Yes, it's not that easy to keep track anymore. Who would have thought that all-tube heads would not only survive, but that at the beginning of the millennium there would be an immensely rich selection of top products that would leave musicians spoiled for choice.
When I started my professional career, you could only choose between four official manufacturers and the fact that transistor technology had become affordable was prophesied in all magazines about the demise of the oh-so Stone Age tube machines. Everything was screwed, soldered, combined and eroded as much as possible, but although every effort was made to surpass the anachronistic technology of vacuum tubes and their associated sound behavior, even the best representatives of the semiconductor level can still achieve their best today Decorate with getting “close” to the tube sound, nothing more!
A representative from the German Bundesliga of Alltube Heads is the Framus Dragon Head, which I have for testing. Interestingly, this was also the first Framus amplifier that I first noticed in 1999 with a band I was friends with during one of my tours in Germany. “Framus, are they now building amplifiers too...?” And how!
Construction:
The Dragon Head is a head that, like almost all protagonists in this genre, has the typical “briquette” shape. With dimensions of 72.5 cm x 28.5 cm x 26.5 cm (W x H x D), it fits on any standard 4x12" cabinet, although its appearance is a little more "powerful" than, for example, due to the greater depth still very slim Marshall tops. Its 18.3 kg weight is a bit overwhelming, but can still be handled easily.
Visually, the Dragon tries to bridge the gap between vintage and modern. While the Framus logo on brown covering material, combined with the 22 chickenhead controls, could have adorned a combo 40 years ago, the mirrored panel and, last but not least, the product name look more like they come from a historically different era. The clash of diametrically epochal trademarks has its charm, but ultimately, as always, personal taste in terms of appearance decides.
In terms of workmanship, the Dragon Head is at the highest level; I couldn't see any impurities either inside or outside. On the outside, the wooden construction of the top is protected by a durable artificial leather cover against moisture (although putting beer on a top requires at least 2 years of solitary confinement with bread and water!) and minor mechanical influences. Eight corner protectors and a strong carrying handle do the rest.
The amp rests on 4 strong plastic feet, which in my opinion are a bit too hard in their chemical mixture. On the one hand, the head slips a little on very smooth surfaces and “sticks” less due to its weight and, on the other hand, the vibrations that the sensitive power tubes have to suffer during operation on a vibrating 4x12 cabinet are only slightly dampened. On the other hand, a mix that is too soft would cause the feet to bulge and crack over time, a problem I experienced with another of my amplifiers.
In terms of tube technology, the Dragon uses a total of 5 ECC83 (3x selected for the various distortion stages, 2x standard for phase inversion stage and effects path buffer) in the preamp and a selected EL34 quartet in the power amp, which provide an output power of 100 watts.
The Dragon has a three-channel structure, with the classic clean, crunch and lead division. The three channels each have 6 individual controls, which control the gain, presence and volume range in addition to the classic three-band tone control treble, middle and bass.
In the master area, in addition to a “Deep” control, which thickens the overall sound in the lower mid to upper bass range, there is a mix control for the parallel FX loop and two independent master volume controls, for example during a solo passage or to emphasize one to be able to only briefly increase the volume of a short phrase without changing the sound.
The three channels of the Dragon as well as the two master volume controls can be switched via foot switch, but also via MIDI interface (128 memory locations), so the head has a MIDi In or MIDI Thru for looping through the switching signal.
On the back there are the connections for the MIDI control, two speaker outputs (4, 8, 16 ohms), a line out, the FX loop and the connections for the MIDI control, respectively the footswitch connections.
Practice:
Green! Finally! Who would have thought that I would again come across an operating LED that wasn't in the trendy blue or classic red. Green is also my favorite color ;-) 10 points! ;-)
And as always, we start with the clean sound of the amplifier. What we hear from the connected cabinet with the neutral setting (all controls at 12 o'clock) must be described as very balanced, especially when you consider the well-known sound behavior of the EL34 bottles. EL34 and soft, sometimes pearly, undistorted sounds usually cancel each other out, so the sometimes beautifully coloring, unobtrusive sound of the first channel can be described as very successful.
Also worth mentioning is the very high headroom with which the channel works. Even with the gain turned up to full capacity and the volume control set to the same setting, only slight distortions come out of the speakers, which is not pleasing and makes it unmistakably clear to the artist that he should please use one of the other channels for such experiments.
However, a fairway that is too small does not do the canal justice either; here it falls short of its dynamic potential. It is therefore very important to experiment a lot with the gain and volume controls to find the optimal setting for your guitar. Personally, I liked the maximum possible level without the preamps clipping best; here the channel was able to show off its full dynamics and shines with good assertiveness and a tight response.
In the second channel (Crunch) the visual appearance of the head (vintage meets modern) meets its tonal implementation. While the preamplifier clearly indulges in modernity with its high gain reserves and its comparatively soft design, the power amplifier tubes increasingly rely on the more “dirty, boney” vintage approach. The result is a very flexible crunch channel, which can handle a wide range from light distortion to very strong hard rock with AC/DC leads.
The frequency-technical starting point of the all-important mid control is also very nice, as it gives the amp a significantly softer tone by slightly reducing the same frequencies. Mind you, we still have the EL34 Brit Mid board on our backs, so...
Where channel two left off in terms of solo activities in the broad area of hard rock, channel three continues seamlessly. With additional gain reserves and a softer basic orientation, all forms of distorted solo sounds and rhythm attacks that can be attributed to metal can be reproduced here.
I'm also particularly impressed by the mid control on channel three, which gives the sound a decisive tonal change with just a few range changes. Convincing!
Conclusion:
Yes, the Dragon Head is an all-round successful all-rounder with a clear peak in the rock area. In terms of sound, it can impress in all areas, and thanks to its MIDI connection it is also very flexible in terms of channel control in conjunction with your personal FX setup.
If you are looking for “Made-In-Germany” that deserves its name, you should definitely give the Dragon Head a try
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Additional Informations:
Framus amplifiers stand as iconic symbols of German craftsmanship, innovation, and sonic excellence. Their journey spans over seven decades, intertwining with the evolution of music culture, technological advancements, and the enduring legacy of the Framus brand. This article embarks on a detailed exploration of the origins, pivotal moments, and technological innovations that have shaped the narrative of Framus amplifiers.
**Founding Years and Early Innovations:**
The story of Framus amplifiers begins in the aftermath of World War II when Fred Wilfer founded Framus in Erlangen, Germany, in 1946. Initially focusing on manufacturing stringed instruments, Wilfer soon recognized the burgeoning demand for amplification solutions as electric guitars gained popularity. In the early 1950s, Framus introduced its first amplifiers, leveraging innovative circuit designs and quality components to deliver powerful and responsive amplification for musicians.
**Rise to Prominence:**
Throughout the 1950s and 1960s, Framus amplifiers gained widespread acclaim among musicians for their reliability, versatility, and distinctive tone. From the compact and portable Ruby to the powerhouse Cobra, Framus offered a diverse range of amplifiers catering to various musical styles and performance needs. The endorsement of renowned artists like Bill Wyman of The Rolling Stones further bolstered Framus's reputation as a premier amplifier manufacturer.
**Technological Advancements:**
Framus was at the forefront of technological innovation in amplifier design, continually pushing the boundaries of performance and functionality. In the 1960s, Framus introduced transistor-based amplifiers alongside their tube counterparts, showcasing their adaptability to emerging trends in electronic components. Additionally, Framus pioneered advancements in amplifier circuitry, including the development of versatile EQ controls, built-in reverb units, and effects loops, empowering musicians with greater control over their sound.
**Collaborations and Endorsements:**
Framus's commitment to excellence in amplification attracted collaborations with influential musicians seeking to shape their signature sound. Artists such as John Entwistle of The Who and Billy Lorento of The Rattles collaborated with Framus to design custom amplifiers tailored to their unique preferences and playing styles. These collaborations not only propelled Framus amplifiers into the spotlight but also contributed to the evolution of amplifier technology through real-world feedback and experimentation.
**Expansion and Diversification:**
As the demand for Framus amplifiers grew, the company expanded its product lineup to encompass a broader range of amplification solutions. From guitar and bass amplifiers to PA systems and studio monitors, Framus diversified its offerings while maintaining a steadfast commitment to quality and innovation. The expansion into new markets and product categories cemented Framus's position as a leading authority in the world of amplification.
**Challenges and Revival:**
Like many legacy brands, Framus faced challenges in the face of evolving market dynamics and industry trends. In the late 1970s, the company experienced financial difficulties, eventually leading to its acquisition by Warwick GmbH & Co. Music Equipment KG in 1995. Under Warwick's stewardship, Framus experienced a revitalization, with a renewed focus on quality, craftsmanship, and innovation. The relaunch of classic amplifier models alongside new designs reaffirmed Framus's commitment to honoring its heritage while embracing the demands of the modern music industry.
**Legacy and Influence:**
Today, Framus amplifiers continue to inspire musicians around the world, embodying a legacy of innovation, craftsmanship, and sonic excellence. Whether in the hands of professional artists on stage or aspiring musicians in home studios, Framus amplifiers remain synonymous with superior tone, reliability, and performance. As the music landscape evolves, Framus stands as a timeless testament to the enduring allure of German engineering and the pursuit of sonic perfection.
**Conclusion:**
The history of Framus amplifiers is a saga of innovation, perseverance, and musical ingenuity. From humble beginnings in post-war Germany to global recognition as a premier amplifier manufacturer, Framus has left an indelible mark on the world of music. As the journey continues into the future, Framus remains committed to its founding principles of quality, craftsmanship, and passion for amplification, ensuring that its amplifiers continue to shape the sound of generations to come.
Mittwoch, 17. April 2024
TEST: Framus Dragon Head
TEST: Framus Cobra Head
There really aren't that many anymore. We are talking about German amplifier manufacturers who do not have their products manufactured under license in the Far East, but instead outsource the jobs locally and consciously accept the higher wage and ancillary wage costs.
One of these representatives is the Framus company, whose Cobra Head, which I have for testing, is manufactured in Markneukirchen.
Construction:
The Cobra Head is a head that has the typical “briquette” shape. With dimensions of 72.5 cm x 28.5 cm x 26.5 cm (W x H x D), it fits on any standard 4x12" cabinet without protruding unattractively at the back or on the side. At 18.3 kg, it is in the middle class in terms of weight and can be lifted onto a full stack by a strong pair of men's arms with a little momentum.
Visually in classic black, the Cobra Head has a decorative metal front grille, which both protects the technical interior and significantly enhances the look of the device. Corner protectors and a strong carrying handle made of transparent plastic do the rest.
The amp is based on all-tube technology, in which a total of 5 ECC83 (3x selected for the different distortion stages, 2x standard for phase inversion stage and effects path buffer) in the preamp and a selected EL34 quartet in the power amp ensure an output power of 100 watts.
The Cobra has a three-channel structure, whereby the basic sound characteristics can vary greatly within the individual channels using mini switches. With a little imagination, you could talk about almost 6 different sounds, although “only” three sounds can be accessed via foot switch or MIDI control.
The three channels Clean, Crunch and Lead each have 6 individual controls, which control the gain, presence and volume range in addition to the classic three-band tone control treble, middle and bass. There is the mini switch mentioned at the beginning for each channel, which increases the highs in the clean range (bright) and slightly thins out the midrange, and activates a low-mid boost in the crunch and lead channel (notch).
In the master area there is a “Deep” control, which thickens the overall sound in the lower midrange, the mixing control for the parallel FX loop and two independent master volume controls so that the volume can only be briefly increased during a solo passage without changing the sound. Kudos to everything that makes us more independent from the FOH ;-) No offense, guys.
On the back, on the left side, we are greeted by the cold appliance power plug and an easily accessible main fuse. A little tip on the side: I've never had a main fuse blown without one of the output tubes ultimately being blown. Therefore, you can replace the fuse, but always have a calibrated replacement duo / quartet of power tubes ready in an emergency, you will need them.
The three channels of the Cobra, as well as the two master volume controls, can be switched via a foot switch or via a MIDI interface, which is why the head has a MIDi In or MIDI Thru for looping through the switching signal. In order to be able to operate the three channels and the master volumes using the foot switch, you have to use a button with a Y-connector and 2 stereo jacks, or you can use the in-house switch (button) of the type FR S4 M, which is not included in the scope of delivery .
The integration of MIDI control of the channels plus the two master volume controls via a corresponding floorboard is a welcome expansion in terms of flexibility within a more or less complex routing of floor pedals or 19" rack components, as you can set up several switching processes with one switching process Run it once and generate your personal setup with 128 storage spaces.
In addition to the FX loop, the head also has a line out and two speaker outs, which can each be switched to 4, 8 or 16 ohms. (By the way, the correct calculation of the total resistance seems to be one of the eternal mysteries for stage managers at festivals. No matter where I have played so far, whether in front of 300 people in the Odenwald or in front of 30,000 in Korea, not once where the full stack wasn't would have incorrectly said 16 ohms....)
Practice:
After switching on the amplifier, an LED chain inside the head floods the mirrored interior with a red light. Pretty... Just like the chrome-plated pot knobs, which look great. However, with their raised appearance, the buttons sacrifice much of their visual functionality. Unfortunately, after about 3 meters you can no longer tell what value the pots are at. Function follows form.
What is immediately noticeable from the first tones on the clean channel is the extremely neutral basic sound of the amplifier. Despite the EL34 equipment, the nasal midrange, which tends to play forward with these power tubes, remains very balanced and subtle. The channel proves to be very clipping resistant; even with the gain control fully opened, only very subtle crunches come out.
Activating the Bright Switch not only increases the treble but also lowers the midrange, which also makes humbucker-equipped guitars sound more “single-coiled” (forgive me for this incontrovertible comparison). The channel does its job quite pleasantly, almost inconspicuously, but without adding any excessive softening to the sound.
When it comes to input sensitivity, channel 2 continues where channel 1 left off. Even at low gain settings, clear distortions can be heard, which can be continuously increased to a strong lead. Here too, the neutral sound of the head is noticeable. Although you can undoubtedly recognize the characteristic “EL34 mid-knödel”, it is nowhere near as prominent as, for example, the British protagonist heads from Marshall and VOX.
But anyone who now believes that they will find a German counter-offensive to the American soft-focus faction is mistaken. In a kind of middle ground, the Cobra Head stays exactly between the bone-hard Brit corner on the one hand and the sometimes cottony American soft-clipping department.
This impression is reinforced in the third channel, where, despite additional distortion, the amp never runs the risk of suffocating in the half-wave cut sludge and indefinable basic mud in the middle of high gain.
The notch switches prove to be very effective and also give the amp a very high degree of flexibility. When boost is activated, channels 2 and 3 get a powerful mid-range boost, which makes the amp sound significantly more powerful and voluminous. This effect can be further enhanced with the Deep control, so that even downtunings in the major second plus category have a very powerful effect on the speakers.
Conclusion:
The Framus Cobra Head is a top that falls between all the stools in terms of sound and that is precisely why it fills a gap that is little or not occupied in this form. With an unusually neutral basic alignment plus the highly effective notch and deep switcher, the amp manages to reproduce all the sounds that are needed in a rock and metal-oriented band.
A successful fusion between flexibility and practicality plus a strong touch of exotic bonus, well done!
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Additional Informations:
German vacuum tube amplifiers, also known as Vollröhrenverstärker, represent a rich tapestry of engineering innovation, craftsmanship, and sonic excellence. Their journey traces back to the early 20th century, intertwining with the developments in radio technology, electronic amplification, and the rise of the hi-fi culture. This article aims to delve deep into the origins, key milestones, and technological advancements that shaped the landscape of German vacuum tube amplifiers.
**Early Beginnings:**
The story of German vacuum tube amplifiers begins in the late 19th century with the pioneering work of figures like Ferdinand Braun, who laid the groundwork for vacuum tube technology. However, it was the post-World War I era that witnessed the rapid evolution of electronic amplification, driven by the demands of burgeoning radio broadcasting and telecommunications industries. German companies like Telefunken, Siemens, and AEG played pivotal roles in advancing vacuum tube technology, setting the stage for the development of audio amplifiers.
**The Birth of Vollröhrenverstärker:**
The term "Vollröhrenverstärker" translates to "full tube amplifier," emphasizing the exclusive use of vacuum tubes in the amplification circuitry. In the 1930s and 1940s, German engineers began experimenting with vacuum tube designs optimized for audio amplification, leading to the emergence of the first Vollröhrenverstärker models. These amplifiers were characterized by their robust construction, meticulous craftsmanship, and a commitment to sonic purity.
**Post-World War II Renaissance:**
The aftermath of World War II saw a resurgence of interest in high-fidelity audio equipment, fueled by the desire for cultural rejuvenation and technological progress. German manufacturers such as Telefunken, Grundig, and Siemens capitalized on this trend by producing a new generation of vacuum tube amplifiers designed for the burgeoning home audio market. These amplifiers featured innovative circuit topologies, premium components, and meticulous attention to detail, reflecting Germany's reputation for engineering excellence.
**The Golden Age of German Hi-Fi:**
The 1950s and 1960s marked the golden age of German hi-fi, characterized by a proliferation of vacuum tube amplifiers renowned for their exceptional sound quality and craftsmanship. Brands like Dynaco, Dual, and Braun gained international acclaim for their innovative designs, pushing the boundaries of performance and aesthetics. German engineers pioneered novel circuit topologies such as push-pull, class-A, and ultralinear configurations, enhancing amplifier efficiency and fidelity.
**Technological Advancements:**
The relentless pursuit of audio perfection drove continuous innovation in German vacuum tube amplifier technology. Engineers explored new materials for transformer construction, refined circuit layouts to minimize signal distortion, and experimented with novel tube configurations to optimize amplifier performance. Advancements in tube manufacturing processes, such as improved vacuum sealing techniques and cathode coating materials, further elevated the reliability and longevity of vacuum tube amplifiers.
**Cultural Impact and Iconic Designs:**
German vacuum tube amplifiers not only excelled in technical prowess but also made significant cultural contributions. Iconic designs such as the Telefunken V72 and Siemens Telewatt V300 became emblematic of an era characterized by meticulous craftsmanship and timeless elegance. These amplifiers transcended their utilitarian function, becoming objects of desire for audiophiles and collectors alike.
**Enduring Legacy and Contemporary Revival:**
While the advent of solid-state technology in the 1970s heralded the decline of vacuum tube amplifiers in mainstream audio, the legacy of German Vollröhrenverstärker endured among enthusiasts and connoisseurs. In recent years, there has been a resurgence of interest in vacuum tube amplifiers, driven by a renewed appreciation for their warm, euphonic sound signature and nostalgic appeal. Modern manufacturers such as Leben, Octave, and AudioValve continue to uphold the tradition of German vacuum tube craftsmanship, combining heritage-inspired designs with state-of-the-art engineering.
**Conclusion:**
The evolution of German vacuum tube amplifiers is a testament to the ingenuity, craftsmanship, and passion of generations of engineers and artisans. From humble beginnings to global recognition, Vollröhrenverstärker have left an indelible mark on the world of audio reproduction, embodying the pursuit of sonic perfection and the enduring allure of analog craftsmanship in a digital age. As technology marches forward, the legacy of German vacuum tube amplifiers remains a timeless symbol of excellence in audio engineering.
Montag, 15. April 2024
TEST: Fostex TH616
The area of application of the Fostex TH616
You should always keep two points in mind regarding the area of application. Should the headphones be used in the HiFi area or should they be used in the Pro area? The hi-fi area should primarily ensure a feel-good character and offer the listener a balanced, powerful and pleasant sound. Similar to your personal stereo system, you can assume different priorities or tastes and you must primarily ensure that the ambient sound matches the sound of the headphones according to your personal priorities.
The main thing with pro headphones is to reproduce a neutral sound so that irregularities in the frequency response, phase problems or other things that could disrupt the mix can be identified and corrected as quickly as possible. So you could clumsily claim that hi-fi headphones are, if anything, more likely to be a little more personal than studio headphones, although this statement should be viewed with caution.
With regard to the basic sound, however, this classification reveals a slight tonal orientation in advance, depending on the company philosophy. The Fostex TH616 headphones were classified by the manufacturer in the HiFi range, which suggests that the priorities, similar to a loudness switch, are to be found in the bass and treble range and the mids should be reproduced as tastefully as possible without them biting or even biting in the corresponding range hurt.
The construction of the Fostex TH616
The Fostex TH616 is a limited edition of dynamic, semi-open over-ear headphones made in Japan. Unfortunately, I couldn't find out how big the limitation is. The visually striking ear capsules are made of black walnut wood and, according to the manufacturer, are intended to reflect a subtle Asian influence. Personally, I really like this layout, especially if the room in which the Fostex TH616 is used also has a high proportion of wood. I know that wood tends to splinter a bit in the cutting area depending on the degree of hardness and which tools you use, but with headphones in this price category I would have liked the corresponding milling to be deburred a little more. If you take a closer look, you will notice several small splinters of wood, the edges of which have been left untreated and somewhat diminish the exquisite appearance.
A 50 mm neodymium driver with BIODYNA membrane was installed, which offers a frequency range of 5 - 45,000 Hz with an impedance of 25 ohms and a sensitivity of 96 dB (@1kHz, 1mW). The 25 ohm design allows the listener to be used on almost any device, even without an external headphone amplifier. However, for the consumer sector it is necessary to purchase an additional mini-jack connector, as the receiver only has a 6.3 mm stereo jack plug from the factory.
The headphones are delivered in a visually elaborate cardboard box and, in addition to a transport bag and a manual, include an approx. 3 meter long attachable headphone cable as accessories. The plugs click into place with a strong click and can only be removed from the headphone cups with great effort. Very good. However, opinions will probably differ when it comes to the textile cable used. There are plenty of fans who will enjoy the same vintage feel. For my part, with this type of textile version, I suffer a bit from the fact that the cable immediately gets twisted with every small movement. There are textile cables, for example from Cordial, which are almost impossible to twist. The Fostex TH616 requires this. a little more sensitivity.
The comfort of the Fostex TH616
With regard to the recesses for the ear cups, the slightly asymmetrical attachments made of low-resilience urethane padding (artificial leather) can be discreetly rotated in both directions and the fit of the respective ear cup can be optimally adjusted in terms of vertical alignment. So far so good. Nevertheless, at least given the shape of my skull, the headphones sit a little wobbly on my ears and slide a little forward on one side and a little backwards on the other side when I turn my head a little faster, although this should actually be much less the case due to the elongated recess . Everyone should check in advance whether the factory cutout in the over-ear headphones fits well.
In my opinion, a little more cushioning could have been applied to the padding of the bracket. At the top, the headband is only covered with a layer of artificial leather, which has no effect on comfort, but at the bottom there is a relatively thin, soft foam-like mass behind the artificial leather, which makes the headphones rest a little softer on the skull. The comparatively light headphones, which only weigh around 370 grams without the cable, seem significantly heavier than they actually are.
What has been solved very nicely is the latching of the carrying handle in the longitudinal axis of the receiver. There are two push bars on both sides, with which the upper bracket can be adjusted in a total of eight locking levels in its longitudinal axis and can therefore also be reached by users with a comparatively large head circumference.
The sound of the Fostex TH616
Regarding the sound, I would like to remind you in advance of the area of application of the Fostex. Since the listener is in the hi-fi area, it is only partially his job to provide a completely neutral reproduction. In general, most people who use hi-fi headphones have a certain loudness preference when it comes to bass and treble. It can therefore be assumed that this listener will also have a certain level of boost in this area. However, it is important that the listener does not sound “boomy” or sharp, as this quickly puts the intention of the mix in an unfavorable light.
The first listening impression in the bass area paints a good impression of the Fostex TH616. The sub-bass range in the double-digit Hertz segment is captured well without booming, while the typical bass range from around 100 Hz feels slightly boosted, but without losing the necessary definition. The low-mid/mid range is also well reproduced acoustically, without being too drowned out in the scoop or, on the other hand, “biting” too much into the human frequency response.
What causes me a bit of problems personally, however, is the high-mid range around 2K, i.e. the area where a de-esser does its job for good reason. Here the Fostex TH616 has a clear peak, which, for example, acoustically reproduces almost all sibilants in singing in a disproportionate manner. I checked the listener with several reference mixes and some of my own productions where I knew the mix from the monitors and came to the same conclusion everywhere. Even in the higher frequency ranges, the Fostex TH616 offers a very pronounced treble reproduction, which on the one hand suggests a disproportionately “fine” reproduction in the treble range, but on the other hand, the sound is very different from the original mix.
Each user must decide for themselves to what extent this corresponds to their personal taste; I do not want to make a general statement regarding the practical area. Anyone who likes strong treble reproduction up to 12k will definitely feel very comfortable with this product in terms of sound reproduction.
Conclusion
With the Fostex TH616, the Asian manufacturer has a visually attractive headphone in its portfolio. At just under €1,000, the listener designed for the hi-fi sector is in the manufacturer's high-price segment and in return offers a balanced sound in the bass and midrange with a strong high-midrange and presence emphasis from around 2K upwards.
Each user must decide for themselves to what extent this comparatively non-linear reproduction suits their personal taste. I can well imagine that the result will polarize the buyer group.
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Additional Informations:
Fostex, a name synonymous with high-quality audio equipment, boasts a rich and remarkable history spanning over seven decades. From its humble beginnings as a manufacturer of OEM speakers to its current status as a pioneer in digital recording technology, Fostex has consistently pushed the boundaries of audio innovation, leaving an indelible mark on the music industry.
**The Birth of Fostex: A Subsidiary of Foster Electric**
The story of Fostex begins in 1948 with the establishment of Foster Electric Co., Ltd. in Tokyo, Japan. Foster Electric quickly established itself as a leading manufacturer of OEM speakers and transducer products, supplying components to numerous audio equipment brands worldwide. Recognizing the growing demand for high-quality audio components, Foster Electric decided to venture into its own consumer electronics brand, giving birth to Fostex in 1973.
**Early Success and the A-8 Multitrack Recorder**
Fostex's early years were marked by a series of groundbreaking products that cemented its reputation for innovation. In 1978, the company introduced the 8024, a 4-channel reel-to-reel tape recorder that revolutionized home recording. This was followed by the release of the A-8 multitrack recorder in 1983, which further expanded the creative possibilities for musicians and audio engineers. The A-8's compact size, affordable price, and versatile features made it a popular choice for both professional and home recording studios, establishing Fostex as a frontrunner in the multitrack recorder market.
**Digital Revolution and the V Series Recorders**
The 1980s saw Fostex embrace the digital revolution, introducing a range of innovative digital audio products. In 1985, the company launched the D-80, the world's first affordable digital multitrack recorder, marking a significant turning point in the industry. The D-80's groundbreaking technology and user-friendly interface made it a favorite among musicians and producers, paving the way for a new era of digital recording.
Fostex continued to push the boundaries of digital audio with the introduction of the V Series recorders in the early 1990s. The V-8, V-16, and V-24 recorders offered exceptional sound quality, flexible recording options, and a host of advanced features, making them the go-to choice for professional recording studios worldwide. The V Series recorders solidified Fostex's reputation as a leader in digital recording technology.
**Beyond Recording: Expanding into Audio Equipment**
While Fostex was initially known primarily for its recording equipment, the company gradually expanded its product line to encompass a wider range of audio products. In the 1990s, Fostex introduced a series of high-quality studio monitors, headphones, and microphones, quickly gaining recognition for their exceptional performance and durability. These products further established Fostex as a comprehensive provider of professional audio solutions.
**Fostex Today: A Legacy of Innovation**
Today, Fostex remains a leading innovator in the audio industry, continuing to develop cutting-edge products that meet the evolving needs of musicians, producers, and audio professionals. The company's product portfolio now includes a wide range of digital recorders, studio monitors, headphones, microphones, and software, all designed to deliver exceptional sound quality and versatile performance.
Fostex's commitment to innovation is evident in its ongoing development of new technologies, such as the R8 multitrack recorder and the VR Series recorders. These products showcase Fostex's dedication to pushing the boundaries of audio technology and providing users with the tools they need to create exceptional music.
**Conclusion: A Pioneer in Audio Excellence**
Throughout its rich history, Fostex has consistently demonstrated its commitment to innovation and excellence in audio products. From its early days as a manufacturer of OEM speakers to its current status as a pioneer in digital recording technology, Fostex has left an indelible mark on the music industry. With a legacy of groundbreaking products and a continued dedication to pushing the boundaries of audio, Fostex is poised to remain a leader in the field for generations to come.
TEST: Fostex PX-5
With the Fostex PX-5, the company, which was founded in 1949, is bringing a product onto the market alongside its sister model PX-6, which, with a street price of just under €500 for a pair of speakers, should be particularly interesting for narrow budgets. You can't complain about a lack of competition in this price range, which also has years of know-how and a corresponding reputation.
However, the product manufactured in China comes with a number of interesting detailed solutions, which are not the norm in this price range. In particular, the rules on the back of the case arouse the curiosity of the ambitious user.
construction
A single Fostex PX-5 box weighs a manageable 5 kilograms and has dimensions of 280 (H) x 180 (W) x 210 (D) mm, which can be easily handled in regular operation. In the case of wall mounting, commercially available support structures are sufficient; more robust solutions, such as those required by 8-inch bass loudspeaker structures, are not required here.
When it comes to housing shape, Fostex also follows the general current trend, which eschews rigid, cubic shapes and focuses more on rounded corners and edges. In the case of the Fostex PX-5, the housing has a front panel made of solid, yet non-slip plastic, which accommodates the tweeter and woofer and forms the slot for the two bass reflex openings. The side edges were also designed to flow; the classic edge guidance was only used on the back of the case.
The fact that this is not just a stylish trend in the area of near-field monitors can be seen from the fact that so-called edge reflections, which increasingly occur in the high-frequency range, are minimized by this housing guide. However, in the case of the Fostex PX-5, additional support for general phase fidelity in the form of an asymmetrical housing shape was omitted.
Due to its comparatively small dimensions, the Fostex PX-5 is of course ideal for sound reinforcement at a computer workstation, at a desk or a comparable work surface. In addition, due to the forward-emitting bass reflex openings, the speakers can be placed much closer to a rear wall than is the case with a rear-emitting variant. However, care should also be taken here to ensure that the bass frequencies are not exaggerated due to unfavorable room acoustics or placement in a corner. The system also comes with an intelligent protection circuit for the speakers by slowly increasing the volume level to protect the speakers from peak overload.
Regarding the speakers, Fostex uses the 2-way system that is common in this performance class, which takes the form of a 5.2 inch aramid woofer and a 1 inch urethane film tweeter. According to the factory information, the tweeter has a load of 18 watts and the woofer has a load of 35 watts, all with a frequency response of 50 - 20 kHz, although the frequency diagram only shows a consistent frequency response from 80 hertz upwards. In order to protect the woofer from excessive sub-bass loading, a subsonic filter pushes everything below 50 Hertz through a high pass. The inputs available are XLR symmetrical together with TSR symmetrical in a combination socket and RCA as a separate input.
Fostex has come up with a special feature when it comes to tuning the individual speakers. While most competitors use sliders to switch between 2 to 3 lowering or raising presets, the PX-5 has a total of 44 levels in the volume/trim area plus +/- 3 dB in 0 using an endless control and a 3-stage slider. 3 dB steps in the high frequency range and +/- 20 steps in the low frequency range. This ensures extremely fine adjustment in the frequency range.
By pressing the endless control you can also put the system into standby mode, which only requires a power consumption of 0.5 watts or less. The power consumption in regular mode is 50 watts.
Practice
Most readers will know the Fostex company, which belongs to the Japanese Foster Group, from the field of multitrack recording. In the mid-eighties, the consumer sector in particular was conquered almost single-handedly by Tascam together with its competitors and, with the compact cassette as a carrier medium, opened up possibilities for the first time that were otherwise only available in professional recording studios. The fact that the company has had a mainstay in the nearfield monitor sector for many years may be new to some people, especially since the competition in this price range is immense and many recording studios opt for a different brand for cost or reputation reasons. Therefore, Fostex has to carve out a niche in order to assert itself on the market, which they succeed in doing with their sophisticated tone control.
When you first use it, the Fostex PX-5 pair stands out with its balanced but unspectacular basic sound. The spatial imaging is good and allows the listener to enjoy the stereo triangle relatively generously without falling out of the depth range. The midrange is pleasantly unpretentious and successfully avoids the infamous crossover hole that often occurs in a 2-way system. The high frequency range is reproduced softly via the dome tweeter with appropriate fine detail.
In the bass range, the system scores well above 80 Hertz, but below this frequency you have to accept slight compromises for a speaker of this size for structural reasons. However, the real highlight comes when you look at the rear sound control, or input sensitivity and volume control. Thanks to the very finely tuned gradations, not only can all input sources for the catch-up amplifier be optimally adjusted using the trim function, but also the personal sound tuning can be adjusted as best as possible.
You have to listen to the matter with a keen ear, as the individual steps of the endless controls sometimes work very discreetly with the sound material supplied. It is advisable to keep the green LEDs in focus so as not to color the sound image one-sidedly in the heat of battle. However, the work is worth it, especially since the system doesn't drift into the infamous loudness trough even when the sound sections are fully boosted. You can therefore enjoy experimenting externally without being punished by the sound source with piercing highs and booming bass.
Conclusion
With the Fostex PX-5, the Japanese manufacturer makes an impressive statement in the highly competitive 5 inch range. Through good workmanship, neutral sound, tasteful appearance and, in particular, sophisticated sound control, the manufacturer sets a fragrance brand that stands out from its competitors.
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Additional Informations:
In the rich tapestry of audio technology, Fostex stands as a testament to innovation, perseverance, and a relentless pursuit of sonic excellence. The journey of Fostex traces back to its humble beginnings, woven into the fabric of post-war Japan's industrial renaissance. From crafting quality tape recorders to revolutionizing the world of headphones and speakers, Fostex's evolution is a story of ingenuity and dedication.
**Founding Years:**
Fostex's roots dig deep into the year 1973, when a visionary named Foster Electric Company, Ltd. laid the cornerstone in Tokyo, Japan. Founded by Foster Electric's chairman, Fujio Foster, Fostex emerged as a subsidiary with a distinct focus on high-fidelity audio equipment. The company's name, a fusion of "Foster" and "Technology," encapsulated its mission to marry cutting-edge innovation with precision craftsmanship.
**Tape Recorders and Beyond:**
In its nascent years, Fostex carved a niche for itself in the realm of reel-to-reel tape recorders. With meticulous attention to detail and a commitment to quality, Fostex quickly garnered acclaim for its reliable and high-performance recording devices. These tape recorders became staples in professional studios and broadcasting stations, laying the groundwork for Fostex's ascent in the audio industry.
**Innovations and Breakthroughs:**
The 1980s marked a pivotal period for Fostex, characterized by a flurry of groundbreaking innovations. One of the company's crowning achievements during this era was the introduction of the world's first multitrack cassette recorder, the Fostex Model 80. This revolutionary device democratized music production, empowering musicians and producers with affordable yet powerful recording capabilities.
Moreover, Fostex's foray into the realm of headphones and loudspeakers further solidified its reputation as a trailblazer in audio technology. The company's commitment to research and development bore fruit in the form of proprietary driver technologies and acoustic designs that set new benchmarks for fidelity and performance.
**Global Expansion and Recognition:**
As Fostex continued to push the boundaries of audio engineering, its influence transcended national borders, cementing its status as a global player in the industry. The company's products found resonance among audio enthusiasts, professionals, and discerning consumers worldwide, earning accolades for their sonic purity and craftsmanship.
**Diversification and Adaptation:**
In response to evolving market dynamics and technological advancements, Fostex diversified its product portfolio to encompass a broader spectrum of audio solutions. From compact studio monitors to portable digital recorders, the company demonstrated its versatility and adaptability, staying ahead of the curve in an ever-changing landscape.
**Partnerships and Collaborations:**
Fostex's journey of innovation was further catalyzed by strategic partnerships and collaborations with industry leaders and visionaries. By pooling expertise and resources, Fostex forged alliances that propelled it to new heights of excellence, while also fostering knowledge exchange and technological synergies.
**Legacy and Future Prospects:**
As Fostex celebrates over four decades of pioneering excellence, its legacy endures as a beacon of inspiration for future generations of audio enthusiasts and professionals. With a steadfast commitment to innovation, quality, and customer satisfaction, Fostex remains poised to continue shaping the future of audio technology, one breakthrough at a time.
In conclusion, the genesis of Fostex is a saga of passion, perseverance, and a relentless pursuit of sonic perfection. From its humble origins in post-war Japan to its stature as a global leader in audio innovation, Fostex's journey exemplifies the transformative power of vision and dedication in shaping the world of sound. As the company continues to push the boundaries of possibility, its legacy will echo through the annals of audio history, inspiring generations to come.
Sonntag, 14. April 2024
TEST: Focusrite Scarlett 6i6
With the Focusrite Scarlett 6i6, the renowned manufacturer from the UK is bringing another representative from the very successful Scarlett series onto the market. In addition to the flagship 18i20 and the tiny 2i2, this product is a representative of the mid-range segment. It can be assumed that the 6i6 will replace the additionally available 8i6 in the medium term.
In recent years, what was once referred to as the “Japanese trend” of constantly reducing the size of electronic and mechanical components has clearly become more and more the focus of Western manufacturers. Many productions today take place largely on home office computers including small near-field monitors, although the work processes are no longer reduced to editing within this workaround.
Vocal overdubs, bass tracks or even one or two guide guitars for the rig plugin need to be properly archived on HD or SSD and require a preamp that sounds as good as possible along with a decent converter. The Scarlett series once again follows the motto “USB, nothing else” and puts the advocates of Firewire interfaces in their place. Today we avoid the fundamental discussion of Firewire versus USB and rather acknowledge that USB is present on every computer, while Firewire has also been buried in the current Apple generation and will have to join the seemingly endless queue of extinct interfaces in the foreseeable future .
Great Britain's big name has also recognized that the market for high-end products a la Red Series is in a difficult position in today's media and exploitation landscape and must develop accordingly. Like many other manufacturers, Focusrite also relies on the principle of “developed at home, manufactured in China”, which means that the price is lower than if the goods were manufactured on site, despite the transport halfway around the world.
The Focusrite Scarlett 6i6 available for testing is in the highly competitive home recording range up to 300 euros and is preparing to take as much of the legendary manufacturer's name as possible into the budget class.
construction
All products in the Scarlett range have a uniform appearance. This is primarily manifested in the housing made of reddish brushed aluminum, which gives the device a high-quality finish. 4 strong rubber feet ensure a firm stand, even on smooth surfaces. In addition, with dimensions of 210 mm x 50 mm x 180 mm (W x H x D), it is so flat that it fits next to the base below the screen of a standard monitor. The low weight of just 1.18 kilograms does the rest. Mobile recordings also seem possible due to the good workmanship and moderate dimensions, provided an appropriate power supply is secured.
In order to ensure a stable signal flow within the product and not to put too much strain on the computer bus, the Focusrite Scarlett 6i6 is delivered with its own power supply. A 12 volt, 1250 mA power supply is included with the product. In order not to have to rely on external recording software, Focusrite also includes good basic equipment with its product in the form of the Ableton Live Lite software, the Scarlett MixControl, the Scarlett Plug-In Suite, the Novation Bass Station and 1 GB of material from Loopmasters. Unfortunately, if you're looking for the DVDs from earlier days in the packaging, you won't be able to find them anymore. The product comes with an activation code for the corresponding download. In times of VDSL a question of 5 minutes, woe betide anyone who owns a repatriate farm with a 2000 line.
The Focusrite Scarlett 6i6 is presented as a 6-way input and 6-way output interface. From a purely mathematical point of view, this is true, but only under the premise that the SPDIF inputs and outputs on the back are also calculated on a RCA basis with 2 channels each. On the analog conversion level, the device presents 2 microphone preamplifiers on the front, both designed as multi-sockets, as well as 2 line inputs and 4 line outputs on the back, all designed for 6.35 millimeter jacks. The simple and innovative level display of the microphone preamps is very nice. An LED ring around the gain controls shows the colors green to red in which frame the signal level is. A 10 dB PAD circuit can also be initiated on the software side.
The product also has the following control options:
- a sum monitor controller
- 2 individual headphone outputs plus volume controls
- 48V pantom power switch
- MIDI in and MIDI out on the back
- two indicator lights for USB / MIDI correspondence
- two PAD and instrument indicator lights each
- a Kensington anti-theft opening
The two independent headphone amplifiers are particularly suitable for simple recording situations in which the recording manager and artist are in the same room. This means everyone can create their own, independent mix.
When it comes to system requirements, Focusrite no longer bothers with the usual RAM specifications, especially since anyone who wants to produce music with any degree of ambition will equip their computer with 4 GB of RAM or more anyway. Only when it comes to the operating system, there is the following guide: Mac - OS X 10.7 or higher, PC Windows 7 (all versions), Windows 8 (all versions, except RT). Goodbye Snow Leopard.
Practice
Visually, the Scarlett puts you right at the forefront. Detached from everything that is to come, the reddish shimmering aluminum gives a very elegant impression; the product designers have done a great job here. Even if it seems at first glance, thanks to its rubber feet, the Focusrite Scarlett 6i6 exceeds the dimensions of a height unit by a few millimeters and therefore requires placement on the work table. During stationary operation, this inevitably means a lot of cable clutter on the work surface, unless you assign the device a fixed place and allow the corresponding cable strands to disappear by drilling a few holes in the worktop.
As expected, the sound of the interface is routine and beyond any doubt in this price segment. Almost 30 years of British schooling in terms of hardware and signal flow also benefit the budget products. This is also the case with the Scarlett 6i6, whose catch-up amplifiers have a correspondingly fine resolution. In addition, the preamps manage to raise even low-power signals to the required working level without significantly increasing the background noise.
The product sounds powerful and enables a clear, acoustic structure without falling victim to an exaggerated enhancer effect. The signal is free of discoloration, dynamic and ensures a perfect acoustic representation of the material being processed. You still have to get used to the missing LED chains in the first few hours of operation, but this changeover process takes place almost silently in the background. The green signal ring starts working at -24 dB and turns red at 0 dB.
Conclusion
With the Focusrite Scarlett 6i6, the British manufacturer is consolidating its good reputation in the budget interface sector. It is not for nothing that the Scarlett series is considered one of the best sellers in the British parent company. The combination of good-sounding preamplifiers, easy handling, visually appealing packaging and, due to Chinese production, a comparatively low selling price is an attractive package with which project studios and budget productions can benefit from the experience of one of the really big British names.
Anyone who primarily creates productions using the overdub process, or generally needs a good interface for mixdown, should take a look at the Scarlett product line in general.
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Additional Informations:
Focusrite is a British audio engineering company that has been at the forefront of innovation in audio recording for over 40 years. The company is best known for its high-quality audio interfaces, which are used by musicians and recording professionals around the world. However, Focusrite has a rich history that dates back to the early days of electronic music.
**The Early Years**
In 1985, Rupert Neve, a renowned audio engineer, founded Focusrite with the goal of creating affordable, high-quality audio equipment. Neve was a pioneer in the development of solid-state audio consoles, and his designs were highly sought after by recording studios around the world. However, Neve's equipment was also very expensive, which made it out of reach for many musicians and producers.
Focusrite's first product was the ISA110 preamplifier, which was based on Neve's classic designs. The ISA110 was an instant success, and it quickly became a staple in recording studios around the world. The company followed up the ISA110 with a number of other successful products, including the Focusrite Voicemaster compressor and the EQP-1A equalizer.
**The Digital Revolution**
In the early 1990s, Focusrite was one of the first companies to develop digital audio interfaces. The company's first digital interface, the DigiCard, was released in 1993. The DigiCard was a groundbreaking product that allowed musicians and producers to record and edit audio on their computers.
Focusrite continued to innovate in the digital audio space throughout the 1990s and 2000s. The company released a number of popular digital interfaces, including the Saffire, Scarlett, and Clarett series. Focusrite's interfaces were known for their high quality, low latency, and affordable prices.
**Focusrite Today**
Today, Focusrite is one of the leading manufacturers of audio interfaces in the world. The company's products are used by musicians and recording professionals of all levels, from hobbyists to Grammy Award-winning producers. Focusrite is also a major player in the education and training market, and the company's products are used in schools, colleges, and universities around the world.
In addition to audio interfaces, Focusrite also manufactures a wide range of other audio products, including microphones, headphones, and digital signal processors. The company is committed to innovation, and it continues to develop new products that meet the needs of musicians and recording professionals.
**Focusrite's Impact on the Music Industry**
Focusrite has had a profound impact on the music industry. The company's products have made it possible for musicians and producers to create high-quality recordings at home, which has democratized the recording process. Focusrite's interfaces have also played a major role in the rise of digital music production.
In addition to its products, Focusrite has also made a significant contribution to the music industry through its educational and training programs. The company's programs have helped to train countless musicians and producers, and they have played a vital role in the development of the next generation of audio professionals.
**Focusrite's Legacy**
Focusrite is a company with a rich history and a bright future. The company is committed to innovation, and it is constantly developing new products that meet the needs of musicians and recording professionals. Focusrite is a true pioneer in the audio industry, and its products have had a profound impact on the way music is recorded and produced.
**Here are some of Focusrite's most notable milestones:**
* 1985: Focusrite is founded by Rupert Neve.
* 1986: Focusrite releases the ISA110 preamplifier.
* 1993: Focusrite releases the DigiCard, the world's first digital audio interface.
* 1998: Focusrite releases the Saffire, its first FireWire audio interface.
* 2008: Focusrite releases the Scarlett, its most popular audio interface series to date.
* 2016: Focusrite releases the Clarett, its flagship audio interface series.
* 2021: Focusrite celebrates its 35th anniversary.
Focusrite is a truly remarkable company that has made a significant impact on the music industry. The company's products are used by millions of musicians and recording professionals around the world, and its commitment to innovation is unparalleled. Focusrite is a company that is sure to continue to be at the forefront of audio recording for many years to come.
TEST: Focusrite Saffire Pro 40
They still exist. The names that inspire so much awe at the mere mention of them that you hardly dare mention them even in a subordinate clause. Products that have been at the forefront of audio technology for decades and have earned their place through above-average quality and, above all, SOUND.
Especially in times of inexpensive digital technology, it is not easy for ambitious young people to train their ears and to develop an ear for the essentials of everything that is mastered to death or at least not to let it atrophy due to loudness overkill.
One of the biggest trademarks when it comes to outgear is Focusrite. Along with a small group of competitors, there are tons of legends surrounding the UK-based company's top products. Who hasn't had their heart warmed when they had the privilege of putting their hands on the legendary Red or Blue series?
The story was told years ago that just the presence of these product lines in the control rooms raised the daily rate by a few bucks and you could (allegedly) only buy the front panel of the Red 1 without any contents to give your studio a touch of fake -Give pixie dust. Apparently they sold more units of the cover than the original.....;-)
With such responsibility on your shoulders, it is not easy to avoid falling into the old mistakes of resting on your laurels and missing the pulse of the times.
Fortunately, Focusrite seems to be taking care here, as the British bring new products onto the market at regular intervals, recently also for the budget range.
For testing, I have the Saffire Pro 40 audio interface, which already in the first sentence of the product description builds a bridge to the company's historic achievements.
“Eight award-winning, premium microphone preamplifiers built on the proven foundation of an unparalleled preamp heritage” it reads in the manual! So that we all know where “the Baba gets the Moscht”! But one at a time, like at a British bus stop.
construction
The Saffire Pro 40 is a 1U 19 inch component with an installation depth of 26.5 cm and a weight of 3 kilograms. The device is a Firewire audio interface (no USB available) with 24-bit / 96 kHz conversion rate and JetPPL Jitter Elimination Technology.
Conceptually, it is a 20-in / 20-out interface, which is controlled by the included software (PC and Mac). The minimum system requirement for a Mac is a G4 CPU with 512 MB RAM (we quickly forget that and replace it with at least 1 GB, otherwise the operating system hardly runs), for a PC Vista or XP it is 800 MHz and 512 MB RAM.
The Saffire interface works with any ASIO and Core Audio compatible software such as Logic, Cubase, Sonar, Ableton Live, Digital Performer and others. However, it does NOT work with Pro Tools software, it is only compatible with Pro Tools hardware.
The Focusrite Plug-In Suite is included, which has the most important dynamic, tonal and spatial effects.
On the input side, the Saffire Pro 40 has six analog inputs on the back, which are designed as combo XLR connectors. The appropriate outputs are designed as jacks, either symmetrical or unbalanced. Two additional jack sockets manage the main monitor mix.
Eight further optical ADAT input and output channels are combined in two connectors, followed by 2 Firewire connectors, a MIDI-Out or MIDI-In socket, an S/PDIF In/Out and the cold device connector.
On the front, the Saffire has two additional analog inputs, designed as combo plugs and the following control options:
two phantom power switches for microphone inputs 1-4 and 5-8.
eight gain controls for the analog inputs
Instrument circuit for channels one and two
Input level reduction of 9 dB for channels one and two
- eight five-digit LED chains to display the level of the analog inputs
a status LED regarding the Firewire connection
a status LED for synchronizing the internal clock
Monitor level control, freely configurable to any analog output
Monitor Dim and Mute
- Two adjustable headphone outputs
Practice
In order to use the Saffire, the Pro 40 Control software must first be installed, which was easy to do with a final restart.
Without the same software and computer, nothing works with the Saffire interface, not even an input level and LED chains can be moved to an action.
The software interface is self-explanatory after a little training. Anyone who has taken a closer look at the common sequencer programs will also be able to understand the Saffire's mixer interface.
A total of sixteen different mixing ratios can be created with the Saffire for monitoring purposes, regardless of the input signal received via the interface. All physical inputs and outputs are configured according to the area of application via the routing section.
Normal stereo mixes are possible with Saffire, as are quadraphonic, or 5.1 or 7.1 surround sounds, all of which are taken into account at the factory with the appropriate presets. In general, the routing of the Saffire is extremely flexible; I have never come across an interface in this price category that has such flexibility.
“Yes, yes,” the first ones will whine impatiently, “we know all that, now what about the sound?” Let's make it short, the interface simply sounds excellent and is unparalleled in this price range!
Of course, all manufacturers rave about their “oh-so-great-sounding” products and regularly go overboard with the usual superlatives, but here the descriptions of the “award-winning preamps” are actually correct in terms of their sound.
Focusrite actually manages to generate their legendary sound even in the budget range, but this is only possible by re-manufacturing them in China at this rate.
Extremely soft, with a very detailed and tasteful resolution, any audio material is converted in the best possible way even at the first resolution level and receives the “noble” or “expensive” sonic finish that an ambitious production needs as a basis.
The workmanship of the device is good, although the headphone jacks are a bit flimsy and the plugs slide out of the socket when pulled slightly. The sharply protruding screws on the underside of the housing don't have to be there either.
Personally, I would like to see a few more LEDs in the control chains, but that is more of a personal approach.
Conclusion
In terms of sound, Focusrite offers a very flexible interface with the Saffire Pro 40, which actually rightly receives the manufacturer's massive praise for its preamps.
For an inexpensive course you get the sonic trademarks of the “big” Focusrite series, which, with their fine, high-quality resolution, make converting the sound signal a real pleasure.
If you don't get an official sound from this, you should go back to school as a sound engineer, it can't have been the Focusrite.
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Additional Informations:
**The Technical Genesis of Focusrite: Pioneering Excellence**
In the realm of audio technology, few names command as much reverence as Focusrite. Renowned for their exceptional preamplifiers, audio interfaces, and signal processors, Focusrite has become synonymous with high-quality sound reproduction. Behind this reputation lies a rich tapestry of innovation, entrepreneurship, and technical prowess that traces back to its humble beginnings. Let's embark on a detailed exploration of the genesis and evolution of Focusrite, highlighting the pivotal technical milestones that have shaped its trajectory.
**Founding and Early Years:**
The Focusrite journey commenced in 1985 when Rupert Neve, the legendary figure in audio engineering renowned for his pioneering work with mixing consoles, joined forces with a group of like-minded individuals, including John Wood and Phil Dudderidge, to establish the company. Armed with a vision to deliver uncompromising sound quality to recording studios and musicians, Focusrite set out on its mission.
**Innovations in Preamp Technology:**
At the heart of Focusrite's early success lay its innovative preamplifier designs. The company's first product, the ISA 110, debuted in 1985 and swiftly gained acclaim for its transparent sound and pristine signal amplification. This success paved the way for subsequent iterations, such as the ISA 130, which integrated EQ functionality alongside the preamp, further enhancing the versatility and appeal of Focusrite's offerings.
**Digital Revolution:**
As the digital revolution reshaped the landscape of audio production in the late 20th century, Focusrite remained at the forefront of innovation. In 1993, the company introduced the Red range of digital signal processors, leveraging cutting-edge technology to deliver studio-grade effects and processing capabilities. The Red series quickly became a staple in professional recording studios, earning accolades for its sonic fidelity and intuitive interface.
**Expansion into Audio Interfaces:**
Recognizing the growing demand for versatile audio interfaces catering to both home studios and professional environments, Focusrite diversified its product lineup in the early 2000s. The launch of the Scarlett series marked a significant milestone in this regard, offering high-performance USB and Thunderbolt interfaces tailored to the needs of modern musicians and producers. With features such as low-latency monitoring and robust driver support, the Scarlett range became synonymous with reliability and performance.
**Acquisition and Continued Innovation:**
In 2014, Focusrite expanded its portfolio through the acquisition of Novation, a leading manufacturer of MIDI controllers and synthesizers. This strategic move not only bolstered Focusrite's presence in the electronic music market but also facilitated cross-platform integration between hardware and software products, enabling seamless workflow integration for users.
**Advanced Digital Signal Processing:**
In recent years, Focusrite has continued to push the boundaries of innovation in digital signal processing. The introduction of the Clarett series exemplifies this commitment, featuring ultra-low noise mic preamps, high-performance AD/DA conversion, and integrated Thunderbolt connectivity. These advancements empower recording professionals with the tools they need to achieve pristine audio quality in the digital domain.
**Focus on User Experience:**
Central to Focusrite's ethos is a relentless focus on user experience. From ergonomic design to intuitive software interfaces, every aspect of Focusrite's products is meticulously crafted to streamline the creative process for musicians and engineers alike. Features such as the Air mode, inspired by the classic ISA preamp circuitry, add a touch of analog warmth and character to digital recordings, further enhancing the appeal of Focusrite's offerings.
**Global Impact and Legacy:**
Today, Focusrite stands as a beacon of innovation and excellence in the realm of audio technology, with a global presence spanning recording studios, broadcast facilities, and live sound venues. Its legacy extends far beyond the realm of hardware, encompassing a vibrant ecosystem of software plugins, virtual instruments, and educational resources designed to empower aspiring creators and seasoned professionals alike.
**Technical Ingenuity in Focusrite's Evolution: A Comprehensive Analysis**
Delving deeper into the technical nuances that have shaped Focusrite's trajectory reveals a narrative of relentless innovation, meticulous engineering, and a deep understanding of the intricacies of sound reproduction. Let's explore further into the key technical aspects that have defined Focusrite's evolution.
**Analog Circuitry Mastery:**
At the core of Focusrite's reputation lies its mastery of analog circuitry. From the early ISA preamps to the latest iterations in the Red and Clarett series, each product reflects a deep understanding of circuit design, component selection, and signal path optimization. Focusrite's engineers meticulously tune every element of the analog chain to achieve optimal transparency, minimal noise, and maximum headroom, ensuring that the sonic integrity of the source material remains uncompromised.
**Transformer-Based Designs:**
A hallmark of Focusrite's preamplifiers is the use of transformer-based designs, inspired by the legendary consoles crafted by Rupert Neve himself. Transformers play a crucial role in shaping the sonic character of a preamp, imparting a sense of warmth, depth, and dimensionality to the audio signal. Focusrite's transformers are custom-designed and hand-wound to exacting specifications, ensuring consistency and reliability across all units while preserving the coveted "Focusrite sound."
**Digital Conversion and Clocking:**
In the realm of digital audio, the quality of analog-to-digital (ADC) and digital-to-analog (DAC) conversion is paramount. Focusrite's dedication to uncompromising sound quality extends to its converter designs, which leverage high-resolution converters, precision clocking mechanisms, and sophisticated jitter reduction techniques to ensure faithful reproduction of audio signals with minimal distortion and artifacts. The result is pristine audio quality that faithfully captures the nuances of the original performance, whether recording vocals, instruments, or full-scale orchestras.
**Low-Noise Preamplification:**
One of the key technical challenges in audio engineering is minimizing noise at the preamplification stage. Focusrite's preamps are renowned for their exceptionally low noise floors, thanks to meticulous component selection, optimized circuit topologies, and advanced shielding techniques. This low-noise performance is particularly crucial when recording delicate acoustic sources or capturing quiet passages in a dynamic performance, where even the slightest amount of noise can detract from the clarity and fidelity of the recording.
**Integration of Digital Signal Processing:**
As digital audio workstations (DAWs) have become increasingly prevalent in modern recording environments, Focusrite has seamlessly integrated digital signal processing (DSP) capabilities into its hardware offerings. This integration allows users to leverage a wide array of effects, dynamics processing, and EQ algorithms directly within the audio interface, eliminating the need for external processing hardware and streamlining the workflow for recording, mixing, and mastering tasks.
**Driver Optimization and Latency Management:**
To ensure smooth operation and minimal latency in real-time audio applications, Focusrite places a strong emphasis on driver optimization and latency management. Through meticulous software development and rigorous testing procedures, Focusrite's drivers are finely tuned to deliver rock-solid performance across a variety of operating systems and DAW environments. This attention to detail ensures that musicians and engineers can focus on their creative endeavors without being hindered by technical constraints or performance bottlenecks.
**Continuous Innovation and Future Prospects:**
Looking ahead, Focusrite remains committed to pushing the boundaries of technical innovation in audio technology. From exploring new materials and manufacturing techniques to embracing emerging standards such as immersive audio and spatial audio processing, the company continues to chart new frontiers in pursuit of sonic excellence. With a dedicated team of engineers, designers, and audio enthusiasts driving the innovation agenda forward, the future looks promising for Focusrite and the broader audio industry as a whole.
**Conclusion:**
In conclusion, the technical evolution of Focusrite is a testament to the company's unwavering commitment to excellence, innovation, and sonic purity. Through mastery of analog circuitry, meticulous attention to detail in digital design, and a relentless pursuit of technical perfection, Focusrite has established itself as a leading force in the world of audio technology. As the company continues to push the boundaries of what's possible in sound reproduction, one thing remains clear: the Focusrite legacy of technical ingenuity and uncompromising quality will continue to resonate with musicians, engineers, and audio enthusiasts for years to come.
Samstag, 13. April 2024
TEST: Focusrite Saffire LE
Small interfaces in the budget sector have recently become a real hit. Not without good reason, as the importance of mobile recording has become almost inflationary, even in professional areas. Bryan Adams also recorded a record in his hotel room with a sound engineer during one of his last tours, whether due to lack of time or simple boredom between sound checks, which, as far as I know, was also released.
Since in such undertakings, in addition to a good basic sound of the components used, a high degree of mobility, i.e. ease of transport, of the product is also important, said interfaces are in a notch where two high-quality microphone channels are usually enough to convert the desired signal appropriately.
Many of my colleagues regularly grab their Macbook Pro along with a decent converter, large diaphragm microphone and minimal outgear, get in the car and go on a short trip to Germany/Europe to see the respective artists, mostly singers, in a manageable session in their living room, bedroom or wherever, recording for their new album. ATTENTION, you have to know exactly what you are doing in such sessions, otherwise you can safely press the delete button after listening to the material for the first time!
“British Finest” Focusrite has also recognized that “only” high-end products like the Red Series have a difficult time in today's media and exploitation landscape and are developing accordingly. Like many other manufacturers, the company relies on the principle of “developed at home, manufactured in China”, which means that the price is lower than if the goods were manufactured on site, despite the transport halfway around the world.
For testing, I have the Saffire LE, which wants to establish itself in the highly competitive home recording sector up to 300 euros. Let's take a look at what could be adopted from the legendary manufacturer's name into the budget class.
construction
Upright! The first obvious feature of the interface becomes apparent as soon as you unpack it. Not a standard 19 inch outfit, but a space-saving version measuring 6.5 cm x 17 cm x 17 cm (width x height x depth) and weighing just under one kilogram. The product stands on a rotatable base, which either sits almost flush with the housing or, when rotated 90 degrees, protrudes almost 1.5 cm to the right and left of the housing. No offense, but real stability looks different.
The Saffire LE has to do without latency-free effects, but in addition to the SaffireControl LE software application, the product also includes the VST/AU suite for mix editing, which takes over the most important dynamic, frequency-technical effects, room simulation and amp simulation natively via challenge/response.
The minimum system requirement for Mac is a G4 CPU (OSX 10.3.3) with 800 MHz and 512 MB RAM (practical value; as usual, at least 1 GB, otherwise nothing will work here!), for PC it is XP 900 MHz and 256 MB RAM. The package also includes a sample DVD, which has several gigs of loops and a Waldorf edition of the legendary Novation Bass Station. The scope of delivery also includes the Arturia Analog Factory SE, Ableton Live Lite 6, FXpansion's Guru, FXpansion's BFD Ultralite, “Mike The Drummer”, Waldorf LE Edition and an i-dance.com membership.
In total, the Saffire LE has 6 physical inputs and 8 physical outputs, so that 5.1 mixes are also possible. When it comes to input, there are 4 analog inputs available, with 2 symmetrical inputs being switchable between microphone (XLR) and line (jack). The mainstay of the signal routing are the pre-amps from the Green series, which were installed here.
In terms of digital input, S/PDIF is available in 24-bit/96 kHz conversion rate (including AC-3 output). Furthermore, two MIDI sockets In/Out and 2 Firewire ports were installed on the back. A 12 volt, 600 mA power supply is included with the product.
On the front, the Saffire has the following control options:
two switch buttons for line and instrument levels plus gain control and overload display on the front
two overload indicators for the rear jack inputs
a level controller for hardware level control
an indicator light for S/PDIF correspondence
- 48V pantom power switch
- an adjustable headphone output
Practice
The Saffire LE comes across as a little “plastic-esque”. Not that it's poorly made, but with the Focusrite name as a background, the matte plastic controls and the board-supported push buttons seem rather out of place.
However, the sound of the preamps is pleasing from the first note. Once again, Focusrite benefits from the fact that it has a wealth of experience when it comes to preamplifiers. Well compressed and very low-noise, the preamps actually manage to process the wide range of input signals to a high quality, be it an instrumental, line or microphone signal.
The uncomplicated handling based on the Plug_And_Play principle is also nice. The system runs and does its job in just a few simple steps.
The Saffire Control LE interface enables individual, latency-free monitoring to be routed either to the headphones or the first two outputs. A total latency of just under 17 ms was measured under Core Audio, which can be described as acceptable.
The included effects provide added value, but you shouldn't set your expectations too high. For the ambitious beginner, the plugins do their job satisfactorily, but the experienced user will lack “character”.
Unfortunately, the amp simulation completely fell through the cracks and was unconvincing due to the opaque and undynamic reproduction. Many programs, including significantly higher quality ones, fail in this task, so my expectations weren't set too high.
Conclusion
In terms of sound, the Focusrite Saffire LE provides a good basis for further signal processing thanks to its good preamps from the Green series. Anyone looking for a compact and portable interface for quick use can look forward to good values and a coherent design with the Saffire LE.
Once again it shows that experience is one, if not THE, crucial key to a functioning product. Anyone who releases channel strips like the Red Series can't afford any slip-ups, even in the budget segment.
The somewhat wobbly upright construction wasn't necessarily my friend, but in a cramped stationary operation in the home recording area it can perhaps fill exactly the gap between the computer and the wall, which has not yet been used sensibly.
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Additional Informations:
In the symphony of audio technology, Focusrite stands as a maestro, orchestrating brilliance through its pioneering products and unwavering commitment to sonic excellence. The tale of Focusrite's origin is one of passion, ingenuity, and a relentless pursuit of innovation. In this comprehensive narrative, we embark on a journey through time, tracing the captivating evolution of Focusrite from its humble beginnings to its current status as a revered leader in the audio industry.
1. Inception:
The seeds of Focusrite were sown in 1985 when Rupert Neve, a legendary figure in the realm of audio engineering, joined forces with Phil Dudderidge, a visionary entrepreneur, to establish a company that would redefine the standards of audio recording. With a shared passion for sonic perfection, Neve and Dudderidge set out to create a range of audio equipment that would combine pristine sound quality with user-friendly functionality. Thus, Focusrite was born, heralding the dawn of a new era in professional audio.
2. The Birth of the Focusrite Sound:
At the heart of Focusrite's ethos lies a deep reverence for sound purity and fidelity. Drawing upon Rupert Neve's expertise in analog circuitry and signal processing, Focusrite embarked on a quest to develop audio equipment that would capture the essence of the original sound source with unparalleled clarity and detail. The result was the legendary Focusrite sound—a harmonious blend of warmth, transparency, and musicality that would come to define the brand's signature sonic character.
3. Innovation and Technological Advancements:
From the outset, Focusrite set itself apart through its relentless commitment to innovation and technological advancement. The company's research and development efforts led to the creation of groundbreaking technologies such as the Transformer-Based Mic Preamp, which became a cornerstone of the Focusrite sound. Subsequent innovations, including the ISA series of preamplifiers and the Scarlett range of audio interfaces, further solidified Focusrite's reputation for excellence and cemented its position as an industry leader.
4. Collaboration and Partnerships:
Focusrite's journey towards excellence has been enriched by collaborations and partnerships with renowned musicians, producers, and recording engineers. By engaging with artists at the forefront of the music industry, Focusrite gained invaluable insights into the unique challenges and requirements of audio professionals. Collaborative ventures not only inspired the development of new products but also fostered a sense of community and camaraderie within the Focusrite ecosystem.
5. Global Expansion and Recognition:
As Focusrite's reputation for sonic excellence spread, so did its global footprint. The company expanded its presence across international markets, forging partnerships with distributors and retailers worldwide. Today, Focusrite's products are revered by audio professionals and enthusiasts alike, earning accolades and awards for their exceptional performance and innovative design. From recording studios to home setups, Focusrite has become synonymous with uncompromising quality and reliability.
6. Empowering Creativity:
Beyond crafting exceptional audio equipment, Focusrite is deeply committed to empowering creativity and enabling individuals to realize their artistic vision. Through educational initiatives, workshops, and online resources, the company seeks to inspire and educate the next generation of music producers and recording engineers. Focusrite's dedication to fostering talent and innovation reflects its belief in the transformative power of music and its commitment to nurturing the creative spirit.
7. Vision for the Future:
As Focusrite looks to the future, its vision remains as clear as ever: to continue pushing the boundaries of audio technology and delivering best-in-class products to its customers. With a steadfast commitment to innovation, quality, and customer satisfaction, Focusrite is poised to build upon its legacy and shape the future of professional audio recording. Whether in the studio or on the stage, Focusrite remains a beacon of excellence, guiding the way towards sonic perfection.
8. Adapting to Technological Shifts:
In an ever-evolving landscape of audio technology, Focusrite has demonstrated remarkable agility in adapting to technological shifts and embracing emerging trends. From the transition to digital audio interfaces to the integration of cutting-edge software solutions, the company has remained at the forefront of innovation, ensuring that its products remain relevant and future-proof. By embracing new technologies while staying true to its core principles of sound quality and usability, Focusrite has successfully navigated the complexities of a rapidly changing industry.
9. Commitment to Sustainability:
In addition to its dedication to sonic excellence, Focusrite is committed to sustainability and environmental responsibility. The company has implemented eco-friendly practices throughout its manufacturing processes, including the use of recycled materials, energy-efficient production methods, and waste reduction initiatives. By prioritizing environmental stewardship, Focusrite not only minimizes its ecological footprint but also sets an example for the industry as a whole, demonstrating that innovation and sustainability can go hand in hand.
10. Cultivating a Thriving Community:
Central to Focusrite's success is its vibrant and engaged community of users and supporters. Through online forums, social media platforms, and live events, the company fosters a sense of camaraderie and collaboration among its customers, encouraging knowledge sharing, networking, and creative exchange. By nurturing this community spirit, Focusrite not only strengthens its brand loyalty but also taps into a valuable source of feedback and inspiration, driving continuous improvement and innovation.
11. Embracing Diversity and Inclusion:
Focusrite is committed to fostering a diverse and inclusive workplace culture that celebrates the unique talents and perspectives of its employees. By championing diversity and equality, the company cultivates a creative and dynamic work environment where all voices are heard and valued. This commitment to inclusivity extends beyond the workplace to the broader music community, where Focusrite actively supports initiatives and organizations that promote diversity and accessibility in music production and education.
12. Philanthropic Endeavors:
Beyond its commercial endeavors, Focusrite is dedicated to making a positive impact on society through philanthropic initiatives and charitable giving. The company supports a range of causes related to music education, mental health awareness, and social justice, contributing financial resources, expertise, and advocacy efforts to effect meaningful change. By leveraging its influence and resources for the greater good, Focusrite demonstrates its commitment to being a responsible corporate citizen and driving positive social change.
Conclusion:
The saga of Focusrite is a testament to the transformative power of innovation, passion, and community. From its inception in 1985 to its current status as a global leader in audio technology, the company has remained steadfast in its pursuit of sonic excellence and societal impact. As Focusrite continues to evolve and adapt to the ever-changing landscape of audio technology, one thing remains constant: its unwavering commitment to pushing the boundaries of creativity, empowering individuals, and enriching lives through the power of sound. In a world where music transcends boundaries and connects us all, Focusrite continues to inspire, innovate, and orchestrate brilliance, ensuring that the symphony of sound will resonate for generations to come.