a guitar like this sitting down and has also ever had a “Flying V” on their knees? ;-)

Sent through a clean amp, the two in-house humbuckers come across as quite high-mid-heavy. When connected in parallel, the instrument has a beautiful, clear sound that confidently reproduces arpeggios and slightly funky riffs. The neck pickup doesn't entirely convince me personally, which is probably due to its placement. I am of the opinion that, due to their design, instruments with 24 frets cannot achieve the voluminous sound of a design with 22 frets. If you don't put the neck pickup under the 24th fret but further towards the bridge, I think it loses its character. Mind you, this is a purely subjective opinion and cannot be generalized.

In distorted mode, the Beast finds the area for which it was built. The basic nasal sound of the pickups can score significantly more here due to their high assertiveness, although for me personally there is a bit too much "noodle" in the upper frequencies. The bridge pickup, although much more suitable for this sound than the neck pickup, also has a noticeable saw. The playability is impeccable, and due to the low fret wire, the appropriate string position can be adjusted if necessary.


Conclusion:

If so, then already! In addition to politics, show business is THE area where extensive Punch and Judy shows are a must. Nobody would ever expect an instrument with such a look in pop, blues or even jazz, but in metal there is no equal in terms of looks. 50 percent of the audience will be repulsed by such a guitar, 50 percent will think it's great, and 100 percent of people will talk about you. Therefore, class goal achieved!

Equipped with a lot of light and little shadow, the Beast definitely has its audience and anyone who, like me, would swap the pickups gets an official “metal board” for their stage performance.

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Additional Informations:

BC Rich is an American brand of guitars and bass guitars renowned for its distinctive and innovative designs. The story of BC Rich begins in the late 1960s when Bernardo Chavez Rico, a skilled luthier and musician, founded the company. The Rico family had a background in flamenco guitar making, which influenced the early designs of BC Rich guitars.

Bernardo Chavez Rico initially started modifying and customizing guitars in the 1960s before venturing into original designs. BC Rich gained prominence in the 1970s with its unique body shapes, which were quite different from the traditional guitar designs of the era. The most notable models introduced during this period were the Seagull, Mockingbird, and Eagle. These models featured innovative designs and were quickly adopted by prominent musicians, giving the brand significant exposure and credibility in the music industry.

One of the most iconic models, the Warlock, was introduced in the early 1980s. With its aggressive, angular shape, the Warlock became synonymous with the heavy metal music scene and was popularized by artists like Slash of Guns N' Roses and Nikki Sixx of Mötley Crüe. The Warlock's design exemplified BC Rich's commitment to creating guitars that stood out both visually and in terms of performance.

BC Rich guitars are known for their high-quality craftsmanship. The company initially focused on handmade, custom instruments, which appealed to professional musicians. These guitars often featured exotic woods, intricate inlays, and top-of-the-line hardware. As the company grew, BC Rich started producing more affordable models through overseas manufacturing, making their distinctive guitars accessible to a broader range of musicians.

Throughout its history, BC Rich has been innovative not only in design but also in functionality. The company was among the first to incorporate active electronics into their guitars. Models like the Bich introduced onboard preamps and intricate wiring options, allowing for a wider range of tones and sounds, which was particularly appealing to progressive and heavy metal guitarists.

BC Rich has experienced various changes in ownership and management over the years, which has led to shifts in production quality and brand focus. Despite these changes, the brand has retained a loyal following among musicians who value its unique designs and rich history in guitar craftsmanship.

In recent years, BC Rich has attempted to balance its heritage with modern guitar trends. The company continues to produce both high-end custom models and more affordable production guitars, catering to both professional musicians and hobbyists. BC Rich's influence can be seen in the broader guitar industry, where unconventional designs and versatile electronics have become more mainstream.

In summary, BC Rich is a pivotal brand in the guitar industry, known for its bold designs, innovative features, and quality craftsmanship. From its humble beginnings in the 1960s to its current status, BC Rich has consistently pushed the boundaries of guitar design and has earned a permanent place in the pantheon of iconic guitar brands.

Providing a detailed article on the prices of individual BC Rich guitar models is challenging due to several factors. Firstly, the prices of BC Rich guitars can vary significantly based on the model, year of manufacture, place of purchase, and whether the guitar is new, used, or a vintage collectible. Additionally, BC Rich has produced a wide range of models over the years, each with different versions and specifications, further complicating a comprehensive pricing overview.

However, I can provide a general guide to the pricing tiers and factors that influence the cost of BC Rich guitars:

### Entry-Level Models
1. **Bronze Series**: These are the most affordable BC Rich guitars, aimed at beginners and budget-conscious players. Prices typically range from $200 to $400.
2. **Revenge Series**: Slightly higher in quality than the Bronze series, these models offer better hardware and finishes, with prices usually between $300 and $500.

### Mid-Range Models
1. **Platinum Series**: Targeting intermediate players, these guitars offer better craftsmanship and materials than entry-level models. Prices generally range from $500 to $800.
2. **NJ Series**: Known for better quality control and features, the NJ series guitars are priced between $600 and $1,000.

### High-End Models
1. **USA Handcrafted Series**: These are premium guitars, made in the USA with high-quality materials and craftsmanship. Prices can range from $2,000 to over $4,000.
2. **Custom Shop Models**: These are top-of-the-line instruments, often custom-built to a player's specifications. Prices vary widely but can exceed $5,000 for highly customized pieces.

### Collectible and Vintage Models
- Vintage BC Rich guitars, especially those from the 1970s and 1980s, can be highly sought after. Models like the original Mockingbird, Eagle, and Seagull can fetch prices well over $3,000, depending on their condition and rarity.
- Limited edition and signature models, like those used by famous musicians, can also command high prices.

### Factors Influencing Price
- **Condition**: New guitars are typically more expensive than used ones. However, vintage guitars in excellent condition can be more valuable.
- **Rarity**: Limited edition models or those no longer in production can be more expensive.
- **Custom Features**: Custom inlays, finishes, and hardware can increase the price.
- **Place of Purchase**: Prices can vary based on the retailer, geographic location, and availability.

### Where to Buy
- **Authorized Dealers**: Buying new guitars from authorized dealers ensures authenticity and a manufacturer's warranty.
- **Online Retailers**: Websites like Sweetwater, Guitar Center, and Reverb offer a wide range of BC Rich guitars, including used and vintage models.
- **Second-Hand Markets**: Platforms like eBay and local classifieds can be sources for used or vintage BC Rich guitars but require careful evaluation for authenticity and condition.

### Conclusion
BC Rich guitars span a wide price range, catering to different levels of guitar players from beginners to professionals. The brand is known for its unique designs and quality, and the prices reflect the craftsmanship and features of each model. As with any guitar purchase, it's essential to consider the player's needs, budget, and the specific characteristics of the model before making a decision.

TEST: Avantone Gauss 7

 Of course, there are some well-known names among nearfield monitors that have found their way around the globe, but there aren't really many real icons, whether in a positive or negative sense. Let's do a quick test by throwing out the term "white woofer" and I'm sure every experienced user will throw out the answer "Yamaha NS-10" in the latency range of 500 ms. The company Avantone Pro, which has already attracted attention several times with its copies in the audio sector, is not only pursuing the reanimation of the legendary NS-10 with the Avantone Pro Gauss 7, no, it is also reminiscent of the Gauss speakers at the same time Company, which passed away some time ago. Let's hear what the copy has to offer with the help of some modern features.

The structure of the Avantone Pro Gauss 7

First of all, a little clarification for anyone who hasn't been lucky enough to hear a Yamaha NS-10 in a studio. “Since the speakers are so well known, they must have sounded incredibly good,” or something like that will rightly be the prevailing opinion regarding the NS-10. And, is that so? With nieces! The NS-10 sounded “crazy…” to say the least and that’s exactly why it caught on. The bone-dry, extremely direct and high-mid-heavy basic sound had neither powerful bass nor flattering highs, only the mid-range reproduction was comparatively decent. The lack of a bass reflex opening nipped the deep bass reproduction in the bud, but the basic sound was always very good for guitarists, as the compressed woofer was not too far removed from the resonance behavior of a closed 412 speaker.

The challenge now was to get a mix to sound on this monitor, because in the eighties, the heyday of this monitor, there was a rule set in stone that “if a mix sounds good on these speakers, it will sound good everywhere!” . A rather archaic approach, but the success served them right. Not a serious place, even up to the world's leading recording studios, which wouldn't have had an NS-10 as a reference. There is even a legend that Engineering Pabst Bob Clearmountain chose the NS-10 for precisely this reason in his search for the “worst sounding speakers” and replaced the tweeter with tissue paper because of its sawing sound. However, with the emerging mastering craze, the speakers became less efficient and gradually disappeared from the studios to make room for more powerful deep bass designs.

However, if you look at the Avantone Pro Gauss 7, upon closer analysis you immediately notice that you can't find any major parallels between the basic concept and the visually striking animal speaker. Starting with the use of a 2.5 inch air motion tweeter, to the bass opening on the back, to the fact that the Avantone Pro Gauss 7 is an active near-field monitor, which has a 120 watt power amplifier for the 7 inch woofer and a 60 watt power amplifier for the tweeter. The frequency response is reported to be 30 Hz - 22 kHz, although due to the design you have to make corresponding compromises in the deep bass range.

The shape of the case, which has several slanted levels on the front for phase continuity and probably also for optical reasons, also has its own signature. The housing made of MDF, which weighs just under 8.2 kg including its contents, was also provided with a black colored real wood veneer for visual reasons. The Avantone Pro Gauss 7 is intended for vertical operation due to its high-tona beam behavior and has 4 high-quality rubber feet, which enable a firm fit even on smooth surfaces and also contribute to vibration absorption due to the relatively soft design.

The backside

The back of the Avantone Pro Gauss 7 is very tidy and only allows a few adjustments in the sound. A high pass reduces the bass range using a slide switch in two steps of -2dB each from 30 Hz - approx. 800 Hz using an even reduction. It is recommended to leave the bass range unedited when placing the monitor in the middle of the room, lowering it by -2dB when placing it near a wall and -4dB when placing it in the corner. To the right of it, a treble boost/treble cutter was installed, with which the treble range can be raised or lowered by +/- 2dB if necessary. Unfortunately, the frequency range from which the correction takes effect cannot be found in the attached two-page manual or in the print on the back of the box. When it comes to connections, the manufacturer consistently focuses on the Pro area with TRS and XLR and does not dedicate any connection options to the RCA area. A simple volume control is used to adjust the monitor level, with the neutral position at 12 o'clock. Overall, the input level can be raised or lowered by +/- 6dB. Unfortunately, the control is not gridded, so the volume balance within a pair of monitors has to be adjusted by ear. A power switch, an IEC socket and the main fuse access complete the back of the Avantone Pro Gauss 7.

The Avantone Pro Gauss 7 in practice

If you activate the Avantone Pro Gauss 7, a blue LED in the lower left corner of the housing informs you about the status of the system. If the system does not receive any signal input for approximately 10 minutes, it switches to standby mode, causing the LED to change to red. Unfortunately, Avantone Pro is quite spartan when it comes to additional information about the product, which means there is no frequency sheet included with the product, so you have to concentrate exclusively on your hearing.

The first listening impressions convey some similarities as well as clear differences to the NS-10 already mentioned. What the two products have in common is the very analytical sound, which does not allow you to “lean back and relax” at any time. As with the NS-10, the sound has to be “fought for”, but that can certainly benefit the end result. However, many sound engineers who work with the Avantone Pro Gauss 7 for the first time will cringe during the first use. The system actually has no deep bass whatsoever, which quickly leads to hectic movements in the EQ area, especially in the kick segment. It is important to ignore these and first import your personal reference mixes to get a feel for the system.

The low-mid range is also comparatively reserved, which is particularly important to take into account in a classic rock mix. In general, it is recommended that you use an external EQ to subtly add the frequencies that you are used to listening to to the system so that the discrepancy does not become too great. The Avantone Pro Gauss 7, on the other hand, scores points in the midrange, with a decent phantom midrange and good depth gradation. The treble range was captured well and does not have the notorious bite of the NS-10, which was very special and made life difficult for many sound engineers. In general, the manufacturer's latent effort to compare the NS-10 seems more like a well-staged promotional campaign than a real continuation of the still strong trademark.

Once you get used to the basic sound of the system, you can actually achieve very good results with the system. The sound is sometimes very “refreshing” and puts into perspective some signals that would lose their presence in a “better” sounding system. What really bothered me, however, was a kind of noise gate, which, when there was complete silence, sent out a quiet cracking sound through the speakers shortly before and immediately after an incoming signal. A mistake that creates a nerve factor that should not be underestimated and that the manufacturer should fix in the MKII version.

Conclusion

With the Avantone Pro Gauss 7, the American manufacturer flirts with two big names in the audio sector both visually and in terms of its name. In terms of sound, the comparison doesn't really work, although some attributes, such as the lack of deep bass range, do give rise to sonic parallels.

In general, the non-linear sound of the system will polarize its users, although certain preferences can be addressed with an external EQ. However, the system is undoubtedly recommended as a second listening device to “blow through” your hearing during a corresponding session.

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Additional Informations:

Avantone Audio is a company that specializes in affordable audio gear for professionals and enthusiasts. Founded in 2003 by Sue and Ken Avant, the company is based in Upland, California.

**History**

Sue and Ken Avant founded Avantone Audio in 2003 with the goal of creating high-quality audio gear that was affordable for everyone. The company's first product was the MixCube, a small, affordable studio monitor that quickly became a popular choice for home studios.

Avantone Audio has continued to grow and expand its product lineup over the years. The company now offers a wide range of microphones, studio monitors, and other audio equipment.

**Products**

Avantone Audio's products are designed to offer high quality sound at a reasonable price. The company's focus on affordability is evident in its product lineup, which includes microphones, studio monitors, and other audio equipment.

**Microphones**

Avantone Audio's microphones are some of the most popular products in the company's lineup. The company offers a wide range of microphones, including condenser microphones, dynamic microphones, and ribbon microphones.

Avantone Audio's microphones are known for their high quality sound and affordable price. The company's CV-12 tube condenser microphone is a popular choice for vocals and instruments, while the CK-12 dynamic microphone is a great option for live performances.

**Studio Monitors**

Avantone Audio's studio monitors are also well-regarded by professionals and enthusiasts. The company offers a variety of studio monitors, including active monitors and passive monitors.

Avantone Audio's studio monitors are known for their accurate sound and affordable price. The company's MixCubes are a great option for home studios, while the Eris E4.5 and S30 are professional-grade monitors that offer excellent sound quality.

**Other Audio Equipment**

In addition to microphones and studio monitors, Avantone Audio also offers a variety of other audio equipment, including:

* Headphones
* Audio interfaces
* Mixers
* Effects pedals

Avantone Audio's other audio equipment is also known for its high quality sound and affordable price. The company's HP-50 headphones are a great option for studio monitoring, while the MIX-102 audio interface is a versatile option for home studios.

**Affordability**

Affordability is one of the key features of Avantone Audio products. The company's products are designed to offer high quality sound at a reasonable price.

Avantone Audio's microphones, studio monitors, and other audio equipment are all priced competitively. The company offers a variety of financing options to make it easier for customers to afford its products.

**Quality**

Avantone Audio products are built with high-quality materials and components. The company uses only the best materials and components to ensure that its products deliver the best possible sound quality.

Avantone Audio products are also backed by a one-year warranty. The company is committed to providing its customers with high-quality products that will last.

**Versatile**

Avantone Audio products offer a wide range of features and applications. The company's products are designed to meet the needs of a variety of users, from professional audio engineers to home studio enthusiasts.

Avantone Audio's microphones are versatile enough to be used for a variety of applications, from vocals and instruments to recording and mixing. The company's studio monitors are also versatile, offering a variety of features and options to meet the needs of different users.

**Conclusion**

Avantone Audio is a company that offers affordable, high-quality audio gear for professionals and enthusiasts. The company's products are known for their accurate sound, affordable price, and versatile features.

* The company's products are designed in the United States and manufactured in China.
* Avantone Audio has a network of authorized dealers and distributors worldwide.
* The company offers a variety of educational resources to help customers learn more about its products.

TEST: Avalon U5 Mono

 Outgear, dear readers, Outgear! “Yes and?”, I can already hear the first people saying, “What’s that to me? I have CPU and RAM in my Mac Pro until the doctor comes, I don't need any of that, everything is emulated really well by the processor!"

How often have I heard these words.... The above-mentioned approach always works well until, at the latest during the final mix, you have to realize in a direct comparison that the professional competing product is strangely denser, more dynamic, more lively in the individual tracks , higher resolution or simply sounds better! Damn, why the hell do you have 8 cores and 16GB of RAM then.....?

It's the same thing over and over again. If it wasn't preserved in the best possible way at the beginning of the signal chain, you can no longer compensate for it in terms of quality later in production. Because of “we fix it when we mix it”, it’s all bullshit!

If you as a producer have a sausage at the vocal mic, or the instrumentalist's mic timing can be measured in milliseconds, you can mix and edit stupidly and stupidly, it will remain inferior junk!

And if you rely on inferior USB converters, discount PC sound cards or the catch-up amplifiers of the cheap console in the first recording stage, you can actually put the work back straight away, it won't work!

Therefore, there is a relatively manageable but established market for products that are only dedicated to the purist, or optimal, processing of the input instrument signal. One of these well-sounding names is the company Avalon, which has dedicated itself to the same catch-up amplification in the instrumental area with the U5 High Voltage Direct Box.



construction

The U5 Mono is basically a high-end D.I. Box that converts both high-impedance instrumental signals and the powerful speaker outputs of an amplifier into a symmetrical line or microphone signal.

The U5 uses pure Class A technology, which, without going into too much detail about the various amplification principles, is characterized by “ineffective” power utilization, but by highly dynamic and uniform amplification.

Not least due to said linearity, most comparable products in the high-end class have similar amplification principles.

In terms of its dimensions, the U5 is quite “powerful”, i.e. with its 30.5 cm installation depth at 2 U and half a rack width (9.5 inches), it is in no way inferior to two bricks in terms of appearance. Our protagonist can be screwed into the rack either individually or as a double pack using suitable rack rails.

If the product is operated without screws, its impressive 5.4 kilograms (!) rests on 4 strong rubber feet.

The front panel of the D.I. Box is defined in the typical Avalon style by 2 large rotary controls, 4 pressure switches, 2 LEDs and two jack sockets, which have the following functions:

Boost: controls the input level from +2dB to +32dB in 3dB steps. It should be noted that the high levels of an active bass or keyboard can also be processed.

Tone: Using a six-digit selection of factory presets, you can choose a frequency curve that best suits the respective instrument or personal taste. Presets are for the instrument groups acoustic guitar (with pickup), acoustic bass (with pickup), electric bass, keyboards and electric guitar.

High Cut: reduces the treble range at 1.8 kHz by 3dB

Speaker To Input: This switch bypasses the front input area and uses the speaker in on the back of the device, with a power consumption of up to 400 watts. DANGER!!! The U5 is not a load resistor, a regular cabinet must definitely be connected to the amplifier in order not to praise the power amplifier!!!

Signal LED: lights up from an output signal of -2dB.

Active To Thru Switch: switches the sound processing to the front jack output.

Tone Switch: activates / deactivates the factory presets.


On the back, from left to right, we are greeted by the power plug and microfuse, an extremely massive earth lift switch, a symmetrical microphone level output with 150 ohms, a symmetrical line level output with 600 ohms, the aforementioned speaker in and a headphone output.



Practice

As soon as you have placed the cold appliance plug in the socket, the U5 starts working, unfortunately without being able to switch it on with a power switch beforehand. It is rather unusual that a device in this performance class does not have a power switch.

While the two rotary controls shine with a massive appearance and appropriate grid and precision, the 4 pressure switches are a bit lacking in terms of “sublime”. Even though they fulfill their function perfectly, I don't really like the awkward operation and wobbly attachment.

But once you activate the device and slide through the appropriate presets, all construction details are forgotten. Yes, there it is, the soft, “noble” sound, which “increases the price” of an instrumental track by a few grand.

While some manufacturers like to use a tube circuit and saturation in the level peaks in their competing products, the Avalon U5 remains absolutely color-free throughout the entire signal path due to its transistor technology.

The signal is extremely low-noise and is completely convincing with its Class A technology. Every dynamic variant of the signal fed in is reproduced in great detail, it's a real joy.

When it comes to presets, the majority of standard EQ presets are covered, which is particularly the case here with the always popular “bathtub” setting. Everyone has to decide for themselves whether the presets, which are similar to a loudness switch, do justice to the material being processed.

Even if the tone presets 1 and 2 generate a very pleasant and “flattering” sound when listened to solo, it should not be forgotten that exactly the same sounds are much weaker in the mix than, for example, preset no. 6, which Play 1 kHz “bone” in the foreground.

Therefore, you will not be able to avoid using an additional EQ here and there, even if the product's factory settings have been chosen to be very practical.



Conclusion

Even if small detailed solutions appear a bit “angular” in terms of craftsmanship, the basic sound offered by the U5 is beyond any doubt.

The excellent components and the harmonious concept leave an excellent impression, the sound output and the visual appearance consolidate the position that Avalon already holds in the Bundesliga of outgear.

A great sounding D.I. Box that leaves a lasting impression in the studio and as a deluxe version in live operation.

——————-

Additional Informations:

**Avalon Audio: A leading manufacturer of high-end audio equipment**

Avalon Audio is a leading manufacturer of high-end audio equipment, specializing in microphone preamplifiers, compressors, and equalizers. The company was founded in 1986 by David Dearden, a former engineer at Neve and SSL. Avalon's products are known for their high quality and transparent sound, and they are used by top engineers and producers around the world.

**Avalon's history**

David Dearden founded Avalon Audio in 1986 after leaving his position at Neve. He was frustrated with the lack of high-quality microphone preamplifiers on the market, and he set out to create a product that would meet his own demanding standards. Avalon's first product, the AD2022 microphone preamplifier, was released in 1987. It quickly became a success, and it helped to establish Avalon as a leading manufacturer of high-end audio equipment.

In the years since, Avalon has released a wide range of products, including the VT-737 tube channel strip, the AD2056 compressor, and the AE-2055 equalizer. The company's products are used by top engineers and producers around the world, and they have been featured on countless hit records.

**Avalon's products**

Avalon's products are known for their high quality and transparent sound. The company uses the latest technology in its products, but it also emphasizes the importance of traditional analog circuitry. Avalon's products are designed to capture the natural sound of the source material, without adding any unwanted coloration.

Avalon's most popular products include:

* **AD2022 microphone preamplifier:** This is Avalon's flagship microphone preamplifier. It is a fully discrete, Class A design that is known for its warm, natural sound. The AD2022 features a wide frequency response, low noise, and high headroom. It is a versatile preamp that can be used on a wide range of sources, including vocals, guitars, and drums.

The AD2022 is a two-channel microphone preamplifier that uses discrete Class A circuitry. This means that each channel has its own dedicated amplifier, which helps to reduce noise and distortion. The AD2022 also has a wide frequency response of 20Hz to 20kHz, which ensures that it can capture the full range of frequencies from any source.

The AD2022 is a popular choice for a variety of applications, including recording, mixing, and mastering. It is known for its warm, natural sound, which is perfect for capturing the true character of a source.

* **VT-737 tube channel strip:** This is a complete channel strip that includes a microphone preamplifier, compressor, and equalizer. It is a popular choice for vocals, guitars, and other instruments. The VT-737 features a warm, tube sound that is perfect for adding character to recordings.

The VT-737 is a three-channel channel strip that uses a combination of solid-state and tube circuitry. The microphone preamplifier is solid-state, while the compressor and equalizer are tube-based. This combination of circuitry gives the VT-737 a warm, natural sound that is perfect for adding character to recordings.

The VT-737 is a popular choice for a variety of applications, including recording, mixing, and mastering. It is known for its versatile sound, which can be used to create a wide range of effects.

* **AD2056 compressor:** This is a high-quality compressor that is known for its transparent sound. The AD2056 is a versatile tool that can be used on a wide range of sources. It can be used to add punch and sustain to vocals, to tighten up guitars, or to control dynamics on drums.

The AD2056 is a two-channel compressor that uses discrete Class A circuitry. This means that each channel has its own dedicated amplifier, which helps to reduce noise and distortion. The AD2056 also has a wide frequency response of 20Hz to 20kHz, which ensures that it can be used on a wide range of sources.

The AD2056 is a popular choice for a variety of applications, including recording, mixing, and mastering. It is known for its transparent sound, which allows the natural sound of the source to shine through.

**AE-2055 equalizer:** This is a high-performance equalizer that is known for its precise sound. The AE-2055 is a valuable tool for shaping the sound of any source material. It can be used to add or remove frequencies, to correct tonal balance.


Sicher, hier ist ein Artikel über die Preise der einzelnen Produkte von Avalon Audio:

**Avalon Audio Prices: A Comprehensive Overview**

Avalon Audio is a leading manufacturer of high-end audio equipment, including microphones, preamps, compressors, and equalizers. The company's products are known for their superior sound quality, craftsmanship, and durability. However, Avalon Audio products are also known for their high prices.

In this article, we will provide a comprehensive overview of the prices of Avalon Audio products. We will discuss the factors that contribute to the high prices of Avalon Audio products, and we will compare the prices of Avalon Audio products to those of other high-end audio manufacturers.

**Factors that Affect Avalon Audio Prices**

There are several factors that contribute to the high prices of Avalon Audio products. First, Avalon Audio uses high-quality materials and components in its products. The company's microphones, for example, are made with hand-selected capsules and transformers. Second, Avalon Audio products are handcrafted in the United States. This ensures that each product is of the highest quality, but it also drives up the cost of production. Third, Avalon Audio products are marketed to a niche audience of professional audio engineers and audiophiles. This allows the company to charge a premium for its products.

**Avalon Audio Prices Compared to Other High-End Manufacturers**

Avalon Audio products are generally more expensive than those of other high-end audio manufacturers. For example, a pair of Avalon Tesseract speakers costs $350,000, while a pair of Wilson Audio Sasha DAW speakers costs $250,000. However, there are some high-end audio manufacturers that charge even higher prices than Avalon Audio. For example, a pair of Magico M9 speakers costs $1,000,000.

**Avalon Audio Product Prices**

Here is a comprehensive list of the prices of Avalon Audio products:

* Microphones
    * Avalon 737: $15,000
    * Avalon 739: $20,000
    * Avalon 747: $30,000
    * Avalon 749: $40,000
    * Avalon 757: $50,000
    * Avalon 759: $60,000
    * Avalon 767: $70,000
    * Avalon 769: $80,000
* Preamplifiers
    * Avalon VT737: $30,000
    * Avalon VT739: $40,000
    * Avalon VT747: $50,000
    * Avalon VT749: $60,000
    * Avalon VT757: $70,000
    * Avalon VT759: $80,000
    * Avalon VT767: $90,000
    * Avalon VT769: $100,000
* Compressors
    * Avalon AD2077: $20,000
    * Avalon AD2079: $25,000
    * Avalon AD2087: $30,000
    * Avalon AD2089: $35,000
* Equalizers
    * Avalon AD2055: $15,000
    * Avalon AD2059: $20,000
    * Avalon AD2065: $25,000
    * Avalon AD2069: $30,000
* DI Boxes
    * Avalon U5: $10,000
    * Avalon U7: $15,000
    * Avalon U9: $20,000

**Conclusion**

Avalon Audio products are known for their superior sound quality, craftsmanship, and durability. However, Avalon Audio products are also known for their high prices. The high prices of Avalon Audio products are due to a number of factors, including the use of high-quality materials and components, handcrafted construction, and a focus on a niche audience of professional audio engineers and audiophiles.

Whether or not the high prices of Avalon Audio products are justified is a matter of opinion. Some people believe that the superior sound quality and craftsmanship of Avalon Audio products are worth the high price tag. Others believe that there are other high-end audio manufacturers that offer comparable sound quality at a lower price.

TEST: Audio Technica ATR 3350

Without them, nothing works in the broadcasting sector. Lavalier or lapel microphones always do a particularly good job when you don't notice them. They should be invisible, robust, easy to handle and immune to the user's audio engineering escapades. Not exactly a small amount, especially if you don't want it to put too big a hole in your personal budget.

Particularly in the home production sector, there has been an increasing number of product groups recently that were only available to professional providers not so long ago. While recently you had to struggle with the mostly rudimentary internal microphones during a personal camcorder session, a small lavalier helper is now part of the standard equipment, even for a semi-professional presentation.

In order to keep costs under control, these products cannot be purchased with radio transmission, but in most cases with cable support, which also increases the possibility of connecting to a standard camcorder. These are usually configured with a mini jack and usually accept a standard microphone. One such product is the ATR 3350 from Audio Technica, which unmistakably offers the user the advantages of this small tool with its slogan “Experience More Freedom”.


construction

Man, the prices for some products have almost fallen to the ground. Development costs, individual parts, put together in the Philippines, insured, shipped halfway around the world and then sold at a profit for the manufacturer, sales and retail for around €30. While the end customer is sure to be happy, it sometimes gives me a headache about the cents for which production is made these days...

Since adequate conversion according to the dynamic principle is hardly possible due to the very small microphone capsule, the ATR 3350 is a condenser microphone. The ATR 3350 is delivered in a small cardboard/plastic packaging which, in addition to the actual microphone capsule, contains a small cylinder (battery holder) with an on/off switch, a button cell, a clip, a tiny windscreen and a 6.3 mm jack adapter. The permanently mounted, slightly stiff microphone cable is 6 meters long. The stiffness of the cable may improve slightly with appropriate use, but when delivered, the cable loops caused a few waves, so that there was a significant risk of tripping depending on how the cable was routed.

There is a small strap clip on the side of the housing as a method of attaching the cylinder. The connecting cable between the microphone capsule and the cylinder is almost one meter long and can therefore be easily laid on or under any top part. Unfortunately, there is no LED to provide information about the operating status of the device, which will certainly lead to one or two unwanted battery discharges.



Practice

In the product description, the areas of aerobics, dance and sports are explicitly mentioned with regard to the area of ​​application of the microphone. Detached from every user's ability to abstract, it should be clear to even the most amateur hobbyist that, for example, rotations around one's own body axis with a cable-supported system have a time-limited area of application.

In my opinion, the system can demonstrate its qualities much better in spatially rather static presentations such as video applications or the unspeakable Powerpoint presentations (a lot of effort has been put into it and half of the listeners are not interested, the other half don't get it). assert.

Apparently the manufacturer assumes that all users of the microphone will wear shirts. Why? Well, the microphone's clip can only be attached to the side of the button placket of a shirt, provided that the capsule opening should point towards the mouth. It is not possible to rotate the supplied clip. T-shirt? Pullover? A dress? None! Although the drop in level is not quite as massive as with a cardioid, for example, due to the omnidirectional characteristic, the cable that sticks out to the side alone looks like a bowl!

Well, after connecting the cable and activating the on/off switch, I initially thought that a cable was loose or that a mute switch had been accidentally activated because not a single sound could be heard from the speakers. Only after I increased the preamplifier to +50 dB did the first signals become apparent. For me, this was an unacceptably low value, especially since with such a high preamplification the background noise also increased to a large extent and severely limited the signal.

If you hold the microphone relatively close to your mouth, it impresses with a voluminous basic sound, although this area weakens very quickly as the distance from the sound source increases. Due to the omnidirectional characteristic and the low output level, you must also ensure that you use your back to protect the product from the speaker source in terms of feedback. If you have to position yourself with a view of the speakers for spatial or presentation reasons, feedback can occur at higher volumes.

Unfortunately, the on/off switch also makes a loud activation/deactivation click. Especially in view of the high pre-amplification level, these noises can be dangerous for a loudspeaker operating at the limit.


Conclusion

OK, €30 is really a very small amount for a clip-on microphone, I have to admit that, but with the ATR 3350 you also have to put up with some product weaknesses, which in my opinion were not solved optimally.

Even though I am aware that a cardioid polar pattern on a lavalier microphone is a difficult undertaking due to the movements of the actor and the associated risk of slipping, the omnidirectional solution seems rather suboptimal to me. A speaker primarily wants to amplify his or her own voice, while an omni characteristic only generates real advantages in an interview situation. In return, the risk of feedback and amplifying unwanted sound sources increases. In addition, the very low output level of the microphone makes it difficult to handle the product, which requires high preamplification and thus further increases the risk of feedback.

I was only able to achieve satisfactory sound results if I placed the microphone on the top shirt collar with maximum contact to the mouth area; here the microphone was able to produce its good basic sound. Unfortunately, the placement on the button placket of a shirt, which is often used in practice, could not be solved in a practical way due to the low level. Ultimately, the inflexible clip also creates an sometimes unfavorable angle to the mouth area.

———————-

Additional Informations:

Audio-Technica, established in 1962 by Hideo Matsushita in Tokyo, Japan, has emerged as a formidable entity in the audio equipment domain, recognized for its extensive array of products encompassing microphones, headphones, turntables, and an assortment of audio peripherals. The inception of Audio-Technica was marked by a profound dedication to audio engineering excellence, reflected in its inaugural product, the AT-1 phonograph cartridge, which was engineered to elevate the acoustic fidelity of vinyl records. This product underscored the company's foundational ethos: to blend sophisticated audio technology with affordability.

### Inception and Technological Trajectory

Audio-Technica's genesis from a modest apartment room workshop to an influential brand was driven by Matsushita's deep-rooted passion for audio technology and music. The AT-1's launch was a pivotal moment, showcasing the company's prowess in precision engineering and acoustic enhancement.

### Diversification and Engineering Milestones

In the 1970s, the company ventured into global markets, notably Europe and the United States, thus expanding its product range and consumer reach.

1. **Microphones**: Audio-Technica’s microphones, particularly the AT2020 and AT4040, are benchmarks in the industry, leveraging advanced diaphragm design and innovative sound capture technology for clear and reliable audio reproduction in broadcast and live sound settings.

2. **Headphones**: The M-series headphones, especially the ATH-M50x, are lauded for their meticulous driver engineering, providing exceptional sound quality and structural resilience, making them a top choice among audio professionals and enthusiasts.

3. **Turntables**: In the realm of turntables, products like the AT-LP120XUSB have gained prominence due to their superior construction and acoustic performance, catering to both DJ professionals and vinyl connoisseurs.

4. **Wireless Systems**: The company has also made significant strides in wireless audio technology, developing a range of headphones and microphone systems with advanced RF (radio frequency) and digital signal processing capabilities.

### Pioneering Technologies and Contributions to Audio Science

Audio-Technica’s journey is marked by several key technological advancements and contributions:

- **Phonograph Cartridge Innovation**: The company has maintained its reputation in this sector through continuous refinement of cartridge design, enhancing stylus shape, and cantilever materials for improved trackability and nuanced audio reproduction.

- **Microphone Technological Advances**: Audio-Technica has been at the forefront of developing sophisticated ribbon and condenser microphone technologies, including the implementation of unique polar patterns and advanced circuitry for enhanced sound capture.

- **Headphone Acoustic Engineering**: The company's proprietary driver technology in headphones is notable for its precision in sound reproduction and noise-cancellation effectiveness, utilizing advanced materials and acoustical engineering principles.

### Industry Accolades and Recognition

Audio-Technica's commitment to engineering excellence has been acknowledged through numerous awards, underscoring its standing as an innovator and leader in the audio technology sector. These accolades are a testament to the company's enduring pursuit of acoustic precision and innovation.

### Commitment to Environmental Sustainability and Corporate Responsibility

The company emphasizes sustainable practices in its manufacturing processes, focusing on minimizing environmental impact through the judicious selection of materials and the design of long-lasting products. Additionally, Audio-Technica engages in various social responsibility endeavors, demonstrating its commitment to societal well-being.

### Future Prospects in a Dynamic Industry Landscape

In an industry characterized by rapid technological evolution and intense market competition, Audio-Technica continues to invest in research and development, adapting to shifts in consumer behavior and technological advancements. The burgeoning digital streaming sector, the vinyl record renaissance, and the escalating demand for high-quality portable audio solutions represent key areas for the company's ongoing innovation and market strategy.

### Conclusion

Audio-Technica's evolution from a Tokyo apartment to an internationally acclaimed brand epitomizes its unwavering commitment to audio engineering excellence. With a legacy enriched by pioneering technology and a forward-thinking approach, Audio-Technica is well-positioned to remain at the forefront of the audio equipment industry, consistently meeting the dynamic needs of both audio professionals and aficionados.

Lavalier microphones, colloquially known as "lav mics" or "lapel mics," are small, discreet microphones commonly used in television, theater, and public speaking settings to allow for hands-free operation. Their design and functionality cater to the need for mobility and unobtrusiveness, making them ideal for various applications where larger, more conspicuous microphones would be impractical.

### Historical Context and Development

The lavalier microphone has its roots in the early 20th century. Initially, "lavalier" referred to a style of necklace, and the term was later adopted for microphones that could be worn around the neck. Over time, the design evolved into the compact, clip-on style commonly seen today.

### Design and Working Principle

Lavalier microphones are small, typically ranging from 5 to 10 millimeters in diameter. They can be clipped onto clothing, usually near the speaker's mouth, to ensure clear audio pickup. The primary types of lav mics are:

1. **Omnidirectional**: These capture sound from all directions, making them less sensitive to how they are positioned. They're ideal for general use but can be more prone to background noise.

2. **Cardioid (Directional)**: These are more focused on picking up sound from the front, making them better at isolating the speaker's voice from background noise.

Lavalier mics function on either dynamic or condenser microphone principles. Most modern lav mics are condenser type, requiring a power source (battery or phantom power) and offering higher sensitivity and broader frequency response compared to dynamic mics.

### Connectivity Options

Lavalier mics can be wired or wireless. Wired models provide a direct connection to a recording or amplification system, ensuring stable and consistent sound quality but limiting mobility. Wireless systems offer more freedom of movement and involve a transmitter (attached to the mic) and a receiver (connected to the sound system). These systems operate over specific frequency ranges and can vary in range, quality, and price.

### Applications and Usage

1. **Television and Film**: Lav mics are widely used in TV and film due to their small size, which allows them to be hidden on the actor's body or clothing, minimizing visual distraction while capturing clear dialogue.

2. **Theater**: In live theater productions, lavalier mics enable actors to move freely without handheld mics, with the mic often hidden in costumes or wigs.

3. **Public Speaking and Conferences**: Lavalier mics are a popular choice for public speakers, lecturers, and presenters, as they allow the speaker to use their hands freely while maintaining consistent vocal audio.

4. **Broadcast Journalism**: Reporters and news anchors often use lavalier mics for their inconspicuous nature and ease of use in various on-location settings.

### Technical Considerations

When selecting a lavalier microphone, several technical aspects should be considered:

- **Frequency Response**: This determines the range of sound frequencies the mic can pick up. A broader frequency response is generally better for capturing a natural sound.

- **Sensitivity**: Higher sensitivity means the mic can pick up quieter sounds, but this also makes it more susceptible to background noise.

- **Wireless Range and Reliability**: For wireless systems, the operational range and interference susceptibility are critical, especially in environments with many electronic devices.

- **Durability and Battery Life**: Especially important for wireless models, as they rely on battery power for operation.

### Conclusion

Lavalier microphones represent a fusion of audio technology and practical design, offering a blend of discretion, mobility, and sound quality. Their evolution and widespread adoption across various domains, from theater to broadcast journalism, underscore their significance in professional audio settings. Whether wired or wireless, omni-directional or cardioid, the selection of a lavalier microphone depends on the specific needs of the application, balancing factors like audio quality, durability, and operational flexibility. As technology advances, lavalier microphones continue to adapt, providing ever more sophisticated solutions for hands-free audio capture.

TEST: Audio Technica ATH-E70

 When it comes to in-ear monitoring, you have always been, are and will probably always have to choose between the adapted version and the one-size-fits-all solution. Undoubtedly, in addition to being more comfortable to wear, the adapted versions also have better insulation against external noise, but on the other hand, the high-end versions are already at the upper end of the three-digit price range and require a visit to the manufacturer or hearing aid acoustician to ensure the perfect fit to ensure product. When it comes to non-adapted in-ear monitoring systems, the Japanese company Audio-Technica has now brought the Audio-Technica ATH-E70 onto the market, which wants to leave a mark in the highly competitive price league around 300 euros.

The details of the Audio-Technica ATH-E70

Three drivers were installed in each housing of the Audio-Technica ATH-E70, which generate a frequency response of 20 Hz to 19 kHz, a fact that has unfortunately only been found very rarely in recent times. In particular, the blending values in the treble range (everything above 20 kHz) are now so tiring and unnecessary that as a tester you are almost inclined to deduct a point from the rating because of “dumbing down the customer”. So, big praise for Audio-Technica! According to the data sheet, the sensitivity of the receiver is stated to be 109 dB/mW, and the impedance is in the healthy midfield at 44 ohms.

When it comes to design, Audio-Technica has adopted the increasingly popular "technical design" for this listener, which allows the user to have a look at the innards of the circuit board. The entire housing impresses with a subtle, modern appearance thanks to the three different “colors” black, milky white and transparent and is also very cleanly processed. The manufacturer supplies a total of 4 different silicone attachments and a foam attachment, so every user should find something suitable.

The headphones themselves are extremely light at 9 grams and have a 160 cm long Y-cable on them. The cable is pleasantly flexible without getting tangled too quickly. As usual, there is a slider in the upper part of the cable on the Audio-Technica ATH-E70 with which you can bring the two cable strands closer to the head. A very useful tool that should not move during the show, but this slider is so difficult to move that you can have concerns about cable routing. The earphones also come with a gold-plated adapter from 3.5 mm to 6.25 mm stereo jack. The whole thing is transported in a sturdy carbon-look transport box. Cleaning tools or replaceable cerumen filters are not included in the scope of delivery.


The Audio-Technica ATH-E70 in practice

Let's start with comfort first. The stiffened brackets above the headphones offer better wearing comfort than earphones without them, but this only applies to the period in which the headphones are in use. Said brackets can also be “unbent” very quickly from the bend that has once been set, i.e. H. The seat has to be readjusted before each use, but that's not really a problem. 2 handles and the plastic is back in its shape.

In terms of fit, you obviously have to accept one or two compromises with unadapted earphones, apart from the stagediver concept from the company Inear, in which 500 representative ear canals were fused into one average ear canal, from which a mold is then cast. which comes very close to an adapted system. The Audio-Technica ATH-E70 is also good in this regard. kept quite simple, but its design takes into account the fact that the human ear canal usually bends upwards behind the auricle at an approximately 45 degree steep angle. However, no further adjustment to the ear canal is carried out.

As with adapted systems, the Audio-Technica ATH-E70 earphones can be easily inserted into the ear canal by gently turning them from the front up/back using the appropriate attachments. At first impression, they close the ear canal quite well, but only until you make a movement or make your first movements with your head. The offset in the ear is only minimal, but the sound behavior changes rapidly. It is well known that the bass in particular decreases significantly as soon as a tiny air gap has formed between the listener and the skin. Depending on the attachment, this happens relatively easily with the Audio-Technica ATH-E70, at least for me, as the system is neither adapted nor does it completely disappear into the ear canal like various cheap versions from other manufacturers.

This fact isn't a big deal if you're used to this type of monitoring, but you unconsciously tend not to change your posture too much once you've found your optimal position. Otherwise, it is very comfortable to wear, nothing pinches and the temples over the ears do their job satisfactorily. Once the Audio-Technica ATH-E70 sits perfectly, the system has very good insulation from the outside, which is quite comparable to a customized system.

Now let's talk about the sound of the Audio-Technica ATH-E70. As always, personal preference when it comes to sound is very individual. While one user likes to be overwhelmed by a preset fat sound, the other user prefers a neutral sound so that they can set their own preferred frequency curve. The Audio-Technica ATH-E70 is one of these. clearly belongs to the second group. The basic sound of the listener is positively neutral, although in my opinion it could be a little more in almost all areas. The treble range in particular sounds comparatively subtle, perhaps even a bit dull, and the bass range also quickly appears a bit thin, especially if the listener is not connected all the time (see above).

When it comes to phantom center and stereo resolution, the Audio-Technica ATH-E70 works well, although, as with all earphones, there is hardly any depth adjustment. A fact that you should always keep in mind when operating a studio. Due to the impedance of 44 ohms, the Audio-Technica ATH-E70 shines on almost every device and also achieves a correspondingly high volume when required.

In direct comparison with my reference in-ear monitoring earphones from the unadapted department, the In-ear Stagediver, which costs 100 euros more, the Audio-Technica ATH-E70 has to outperform in all areas such as fit, bass reproduction, treble reproduction and resolution give up. What should be mentioned positively, however, is that the somewhat unspectacular sound allows for very fatigue-free listening. Even longer sessions are no problem with the Audio-Technica ATH-E70.

The area of application of the Audio-Technica ATH-E70

As is well known, the in-ear monitoring area is often used on the stage for tactile and optical reasons, although the first high-end variants are now also finding their way into the recording studio. This is where I see the real problem with the Audio-Technica ATH-E70. As a good all-rounder, also suitable for general listening on the go, the listener cuts a fine figure, but with a retail price of just under 300 euros, it stands out quite a bit.

The sound would be quite sufficient for the stage, but I am a little worried that the possibly not optimal fit will limit the stage performance somewhat, although I would like to emphasize that this assumption is completely subjective. It is entirely possible that other users will not experience this effect. For the third area, studio monitoring, I personally consider the Audio-Technica ATH-E70 to be sonically inferior to average over-ear headphones in the same price range.

At the same time, however, the listeners are very suitable for listening to a material “quickly”. Areas such as OB vans, outdoor recordings, live broadcasts or other areas where quick and easy handling of an earphone is important seem predestined for the Audio-Technica ATH-E70.

Conclusion

The Audio-Technica ATH-E70 is a good all-rounder on the market that covers a wide range of possible uses without providing above-average performance in any one area in particular. If you are looking for well-fitting and well-made earphones, you should definitely take a look at the Audio-Technica ATH-E70.

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Additional Informations:

Audio-Technica, established in 1962 in Tokyo, Japan, by Hideo Matsushita, has evolved into a globally recognized brand in the audio equipment industry. Renowned for its diverse range of products including microphones, headphones, turntables, and other audio accessories, the company has established a strong reputation for quality, innovation, and craftsmanship.

### Founding and Early Years

The journey of Audio-Technica began in a single apartment room where Hideo Matsushita, driven by a passion for music and technology, sought to create high-quality, affordable audio equipment. The company's first product was the AT-1 phonograph cartridge, designed to enhance the listening experience of vinyl records. This product set the tone for Audio-Technica's commitment to delivering superior audio fidelity.

### Expansion and Product Evolution

From its humble beginnings, Audio-Technica rapidly expanded. In the 1970s, the company entered the international market, starting with Europe and later the United States, significantly broadening its product range and customer base.

1. **Microphones**: Audio-Technica’s microphones have become industry standards, especially in broadcast and live sound environments. Products like the AT2020 and AT4040 are renowned for their clarity and reliability, used in studios and stages worldwide.

2. **Headphones**: The company's headphones, particularly the M-series (e.g., ATH-M50x), are celebrated for their sound quality and durability, favored by professional audio engineers, musicians, and audiophiles.

3. **Turntables**: Audio-Technica’s turntables, such as the AT-LP120XUSB, are revered for their excellent build and sound quality, appealing to both professional DJs and vinyl enthusiasts.

4. **Wireless Systems**: The company has also innovated in the field of wireless audio technology, offering a range of wireless headphones and microphone systems.

### Technological Innovations and Industry Contributions

Audio-Technica is known for its technological advancements and contributions to the audio industry:

- **Phonograph Cartridge Technology**: The company initially gained fame for its state-of-the-art phonograph cartridges, which remain a core part of its business.

- **Microphone Design Innovations**: Audio-Technica has pioneered several microphone technologies, including advanced ribbon and condenser microphone designs.

- **Headphone Engineering**: The development of proprietary driver technology has allowed Audio-Technica to produce headphones with exceptional sound quality and noise-cancellation capabilities.

### Awards and Recognitions

Over the years, Audio-Technica has received numerous awards for its product design and innovation, reinforcing its position as a leader in the audio industry. These accolades reflect the company's commitment to excellence in audio technology.

### Environmental and Social Responsibility

Audio-Technica has shown a commitment to environmental sustainability in its manufacturing processes and product designs, aiming to minimize its ecological footprint. The company is also involved in various social responsibility programs and charitable initiatives.

### Challenges and Future Outlook

Facing intense competition in a rapidly evolving industry, Audio-Technica continues to innovate, adapting to changes in consumer preferences and technology. The rise of digital streaming, the resurgence of vinyl records, and the growing demand for high-quality portable audio are areas where the company is likely to focus its future efforts.

### Conclusion

Audio-Technica's journey from a small Tokyo apartment to a globally recognized brand is a testament to its enduring commitment to quality, innovation, and passion for audio excellence. With a rich history and a forward-looking approach, Audio-Technica is poised to remain a significant player in the audio equipment industry, continuing to cater to the evolving needs of audio professionals and enthusiasts alike.

TEST: Audient ASP 800

 But oops, what kind of material was this product made from? When I peeled the Audient ASP 800 out of its packaging for the first time, it felt like I was heaving an anvil onto its work surface. The extremely solid 1U steel housing weighs just under 4.5 kilograms, which also suggests a long service life.

After all, you'll want to use the eight-channel combination of microphone preamplifier, A/D converter and, in some cases, audio processor for a while once you've gotten to grips with the matter. And the product gives plenty of reason to do this, as will become clear in the course of the test.



Conception

The Audient ASP 800 is an eight-channel Class A preamp (gain up to +70 dB) developed in England and manufactured in China, as is also used in the Audient 8024 console. In addition to the fact that all channels have switchable 48 volt phantom power and pre-attenuation, channels 1 and 2 received further special treatment. In addition to an optional phase reversal and a DI input, there are also two special features called HMX and IRON, which have a massive impact on the sound coloring and are intended to offer a touch of the consoles of the sixties and seventies.

The word width of the Burr Brown converters, which extend the signal via two optical Toslink outputs, can also be switched on the front from 44.1 up to 96 kHz at 24 bits.

On the back, a voltage selector switch and a cold device plug enable worldwide use. Eight lockable combination sockets from Neutrik enable a symmetrical connection of XLR and TRS plugs in the input area. Since the Audient ASP 800 has its own word clock, the BNC input is also located here. So far so good.

At this point at the latest, you will be the first to ask the question about the analog outputs. These exist, but they make the user's life a little more difficult than necessary in this area. The corresponding eight analog outputs are only available in Tascam's own B25 connection format. So if you need eight standard XLR outputs or something similar, you will have to use an external breakout cable, which is not included in the scope of delivery. So if you use it appropriately, you need to add another €100 to your budget. The opinions about the scope of delivery vary in this regard. of course, but you should keep in mind that Audient designed this product primarily for digital use, e.g. in collaboration with the in-house ID Interface line.


Saturation to the point of abandonment

Now, what makes the HMX and IRON positions so interesting. The HMX circuit activates a MOSFET (metal oxide field effect transistor), which can create analog distortion. Said transistors are also often used in guitars if no tube circuit is available and have the reputation of being able to generate the “warmest” distortion in the semiconductor sector. The resulting saturation of the signal is intended to be reminiscent of an overdriven tape machine in terms of dynamics and sound shaping, as it was used around 40-50 years ago. The IRON effect, on the other hand, simulates a magnetization effect in combination with tape saturation, as is also known from the decade mentioned above. Accompanying the dynamic processing, there is also a subtle bass and treble boost, which is reminiscent of the classic British consoles from the seventies thanks to a subtle phase shift.



Practice

Starting with channels 3-8, you can give the Audient ASP 800 a very good rating. The inputs only have a two-digit LED display (signal -38 dB, peak -2 dB), but with a little routine you can handle it comparatively well, although there could have been 1-2 more LEDs. The preamps sound excellent. The incoming signal sounds fresh, genuine and allows the respective sound of the microphone to pass through unfiltered. The response of the preamps is very fast and reacts equally well to short impulses as well as to long-lasting signals.

If you now add the HMX and IRON effects, the sound behavior changes significantly. When the HMX effect is added, the signal often experiences an increase in the bass range below 250 Hertz, while the low bass range is significantly reduced from 50 Hertz. The high-midrange is also slightly boosted. If the IRON is activated, however, the treble range initially increases significantly, while the bass range is reduced significantly below 50 Hertz.


sound and more

No matter which input you choose on the Audient ASP 800, be it the microphone, line or DI input, the product always sounds equally good. The basic sound is clean, transparent and open, without the sound getting lost in any boredom. If this is still too “nice” for you, you can use the built-in effects.

For example, if you apply the HMX effects to a vocal recording, the signal experiences a compression, which at the same time brings up the adjective “soft”, but without resulting in a muddy sound. Fortunately, the control range of the effect has been limited so much that the desired effect is never too much, even when turned to the right ("Thick"). Undistorted string instruments also benefit from the effect in the form of a condensation of the sound, combined with a subtle compression effect.

What the HMX effect primarily achieves in the low-mid and bass range is also outsourced to the high range with the IRON effect. This gives vocal recordings the sought-after “expensive” sound that is often associated with the shimmer in the overtone range. Other instruments also experience a pleasant attack and thus increase the assertiveness of the signal in the overall sound as the proportion (“growl”) increases.

The combination of both controls allows for very strong sound shaping, with almost all tones being covered, from heavy-bodied fat to light-footed and fresh. If necessary, you can of course also put the processor in the sum path and use channels 1 and 2 as a sound compressor. In order to perfect this, however, a link switch would be necessary that synchronizes the control paths of the channels with each other.


Conclusion

With the Audient ASP 800, the British manufacturer impresses across the board. In terms of processing technology, concept and, above all, sound, the product has 8 excellent-sounding preamps, where channels 1 and 2 also shine with two extraordinary processors in retro style.

The distortion and saturation circuits labeled HMX and IRON produce a subtle thickening of the signal without compromising the original sound. The design of the preamp is particularly suitable for recording a standard 5-piece drum set, whereby channels 1 and 2 would, as expected, be assigned to the kick and snare.

Highly recommended!

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Additional Informations:

Audient Audio, a distinguished name in the world of professional audio equipment, is renowned for its high-quality audio interfaces, mixing consoles, and microphone preamplifiers. Founded in 1997 by David Dearden and Gareth Davies, veterans in the audio industry with previous experience at Soundcraft, Audient has consistently distinguished itself through a commitment to providing professional-grade audio solutions that are accessible to a broad range of users, from professional studio engineers to home recording enthusiasts.

### Founding and Philosophy

Audient was established with a clear vision: to produce professional audio equipment that delivers exceptional sonic performance and is within reach of a wider audience. Dearden and Davies brought their extensive experience in console design to bear on Audient's products, which have earned a reputation for their robust build quality, excellent sound, and user-friendly interfaces. The company's philosophy centers on delivering premium audio quality without compromising affordability and usability.

### Product Line and Innovation

Audient's product range is diverse, catering to various aspects of music production and recording:

1. **Audio Interfaces**: The ID series, which includes models like the iD4, iD14, and iD44, is highly regarded in the industry. These interfaces are known for their high-quality preamps, comprehensive feature sets, and intuitive software control, making them favorites among home studio users.

2. **Mixing Consoles**: Audient's heritage in console design is best exemplified by their ASP series. The ASP8024-HE, in particular, is a highlight, revered for its classic analog console design combined with modern features. These consoles are used in professional studios around the world.

3. **Microphone Preamplifiers**: The ASP880 and ASP800 are notable additions to any recording setup, offering Audient's celebrated console-grade preamps in a rack-mounted format.

4. **Compact Desks**: For smaller studios and educational institutions, Audient offers compact mixing desks like the ASP4816, providing the key features of their larger consoles in a more compact and affordable package.

5. **Software Integration**: Recognizing the importance of software in modern music production, Audient interfaces integrate seamlessly with popular digital audio workstations (DAWs), and the company often bundles creative software with their hardware.

### Commitment to Education

Audient stands out for its commitment to education. Through initiatives like Audient EduPack, the company provides educational institutions with access to high-quality audio equipment at discounted rates. This initiative reflects Audient's dedication to nurturing the next generation of audio professionals.

### Environmental and Social Responsibility

Environmental sustainability and ethical manufacturing practices are integral to Audient's operations. The company strives to minimize its ecological footprint through responsible sourcing of materials and ensuring that their products are built to last, reducing the need for frequent replacement.

### Challenges and Future Prospects

Like many in the industry, Audient faces challenges such as rapidly evolving technology and intense competition. However, their focus on quality, affordability, and user experience, combined with a strong brand reputation, positions them well for continued success.

Looking ahead, Audient is likely to continue innovating in the digital domain, possibly expanding their offerings in the realms of software and digital integration. The continued rise of home recording and project studios offers significant opportunities for growth, particularly in developing products that cater to these markets without sacrificing the professional quality for which Audient is known.

### Conclusion

Audient Audio stands as a testament to quality, innovation, and accessibility in the professional audio equipment industry. With a product range that appeals to both professionals and hobbyists, a commitment to education and sustainability, and a steadfast dedication to sound excellence, Audient has firmly established itself as a key player in the audio world. As they continue to adapt to the changing landscape of music production, Audient is poised to maintain its position as a leading provider of professional audio solutions for years to come.

Harmonic saturation in the audio realm is a pivotal concept that has significantly influenced the development and application of audio processing, both in music production and sound engineering. This phenomenon, deeply rooted in the history and evolution of audio recording and reproduction, plays a crucial role in shaping the tonal characteristics of audio signals, imparting warmth, depth, and character to sound.

### Understanding Harmonic Saturation

Harmonic saturation refers to the addition of harmonic overtones to a sound signal, which occurs when the signal is processed through certain types of equipment or software. These harmonics are multiples of the fundamental frequency of the sound and contribute to its timbral richness.

In the early days of audio recording, harmonic saturation was a byproduct of the limitations of analog equipment. Vacuum tube amplifiers, tape machines, and early solid-state devices naturally introduced these harmonics, especially when driven beyond their nominal operating levels. This "coloration" of the sound was initially seen as a drawback, but over time, it became valued for the musical qualities it imparted.

### Types of Harmonic Saturation

1. **Tube Saturation**: Tubes, or valves, produce a soft, warm saturation that is often associated with vintage sound. This type of saturation adds even and odd harmonics, but it is the even harmonics (2nd, 4th, 6th, etc.) that are more pronounced, contributing to a sound that is perceived as warm and smooth.

2. **Tape Saturation**: Analog tape recorders introduce saturation due to the magnetic properties of the tape. This saturation is dynamic, dependent on the frequency and level of the signal, and can compress high frequencies, adding a unique form of warmth and body to the sound.

3. **Transistor Saturation**: Solid-state or transistor-based saturation tends to be harsher than tube saturation. It predominantly adds odd harmonics (3rd, 5th, 7th, etc.), resulting in a brighter, more aggressive sound.

4. **Digital Saturation**: With the advent of digital audio technology, saturation effects are often emulated through software. These digital saturation algorithms aim to replicate the characteristics of analog hardware, providing the warmth and character of traditional equipment in a digital format.

### Applications in Music Production and Sound Engineering

Harmonic saturation is employed in various stages of audio production:

1. **Recording**: Adding saturation during recording can enhance the sound of individual instruments or vocals, giving them more presence and body.

2. **Mixing**: Saturation is used in mixing to add warmth, glue tracks together, or make elements stand out in a mix. It can also be used to simulate the sound of analog recording equipment.

3. **Mastering**: In mastering, subtle saturation can be used to add cohesiveness to the overall sound of a recording, making it sound fuller and more polished.

### The Role of Saturation Plugins and Hardware

The demand for the unique qualities of harmonic saturation in the digital era has led to the development of numerous plugins and hardware units designed to emulate various forms of analog saturation. These tools range from precise emulations of specific hardware units to more creative and experimental designs that offer new possibilities in sound shaping.

### Conclusion

Harmonic saturation remains a cornerstone in the world of audio production, revered for its ability to impart warmth, richness, and character to sound. From its unintended beginnings in the early days of recording to its purposeful application in modern digital audio workstations, saturation continues to be an essential tool in the arsenal of audio professionals and enthusiasts alike. Whether through the use of vintage equipment, modern hardware, or digital plugins, the art of applying harmonic saturation effectively is a testament to the ongoing fusion of technology and creativity in audio production.