TEST: SPL Crimson

 Let's dive straight into it. How do you manage and convert your audio signal into the computer of your choice? Do you go for the small solution with a mini converter directly into the mixer, or perhaps the advanced option with a small mixer and built-in converter, or even the elaborate setup with a large console, corresponding channel strips, and an external converter? Each of these setups has its drawbacks, whether it’s a lack of management options, generally inferior converters, or the occupation of all available space in your home studio.

I've often found that for my secondary setup, I only need high-quality input management with a good converter and corresponding routing options. External channel strips or the appropriate plugin arsenal inside the computer always handle signal optimization at the input. This whole setup should be built solidly with top-notch components, but flexible enough to integrate into a mobile setup if necessary. This need has now been met.

With the Crimson, SPL has answered the calls of sound engineers in post-production or voiceover areas. After initial delivery difficulties, they’ve released a handy product that combines the well-known SPL high-end quality with a relatively low price, without resorting to final assembly in Asian production facilities. The rule in Niederkrüchten remains "Made in Germany" in all production steps without exception.

**Construction**

Measuring 60 mm x 330 mm x 207 mm (HxWxD), the desktop-designed SPL Crimson takes up about as much space on your work surface as a small 12-channel mixer. It fits easily into a travel bag or backpack, like a 13-inch notebook. The product's construction is very sturdy, held in place by four small rubber feet. As always with SPL, the rear labeling is double-printed (normal and upside down) so you can easily identify all ports and their functions, even from above. Once accustomed to this thoughtful detail, you’ll wonder why all manufacturers don't use it.

To manage all signals quickly and easily in post-production or other recording situations, the SPL Crimson offers a total of 10 recording channels (2x Microphone (XLR), 2x Instrument (1/4 inch), 4x Line (1/4 inch, balanced), 2x S/P-DIF). Additional analog inputs for external sources include 2 balanced 1/4 inch inputs, 2 unbalanced RCA inputs, and 1 unbalanced 3.5 mm stereo mini-jack input. The digital input section includes 1x USB, 1x S/P-DIF stereo input, and 1x MIDI.

Alongside 4 DAW return channels, the analog outputs include 2 balanced XLR sockets, 2 balanced 1/4 inch sockets with trim controls, and 2 stereo headphone jacks. Digital outputs include 1x USB, 1x S/P-DIF stereo output, and 1x MIDI. The USB interface operates at 24-bit with sample rates of 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, or 192 kHz. The clock can be either internal or external and can be automatically detected if desired.

The SPL Crimson is very tidy overall. Sixteen backlit buttons and eight rotary knobs manage the entire device's processes. There are two independent microphone gain knobs (+7 to +60 dB), controlling the discrete SPL microphone preamps. These same preamps are found in the Gainstation, as the entire internal structure of the SPL Crimson is made up of components used in other SPL products for years. The knobs are pleasantly resistant and don't risk being accidentally adjusted. Two identical knobs for high-impedance signals (-6 to +31 dB) are located below the microphone knobs.

On the right side, there are two independent headphone volume knobs and a blend knob that mixes between the analog inputs and the DAW or other sources. An oversized volume knob completes the controls, all in dark matte aluminum. LED meters are kept to a minimum: four sets of three LEDs indicate signal (-42 dB), -6 dB, and overload levels. Adjacent LEDs monitor the computer's signal flow through Host (orange), MIDI (green), and Power (red).

To integrate condenser microphones into the workflow, the standard 48V phantom power can be applied to the signal path. Additionally, a high-pass filter at 75 Hz with a 6 dB per octave slope ensures necessary footfall noise suppression. The true strength of the SPL Crimson lies in the center of the control panel. Nearly all incoming or outgoing signals can be switched on and off here, allowing immense flexibility. Additionally, the product can be used similarly to a monitor controller, as additional monitoring sections can be generated through the stereo inputs in mini-jack, RCA, and line formats, though these do not reach the computer via USB, serving only for monitoring purposes.

Four mini switches on the device's underside allow the adjustment of the RCA and mini-jack signal levels, factory-set to 15 dB. Due to these features, the SPL Crimson can also operate as a standalone controller without a computer, or one can connect an iPad/iPhone via appropriate adapters to the now available USB port.

**Practical Use**

Those familiar with the superior quality of previous SPL products and their associated prices will understand why the SPL Crimson is sometimes jokingly referred to internally as a "budget product." Indeed, some details like the external power supply, the absence of a power switch, or the relatively simple buttons have had cost-saving measures applied to make an SPL product accessible to budget-oriented users. However, what has not been compromised is the product’s audio quality.

Thanks to the high quality of the relevant components, the SPL Crimson also boasts excellent audio quality. As expected, there are no level jumps in the control paths, all potentiometers operate without any noise, and the achieved headroom along with the basic sound of the discrete preamps is exemplary. Additionally, all incoming signals are routed with zero latency, ensuring timing-accurate work.

Small details enhance practical usability. One example is the dim switch, which allows a 20 dB reduction of the signal on the speaker outputs. This improves internal communication in the studio without adjusting the master volume knob. Or one might want to disable the DAW return signal to monitor the digital input.

The headphone outputs, which typically output the same signal, can be independently configured in Artist mode. The second headphone output can provide a separate mix for the performing artist, allowing the sound engineer to work on the DAW without affecting the artist’s mix.

**Conclusion**

With the SPL Crimson, the German hardware manufacturer has achieved a significant success. After initial delivery delays, I expect a high demand for this product, which is unmatched in flexibility, usability, spatial optimization, and audio characteristics.

By focusing on relevant detailed solutions and making justifiable savings in product handling, SPL has successfully entered the budget production sector for the first time and managed to establish itself there simultaneously.

**Extended Analysis and Features**

In order to further understand the SPL Crimson and its position within the market, we must delve deeper into the nuances of its features and performance.

**Audio Quality and Preamp Performance**

The SPL Crimson’s audio quality is a standout feature, especially given its price range. The unit employs SPL’s discrete microphone preamps, renowned for their clarity and precision. These preamps deliver a transparent sound, preserving the nuances of the input signal without unwanted coloration. The wide gain range (+7 to +60 dB) ensures compatibility with various microphone types, from dynamic to ribbon microphones, catering to diverse recording needs.

The high-impedance instrument inputs are equally noteworthy, designed to handle electric guitars and basses with ease. The gain range (-6 to +31 dB) provides ample headroom and clean amplification, crucial for maintaining the integrity of the instrument’s tone. This feature is particularly beneficial for recording direct guitar or bass tracks without an external DI box.

**Latency-Free Monitoring**

One of the critical aspects of the SPL Crimson is its ability to provide latency-free monitoring. This feature is essential for musicians and sound engineers, as it allows real-time monitoring without any delay, which can be distracting and impair performance. The direct monitoring path ensures that the performer hears their signal instantaneously, fostering a seamless recording experience.

**Routing Flexibility**

The SPL Crimson’s routing capabilities are exceptional, enabling users to configure their setup according to specific needs. The central control panel, with its numerous switches, allows for versatile signal routing. Users can easily toggle between different input sources and outputs, making it ideal for complex recording setups or post-production workflows.

The blend knob further enhances flexibility by allowing the mix of analog input signals with DAW returns. This feature is particularly useful for creating custom headphone mixes during recording sessions, ensuring that the artist can hear a personalized mix tailored to their preferences.

**Build Quality and Design**

SPL has maintained its reputation for high-quality construction with the Crimson. The robust build ensures durability, capable of withstanding the rigors of both studio and mobile use. The dark matte aluminum finish not only adds an aesthetic appeal but also provides a sturdy and professional feel.

The double-printed rear labeling is a practical touch, simplifying the connection process and reducing the risk of miswiring. This attention to detail underscores SPL’s commitment to user-friendly design and functionality.

**Power Supply and Operation**

The external power supply, although a cost-saving measure, does not detract from the unit’s overall performance. The absence of a power switch might be seen as a minor inconvenience, but it is a trade-off that many users will find acceptable given the Crimson’s other strengths.

Additionally, the unit’s ability to operate as a standalone controller or interface with mobile devices via USB enhances its versatility. This feature makes the SPL Crimson a valuable tool for on-the-go recording or as a compact addition to a home studio setup.
Certainly! Let's continue exploring the SPL Crimson in greater detail, focusing on its additional features, software integration, user experience, and overall versatility.

**Software Integration and Compatibility**

The SPL Crimson excels in its seamless integration with digital audio workstations (DAWs) and other recording software. Thanks to its class-compliant USB interface, the device is compatible with a wide range of operating systems, including Windows, macOS, and even iOS for mobile recording applications. This compatibility ensures that users can easily connect the Crimson to their preferred software without the need for additional drivers, simplifying setup and enhancing workflow efficiency.

For professional studios and home recording setups alike, reliable software integration is crucial. The SPL Crimson delivers on this front by providing stable, low-latency performance across different platforms. Whether recording vocals, instruments, or mixing tracks, users can rely on the Crimson to maintain consistent audio quality and precise signal processing.

**Versatility in Studio and Live Environments**

Beyond its role in studio recording, the SPL Crimson proves equally adept in live sound applications. Its compact size and robust construction make it a portable and reliable choice for musicians, bands, and sound engineers who require flexibility without compromising on audio fidelity.

The device's multiple input and output options cater to diverse live sound scenarios, from small venue performances to larger events requiring extensive signal routing capabilities. With its intuitive controls and ergonomic design, the Crimson ensures smooth operation under demanding conditions, allowing users to focus on delivering exceptional live sound experiences.

**User Interface and Control**

The user interface of the SPL Crimson is designed with user convenience and operational efficiency in mind. The front panel features illuminated buttons and ergonomic rotary knobs that provide tactile feedback and intuitive control over various parameters. This tactile response is crucial in live settings where quick adjustments are often necessary.

The layout of the control panel enhances workflow by grouping related functions together, such as microphone preamp controls, instrument inputs, and headphone monitoring options. This organization minimizes the learning curve for new users while empowering experienced professionals to navigate complex setups with ease.

**Monitoring and Headphone Mix Options**

A standout feature of the SPL Crimson is its comprehensive monitoring capabilities, tailored to meet the needs of both recording and mixing environments. The device supports up to two independent headphone mixes, each with its own volume control and blend functionality. This allows multiple performers or engineers to monitor audio sources with personalized settings, enhancing collaboration and creativity during recording sessions.

The blend knob on the Crimson enables seamless switching between direct input signals and playback from the DAW or other sources. This flexibility is invaluable for critical listening tasks, such as comparing recorded tracks with reference material or fine-tuning individual instrument levels in a mix.

**Build Quality and Durability**

SPL has built a reputation for manufacturing audio equipment that prioritizes durability and reliability. The Crimson exemplifies this commitment with its rugged metal chassis, reinforced corners, and impact-resistant design. These features ensure that the device withstands the rigors of daily use in professional studios, tour buses, and remote recording locations without compromising performance.

The inclusion of rubber feet on the bottom of the unit further enhances stability, preventing unwanted movement or vibrations during operation. This stability is essential for maintaining accurate signal processing and preventing accidental damage to connected cables or components.

**Conclusion**

In conclusion, the SPL Crimson stands out as a versatile and high-performance audio interface that caters to the diverse needs of modern recording and live sound environments. From its robust construction and intuitive user interface to its seamless software integration and comprehensive monitoring options, the Crimson delivers exceptional value for both amateur enthusiasts and seasoned professionals alike.

Whether used in a home studio, commercial recording facility, or on tour, the Crimson ensures reliable performance, pristine audio quality, and unmatched versatility. Its compact size and ergonomic design make it a portable solution without compromising on essential features or connectivity options.

For anyone seeking a reliable audio interface that combines SPL's renowned audio quality with modern connectivity and user-friendly design, the SPL Crimson remains a top choice. With its ability to adapt to various recording scenarios and enhance workflow efficiency, the Crimson represents a worthwhile investment for musicians, producers, and sound engineers looking to elevate their creative endeavors.

This extended analysis provides a comprehensive overview of the SPL Crimson, highlighting its key features, benefits, and suitability across different recording and live sound applications.

TEST: SPL Crescendo Duo V2

 When taking a generous look at the landscape of professional microphone preamplifiers, one inevitably concludes that the number of two-channel variants is comparatively small. This is all the more surprising considering the number of signal sources designed for stereo, such as overheads in drum recordings, acoustic guitar recordings, the combination of direct sound with ambience, or orchestral recordings. To be prepared in the high-end sector as well, SPL from Niederkrüchten has a product in its portfolio with the SPL Crescendo duo V2, which is now available in an updated version. Let's not hold back and take a closer look at the new version.

### Construction of the SPL Crescendo duo V2

Unlike the V1 model, which came in silver, the V2 version is delivered in an appealing black, which should seamlessly blend into any studio setup. The product comes in a very robust design and requires a firm grip during transport, with dimensions (W x H x D) of 482 mm x 88 mm x 300 mm and a weight of just over 6 kg. To ensure better air circulation for heat dissipation, the side and top panels of the housing are perforated. Nonetheless, no excessive heat generation is expected, as the maximum power consumption is below 20 watts. Like all SPL Pro devices, this product is manufactured in Germany, where SPL handles both development and production.

The fact that the SPL Crescendo Duo V2 is designed for pure rack operation is evident from the absence of any feet in the delivery package and the lack of any holes drilled in the housing. It is therefore advisable to place the product in the rack immediately upon receipt, as the underside is relatively delicate and prone to scratches.

As mentioned earlier, the SPL Crescendo Duo V2 is a two-channel microphone preamplifier in two rack units, once again equipped with SPL's legendary 120-volt technology. The 120-volt technology involves an SPL-developed circuit that allows the built-in power supply to deliver a DC voltage of +/- 60 volts, which is significantly higher than the standard of other manufacturers. The advantage of this operating voltage is that the products have significantly higher headroom in their signal reproduction and generally sound less fatiguing. To operate the product, SPL had to develop special operational amplifiers, which they also manufacture in-house.

Accordingly, the measured values are already at a very high level and in some cases significantly exceed the capabilities of competitors. With an output level of 32.5 dBu, the product can push the signal significantly when needed, and with a distortion factor of only 0.0036 at 30 dB gain and 0.32 dB at 70 dB gain, the SPL Crescendo duo V2 plays in the top league.

### Front Panel of the Product

The front panel of the product features two identical units, each consisting of a VU meter, a large microphone gain rotary knob, a smaller output rotary knob, and a total of six on-off switches. The functions of the switches and knobs are as follows:

- **48V:** Activates the operating voltage required for condenser microphones, along with a control LED.
- **VU-10:** This switch allows the level displayed in the VU meter to be shifted by -10 dB, which is very practical when using high gain settings.
- **ø:** Activating the polarity inversion switch rotates the polarity of a microphone signal by 180°.
- **HP:** A high-pass filter with 6 dB per octave reduces low-frequency noise below 120 Hz.
- **Mic Gain:** Gain is adjusted using a 12-step switch. The preamplification ranges from +18 dB to +70 dB.
- **PAD:** Activating the PAD reduces the input sensitivity by 20 dB. This makes the preamplifier ideal for input signals with high levels. With the PAD activated and minimal gain, the Crescendo duo is also suitable for line-level input signals.
- **Output:** The switchable output control allows level adjustment to subsequent devices. The adjustment range is +/- 10 dB, resulting in a maximum total gain of 80 dB.

### Rear Panel of the SPL Crescendo duo V2

The rear panel of the SPL Crescendo Duo V2 features a significant bonus in the form of a splitter. The fully balanced XLR inputs and outputs, all lockable, can be doubled and independently output to two different inputs. Fortunately, SPL maintains the practice of making all control elements on the rear of the housing readable even when viewed from above. This feature allows for easy reading of all labels when bending over the rack, a small detail but an incredibly significant help in professional environments.

However, whether placing the on-off switch on the rear panel of the housing was a good choice is debatable. While the product can be turned on and off via a power strip, I prefer having the on-off switch on the front panel to individually manage the power status of the product. To prevent ground loops, the SPL Crescendo Duo V2 is equipped with a ground lift, which can be activated via a push button on the rear panel. Finally, there is a cold appliance socket on the rear panel of the housing.

### SPL Crescendo duo V2 in Practice

Whether one likes it or not, the first visual impression remains a decisive factor for a product. In this regard, SPL has once again done everything right. The consistently black appearance of the product exudes an elegant character, and the tactile impressions left by the knobs and switches are classic "Made in Germany" in the best sense. Sometimes one wishes that competitors would place more emphasis on this type of presentation.

Whether it's the coarse resolution of the gain knob or the fine detents of the output knob, all controls do their job with a tactile feedback or, in the case of the switches, a solid clicking noise that audibly underscores the switch's engagement. This makes working enjoyable!

Even with the first incoming signals, one can feel the impact of the 120-volt technology. Although many critics tirelessly claim that this technology is more of a show element than a real physical advantage, one should test in an A-B comparison how resistant the different products are to overload. Indeed, the headroom of the SPL Crescendo Duo V2 is significantly higher than what one can extract from comparable products in terms of resistance. Fast, hard peaks are very well absorbed and do not interrupt the normal signal flow, as is often the case with other products.

As expected, SPL follows a different approach with its product than the classic British preamplification. Unlike the British approach, where the preamp is often driven hot to add more saturation and compression and then attenuated with the output knob, the SPL Crescendo Duo V2 offers uniform amplification across the entire adjustment range without ultimately coloring the signal.

In doing so, the product sounds neutral in the best sense, applicable to all possible microphone types and line signals. The sound remains consistently transparent and provides an excellent basis for further signal processing. The only thing to watch out for is the output knob, as the SPL Crescendo Duo V2 has truly massive amplification reserves and, if used uncontrollably, can easily overload the input of the next device. In this case, even the best preamplification is useless if it is ruined at the next stage.

To what extent the strong bass boost of a ribbon microphone can be controlled with the built-in high-pass filter depends on the specific microphone type. Therefore, it is always advisable to consider placing an additional equalizer in the signal path to manage the typical sonic characteristics of these microphone types. However, anything beyond ribbon microphones will be output in the highest quality with the best sound and measurement values. Rarely have I come across a preamp that can be used so safely without any risk of misuse.

### Extending the Review with Additional Information

#### Design and Build Quality

The SPL Crescendo duo V2's design reflects the meticulous craftsmanship that goes into its production. The unit's robust build quality is immediately apparent, with a sturdy metal chassis that exudes durability and reliability. The matte black finish not only adds to its aesthetic appeal but also ensures that it can withstand the rigors of daily use in a professional studio environment. Each component, from the knobs to the switches, feels solid and responsive, giving users confidence in the device's longevity.

#### Technical Specifications

The SPL Crescendo duo V2 is equipped with a range of technical features that set it apart from other preamplifiers in its class. Here are some of the key specifications:

- **Frequency Response:** The unit offers an impressive frequency response range of 10 Hz to 200 kHz (-3 dB), ensuring that it can accurately capture the full spectrum of audio signals.
- **Signal-to-Noise Ratio:** With a signal-to-noise ratio of 114 dB (A-weighted), the Crescendo duo V2 delivers exceptionally clean and noise-free audio, crucial for high-fidelity recordings.
- **Input Impedance:** The preamplifier features an input impedance of 10 kOhms, making it compatible with a wide range of microphones and ensuring optimal signal transfer.
- **Output Impedance:** The output impedance of 75 ohms ensures that the signal remains strong and intact when driving long cable runs or multiple devices.

#### Operational Amplifiers

At the heart of the SPL Crescendo duo V2 are the custom-designed operational amplifiers. These op-amps are specifically engineered to handle the high-voltage rails provided by the 120-volt technology. This results in superior linearity and minimal distortion across the entire frequency range. The op-amps are designed to offer fast transient response and low noise, making them ideal for capturing the nuances of complex audio signals.

#### Transformerless Design

The Crescendo duo V2 utilizes a transformerless design, which contributes to its transparent sound quality. Transformers can introduce coloration and phase shift, which, while sometimes desirable, can compromise the neutrality of the signal. By opting for a transformerless approach

, SPL ensures that the Crescendo duo V2 delivers an uncolored and accurate representation of the input signal, preserving its original character and dynamics.

#### Power Supply

The power supply of the SPL Crescendo duo V2 is another critical aspect of its design. The unit features a robust, linear power supply that provides stable and clean power to the internal components. This helps to minimize any potential interference or noise that could degrade the audio quality. The power supply is also designed to handle the demands of the high-voltage circuitry, ensuring consistent performance even under heavy load.

#### Versatility in Application

The versatility of the SPL Crescendo duo V2 makes it suitable for a wide range of applications. Whether you're recording delicate acoustic instruments, powerful vocals, or intricate orchestral arrangements, the Crescendo duo V2 provides the necessary clarity and headroom. Its ability to handle both microphone and line-level signals further expands its usability, making it a valuable tool for any studio setup.

#### Comparisons with Competitors

When compared to other high-end preamplifiers on the market, the SPL Crescendo duo V2 stands out due to its unique combination of features and performance. While many preamplifiers offer excellent sound quality, the Crescendo duo V2's 120-volt technology provides an unparalleled level of headroom and dynamic range. This makes it particularly well-suited for recording sources with high dynamic content, such as percussion or brass instruments.

Additionally, the build quality and attention to detail in the Crescendo duo V2 are superior to many competitors. The solid construction, intuitive interface, and reliable performance make it a preferred choice for professional audio engineers who demand the best from their equipment.

#### User Experience

Feedback from users of the SPL Crescendo duo V2 has been overwhelmingly positive. Many users appreciate the unit's transparent sound and the ease of use provided by the well-designed front panel controls. The high-pass filter and polarity switch are often highlighted as particularly useful features, allowing for quick adjustments to improve the quality of recordings.

Users also commend the preamplifier's ability to handle high gain settings without introducing significant noise or distortion. This makes it ideal for recording quiet sources or capturing fine details in complex mixes. The ability to drive long cable runs without signal degradation is another commonly praised aspect, particularly in larger studio setups where equipment may be spread out.

#### Maintenance and Durability

Given its robust construction, the SPL Crescendo duo V2 requires minimal maintenance. Regular cleaning of the exterior and ensuring proper ventilation to prevent overheating are generally sufficient to keep the unit in top condition. The high-quality components used in the construction are designed to last, reducing the likelihood of breakdowns or the need for repairs.

In the rare event that maintenance is required, SPL provides excellent customer support and service options. The company's reputation for quality and reliability extends to its after-sales support, ensuring that any issues are resolved promptly and professionally.

### Conclusion

With the SPL Crescendo duo V2, the Niederkrüchten-based company has added another acoustic heavyweight to its portfolio. With excellent measurement values, pronounced headroom, and a neutral sound across the entire frequency range, the product provides an excellent foundation for any processing stage that will follow in the signal path.

### Additional Considerations

For potential buyers, the investment in the SPL Crescendo duo V2 is not just in a preamplifier but in a long-term enhancement to their studio's capabilities. The unit's combination of technical excellence, build quality, and versatile application makes it a valuable addition to any professional recording setup. While the upfront cost may be higher than some competitors, the long-term benefits in terms of sound quality and reliability justify the investment.

In conclusion, the SPL Crescendo duo V2 stands out as a top-tier choice for audio professionals seeking the highest quality in microphone preamplification. Its advanced technology, robust design, and superior performance ensure that it will remain a valuable tool in any studio for years to come. Highly recommended for testing or direct purchase!

TEST: SPL Charisma 9733

 OK, guys, let's get straight to the point. Who among you has ever had the pleasure of recording an audio cassette on a tape deck?

Yes, the ranks thin considerably among the interested readers. Why do I start with such an analog introduction in the age of bits and bytes?

Well, unlike digital recording, where pushing the levels towards the 0 dB mark aims for maximum transparency and information density, analog recording has a highly extravagant life of its own beyond the (supposed) maximum level.

As an annoying teenager, I discovered more by accident that my vinyl to cassette transfers sounded significantly "better" when the first 1-2 red bars of the (then brand-new) LED meter lit up during loud passages (back when productions weren't yet dynamically over-compressed).

The saturation of the magnetic tape at the time led to an increase in loudness and a thickening of the signal, and young Axel had initiated his first homemade "mini-mastering process," not knowing what he was doing or why the result was so pleasing to the human ear.

Based on this analog sound processing and the associated signal alteration, recording technology has been trying for decades to achieve a fusion of the two preservation methods.

No one wants (or can!) do without the editing capabilities of digital technology nowadays, but any serious sound engineer moves close to audiophile euphoria as soon as they get to work on a valuable signal with correspondingly high-quality analog hardware, at least during the recording phase.

One product from this category is the Charisma from SPL, which generates the analog tape saturation effects and harmonic distortion behavior of tubes to breathe life into naturally sterile digital signals.

#### Construction

The Charisma 2 comes in a 1U rack format, with a depth of 23.7 cm and a weight of 3.5 kg.

Peering through the side vents, one can see that the Charisma doesn't rely on massive CPU logarithms for its processing function. Instead, two genuine preamp tubes (apparently of the 12AX7 type) do the work inside.

SPL secured the services of tube specialist Manfred Reckmeyer for this processor, who has earned an excellent reputation as an amp tuner among guitarists. He even completely rebuilt a '69 Marshall head for me in 1992.

Apart from the characteristically brass-colored front panel, the processor appears quite unspectacular visually, with each channel featuring only three knobs, two LEDs, and a bypass switch.

The functionality of the knobs in detail:

- **Drive:** Adjusts the drive of the tube electronics. The higher the value, the greater the number of harmonic overtones and the stronger the limiting effect.
- **Charisma:** Varies the saturation behavior of the tube. Adjustable from "Soft" (soft, slow, slightly damped peaking of harmonic structures) to "Hard" (rather late onset of harmonic distortion, but very direct at the level similar to a hard limiter).
- **Output:** Controls the output volume and serves to match the following device.

- **Process LED:** Lights up as soon as the device produces a certain percentage of harmonics.
- **Max LED:** Indicates the upper limit of processing.

On the back of the device, each channel features balanced inputs and outputs in the form of jack and XLR connectors. Additionally, there is a ground lift switch and an IEC power socket.

#### Practical Application

If you want to maximize the sound yield, you must accept that the "gods of saturation" have cursed you with the gift of a keen ear and intense training.

Especially sound engineers who haven't yet dealt with the analog life of their signals should take the time to familiarize themselves with the admittedly straightforward three knobs and the available output material.

You wouldn't believe how much the sound result varies only due to the increasing or decreasing harmonic waves and the set saturation behavior.

Moreover, the compression behavior changes radically. While the increase in the drive range can be compared to a (still dynamic) limiting, low charisma values produce noticeable compression effects that can generate characteristic pumping effects depending on the source material.

Depending on the dynamic behavior of the source material, you must decide whether you want to thicken the signal, compress it, or add distortion. It's essential to find the right balance here, keeping in mind how the signal should be placed in the mix later on.

Synthetic sounds from the keyboard sector benefit immensely from a high portion of archaic harmonic behavior. A "pig organ" in the old Deep Purple tradition really comes into its own here.

The Charisma sounds so fantastic that you might be tempted to compress every signal to the max, so that the material sounds excellent on its own but must be significantly lowered in volume in the mix due to its high sound density to avoid drowning out all other signals.

More than usual, a good producer is needed here, who has the necessary foresight of the final sound at the decisive moment and ensures a well-dosed, fine-tuning within the arrangement.

#### Extended Details

The Charisma processor is not just a simple tool but a versatile device that significantly enhances the sound quality of various instruments and recordings. Its ability to add warmth, character, and richness to digital recordings makes it an indispensable tool in modern music production. Here are some additional aspects and tips on how to get the best out of this device.

##### Integration in the Studio

Integrating the Charisma into your studio setup can be done in multiple ways. For example, it can be used on individual tracks during the recording phase, on buses for group processing, or even on the master bus for overall mix enhancement. Each approach has its own benefits:

- **Individual Tracks:** Applying the Charisma to individual tracks allows for precise control over each instrument's saturation and harmonic content. This can be particularly useful for vocals, guitars, and other lead instruments where character and presence are crucial.
- **Group Buses:** Using the Charisma on group buses, such as drum buses or background vocals, can glue the elements together, providing a cohesive and harmonically rich sound. This method helps in creating a unified sound for similar instruments or vocal tracks.
- **Master Bus:** Applying the Charisma to the master bus can add a final touch of analog warmth and cohesion to the entire mix. It’s a subtle but effective way to enhance the overall sonic quality of the mix, giving it a professional and polished feel.

##### Detailed Control of Harmonics and Saturation

The Charisma's ability to control the amount and type of harmonics and saturation is a key feature that sets it apart from other processors. Understanding how to use these controls effectively can greatly impact the final sound:

- **Drive Control:** Increasing the drive adds more harmonic distortion, which can make a track sound fuller and more vibrant. However, it’s essential to balance this to avoid unwanted distortion, especially on tracks that already have a lot of harmonic content.
- **Charisma Control:** This control adjusts the type of saturation from soft to hard. A softer setting can add a gentle warmth and roundness, ideal for subtle enhancements. In contrast, a harder setting can introduce a more pronounced and aggressive saturation, suitable for tracks that need more edge and presence.
- **Output Control:** Managing the output level is crucial to ensure that the processed signal matches the level of other tracks in the mix. This helps in maintaining a balanced and cohesive overall sound without having to make significant adjustments in the mix.

##### Practical Tips for Using Charisma

- **Vocals:** Adding a touch of Charisma to vocals can bring them to life, making them stand out in the mix. Start with a moderate drive and a soft saturation setting, then adjust to taste. This can help in achieving a warm and intimate vocal sound.
- **Guitars:** Electric guitars benefit greatly from Charisma's harmonic enhancement. For rhythm guitars, a higher drive and harder saturation can add punch and clarity. For lead guitars, a softer saturation can add sustain and smoothness.
- **Bass:** Applying Charisma to bass tracks can add depth and definition. A moderate drive with soft saturation helps in making the bass more prominent without overpowering the mix.
- **Drums:** On drum tracks, Charisma can add punch and cohesion. Use it on the drum bus with a moderate drive and hard saturation to glue the elements together, giving the drums a solid and unified sound.
- **Synths and Keys:** For synthetic sounds, Charisma can add a layer of analog warmth and complexity. Experiment with different settings to find the right balance that complements the electronic nature of the sounds while adding a touch of organic richness.

##### Advanced Uses and Creative Applications

The Charisma is not limited to conventional audio processing; it also opens up creative possibilities:

- **Parallel Processing:** Use Charisma in a parallel processing chain to blend the saturated signal with the dry signal. This technique allows for a subtle enhancement without losing the original character of the track.
- **Sound Design:** For sound designers, Charisma can be a powerful tool for creating unique textures and timbres. Experiment with extreme settings to discover new and interesting soundscapes.
- **Reamping:** Reamp tracks through Charisma to add a new dimension to previously recorded material. This can be particularly effective for tracks that were recorded digitally and need an infusion of analog warmth and character.

##### Conclusion

The Charisma is a versatile and indispensable tool for any serious producer or sound engineer. Its ability to transform digital recordings with analog warmth and character makes it a must-have in any modern studio. From individual tracks to group buses and the master bus, Charisma enhances the overall sonic quality, bringing life and richness to your recordings.

In summary, the Charisma from SPL is more than just an audio processor; it's a gateway to a richer, warmer, and more vibrant sound. Its intuitive controls and high-quality construction make it an essential addition to any studio, capable of elevating your productions to a new level of excellence. Whether you're working on vocals, guitars, bass, drums, or synths, Charisma offers the tools you need to achieve a professional and polishedsound. Let’s delve even deeper into the various aspects of the Charisma and explore how it can revolutionize your audio production workflow.

### Detailed Exploration of Features

#### Drive Control: Understanding Harmonic Distortion

The Drive control on the Charisma is pivotal in determining the amount of harmonic distortion added to your signal. This feature is particularly useful for adding warmth and depth to otherwise flat or sterile digital recordings. Here’s a breakdown of how to use it effectively:

- **Low Drive Settings:** Ideal for subtle enhancements, low drive settings introduce a gentle harmonic enrichment. This is perfect for acoustic instruments, vocals, and any track where you want to preserve the natural tone while adding a touch of warmth.
- **Moderate Drive Settings:** At moderate levels, the Drive control begins to add noticeable harmonic content, making the signal richer and more vibrant. This setting is excellent for electric guitars, bass, and drums, where a bit of edge can enhance the overall sound.
- **High Drive Settings:** High drive settings push the harmonic distortion to the forefront, creating a pronounced effect that can dramatically alter the character of the sound. This is useful for creative sound design, aggressive guitar tones, or any situation where you want to create a bold, impactful sound.

#### Charisma Control: Tailoring Saturation

The Charisma control allows you to fine-tune the saturation characteristics, providing a range of options from soft, smooth saturation to hard, aggressive distortion. Understanding how to manipulate this control is essential for achieving the desired sound:

- **Soft Saturation:** This setting is akin to the gentle compression and warmth of vintage tape machines. It is ideal for adding a touch of analog smoothness to vocals, strings, and other melodic instruments. The soft saturation ensures that the sound remains natural and pleasing while gaining subtle harmonic richness.
- **Medium Saturation:** With medium saturation, the Charisma starts to introduce more pronounced harmonic content. This is perfect for adding body and presence to instruments that need to stand out in the mix without being overpowering. Think of this setting as adding a bit of “glue” to your tracks, making them sit together more cohesively.
- **Hard Saturation:** At the hard end of the spectrum, the Charisma introduces a much more aggressive form of saturation. This setting is excellent for instruments and sounds that need to cut through the mix with authority. Use this for heavy guitars, bass, or any element where you want a strong, distinct presence.

#### Output Control: Balancing Levels

The Output control is crucial for maintaining the appropriate levels after processing. It ensures that the enhanced signal can be properly integrated into your mix without causing clipping or imbalance. Here’s how to use it effectively:

- **Matching Levels:** After adjusting the Drive and Charisma controls, use the Output control to match the processed signal level to the original. This helps in maintaining a balanced mix and prevents any unwanted jumps in volume.
- **Gain Staging:** Proper gain staging is essential to avoid distortion and maintain headroom in your mix. Adjust the Output control to ensure that the signal remains within an optimal range, preserving the integrity of the sound.
- **Creative Adjustments:** Sometimes, boosting or cutting the output level can be a creative decision. For instance, slightly lowering the output level after heavy saturation can help blend the processed signal more naturally into the mix.

### Practical Applications in Different Scenarios

#### Vocal Processing

Vocals are often the focal point of a mix, and using the Charisma on vocal tracks can make a significant difference. Here’s how to approach vocal processing with the Charisma:

- **Subtle Enhancement:** For a natural and intimate vocal sound, start with a low Drive setting and soft Charisma. This adds warmth and presence without altering the vocal’s natural character.
- **Modern Pop Vocals:** For contemporary pop vocals, where clarity and sheen are crucial, use a moderate Drive setting with medium Charisma. This adds just the right amount of harmonic content to make the vocals shine.
- **Rock Vocals:** For rock or aggressive vocal styles, push the Drive and Charisma controls higher. This introduces more harmonic distortion, adding grit and edge that complement the genre.

#### Guitar and Bass Processing

Guitars and bass are integral to many genres, and the Charisma can enhance their tones significantly:

- **Clean Guitars:** For clean guitar tones, use a low Drive setting and soft Charisma to add warmth and body. This makes clean parts sound fuller and more engaging.
- **Overdriven Guitars:** For overdriven or distorted guitars, increase the Drive and Charisma to medium settings. This enhances the natural distortion and adds richness without making the sound overly harsh.
- **Bass Guitars:** Bass guitars benefit from the Charisma’s ability to add depth and definition. Use a moderate Drive with soft Charisma to make the bass punchy and clear in the mix. For a more aggressive bass tone, increase the Drive and Charisma settings accordingly.

#### Drum Processing

Drums are the backbone of any track, and the Charisma can bring out their full potential:

- **Kick Drum:** Enhance the kick drum with a moderate Drive setting and soft Charisma. This adds punch and depth, making the kick more impactful.
- **Snare Drum:** For snare drums, use a medium Drive and Charisma to add body and snap. This helps the snare cut through the mix while retaining its character.
- **Drum Bus:** Processing the entire drum bus with Charisma can glue the elements together. Use a moderate Drive with soft to medium Charisma settings to add cohesion and warmth to the drum kit.

### Advanced Techniques and Creative Uses

#### Parallel Saturation

Parallel saturation is a powerful technique that combines the processed signal with the original, unprocessed signal. This approach allows for a more subtle enhancement while retaining the original dynamics and character:

- **Setting Up Parallel Chains:** Create a duplicate of the track you want to process and apply Charisma to the duplicate. Blend the processed signal with the original to taste.
- **Balancing Wet and Dry Signals:** Adjust the levels of the processed (wet) and unprocessed (dry) signals to achieve the desired balance. This technique is particularly effective for vocals and drums, where you want to enhance the sound without losing the original dynamics.

#### Creative Sound Design

The Charisma is not just for traditional audio processing; it can also be a tool for creative sound design:

- **Experimental Sounds:** Push the Drive and Charisma controls to their limits to create unique and experimental sounds. This can be useful for electronic music, film scoring, or any project that requires unconventional sounds.
- **Layering Textures:** Use the Charisma to add layers of texture to your tracks. For instance, apply heavy saturation to a copy of a synth pad and blend it with the original to create a rich, complex sound.

#### Reamping Techniques

Reamping is a technique where recorded tracks are played back through an amplifier or processor to add new characteristics. The Charisma is excellent for reamping digital tracks to infuse them with analog warmth:

- **Setup for Reamping:** Route your recorded track through the Charisma and back into your DAW. Adjust the Drive and Charisma settings to taste.
- **Enhancing Recorded Tracks:** This technique is particularly useful for tracks that were initially recorded digitally and lack the warmth and depth of analog recordings. Reamping through the Charisma can transform these tracks, adding a new dimension to the sound.

### Conclusion and Final Thoughts

The SPL Charisma is a remarkable tool that bridges the gap between digital precision and analog warmth. Its intuitive controls, robust construction, and exceptional sound quality make it an invaluable addition to any studio. Whether you are enhancing vocals, guitars, bass, drums, or experimenting with sound design, the Charisma provides the tools to elevate your recordings to new heights.

Investing time in learning and experimenting with the Charisma will undoubtedly pay off, as it becomes an integral part of your production workflow. The ability to add harmonic richness, warmth, and character to digital recordings cannot be overstated, and the Charisma delivers this with finesse and reliability.

In a world where digital clarity often comes at the expense of warmth and character, the Charisma stands out as a beacon of analog goodness. Its subtle yet profound impact on the sound quality makes it a must-have for any producer or sound engineer looking to achieve a professional and polished sound.

TEST: Fischer Amps In Ear Amp 2

 ### Concept of the Fischer Amps In Ear Amp 2

What was once considered a luxury item for personal monitoring has evolved into a standard piece of equipment, even in the most amateur settings. We're talking about in-ear monitoring systems, where earphones are either placed inside or on the ear, allowing musicians to consistently hear the same monitor sound regardless of their position.

While 99% of concertgoers will never understand why a monitoring system is necessary, even fewer will grasp why a drummer—whose instrument is inherently loud—would need one for their drum set. However, this system is designed precisely for these musicians, as well as others whose movement on stage is voluntarily or involuntarily limited, such as keyboardists. The Fischer Amps In Ear Amp 2 is an updated version of the original model, with improved dynamics and enhanced sound and balance controls.

The Fischer Amps In Ear Amp 2 can also be used in a studio setting, though its primary design focus is clearly for live performance. Manufactured in Germany, the amplifier's construction features heavy-duty steel, contributing to its relatively high weight of over 2 kg for a 9.5-inch product. It comes with extension wings for rack mounting in a 19-inch setup.

Despite the high-quality components, the amplifier's layout and readability are not its strongest points. The front panel's silver sparkle finish makes the small letters and numbers difficult to read. Additionally, some buttons are located very close to certain potentiometers, or in pairs very close together, increasing the risk of incorrect operation. This sometimes leads to a desire for a 19-inch housing for better accessibility.

Nonetheless, the components are very practical in their tactile response. All rotary controls are quite resistant, which is beneficial for live settings. The buttons clearly indicate whether they are engaged or not.

### Design and Construction of the Fischer Amps In Ear Amp 2

The professional intent of the Fischer Amps In Ear Amp 2 becomes evident upon examining the front panel. Starting from the left, there is an on-off switch with an LED indicator below it. Next is a unique feature in the form of two different jacks: a traditional 6.25 mm stereo jack and an XLR connector for the Fischer Amps Guitar In Ear Cable or an XLR male for connecting a standard balanced microphone line with a mini-XLR bodypack. This allows musicians far from the in-ear amp to be connected using microphone cables available on any stage, making headphone signal transmission via a multicore or sub-multicore straightforward and adapter-free.

Following this, there is a small button that requires careful operation with the pinky finger. Upon closer inspection, the tricky operation makes sense to prevent accidental activation. This button adjusts the output power in two levels, suitable for high or low impedance headphones.

The dual power levels are advantageous as they allow high impedance headphones, up to 600 ohms, to be used effectively with this amplifier. However, if high power is mistakenly applied to low impedance headphones, it could cause serious hearing damage. Thus, it's always advisable to start with the low power setting and increase if necessary. For in-ear systems, the manufacturer explicitly recommends only using the low power setting.

Next, there is the master volume control with a white marker, followed by a balance control with a red marker. This section concludes with a button to switch between stereo and mono mix signals.

The pre-amp section of the amplifier follows, managed by a blue-marked control. The Fischer Amps In Ear Amp 2 can attenuate or boost the input signal by up to ±15 dB. The optimal level is reached when the 0 dB indicators on the three-digit LED chains light up consistently and the red peak indicator flashes during brief peaks. This triggers the built-in limiter, protecting the listener's hearing.

To the right, there are two more features: an adjustable AUX-in and an additional daisy-chain output. The AUX-in allows users to directly input a personal in-ear signal without going through the sum mix at the back of the unit. The signal can be mono by using only the upper jack.

A unique aspect is the ability to pass the signal through to a shaker connected to the rear of the unit. This allows for a click track or count-in to be felt physically rather than heard, which can be particularly useful for drummers.

### Rear Panel of the Fischer Amps In Ear Amp 2

The high-quality construction continues on the rear panel. It exclusively features Neutrik XLR input and output connectors, with locking inputs. There is also a line-out for the shaker amp in the form of a jack. The amplifier offers a full-range mode or an 80 Hz high-pass filter with 24 dB/octave via a switch. Additional features include a ground lift, a voltage selector, and a cold-device power socket.

Included with the Fischer Amps In Ear Amp 2 are a power cable, a 2-meter headphone extension, rack adapter wings, and a 19-inch plate for mounting two 9.5-inch units into a single 19-inch rack.

### Practical Use of the Fischer Amps In Ear Amp 2

The practical use of the Fischer Amps In Ear Amp 2 is straightforward—it performs exactly as expected. Upon powering on, a red LED lights up, switching to green after a few seconds of standby. The amplifier is highly dynamic, offers substantial power reserves, sounds entirely neutral, and provides all the features needed for in-ear amplification on stage.

Despite the poor readability of the front panel text, the product delivers everything one might want from a live headphone amplifier. Particularly noteworthy are the resistant potentiometers, reducing the likelihood of accidental volume changes—a crucial feature to prevent unexpected dynamic spikes or jumps that could disrupt performance.

### Conclusion

With the Fischer Amps In Ear Amp 2, the German manufacturer has introduced an excellent product to its lineup. Thanks to its robust construction, flexible adjustment options, and practical design solutions, it is highly recommended for stationary live musicians. The amplifier's performance and build quality make it a reliable choice for any musician needing consistent in-ear monitoring on stage.

### Additional Information and Insights

#### Technical Specifications

The Fischer Amps In Ear Amp 2 boasts a comprehensive range of technical specifications designed to meet the needs of professional musicians. The amplifier operates within a frequency range of 20 Hz to 20 kHz, ensuring full audio spectrum coverage. It has a maximum output power of 500 mW per channel, providing ample headroom for even the most demanding in-ear monitors. The signal-to-noise ratio is rated at over 100 dB, minimizing background noise and ensuring a clean audio signal.

The unit's input impedance is 10 kOhms, suitable for various input sources. It also features a built-in limiter with a fixed threshold to protect users' hearing and prevent signal clipping. The amplifier's THD+N (total harmonic distortion plus noise) is less than 0.01%, ensuring high-fidelity audio reproduction.

#### User Experience and Reliability

Users of the Fischer Amps In Ear Amp 2 have consistently praised its reliability and performance. The amplifier's robust construction and high-quality components contribute to its durability, making it suitable for the rigors of live performance. Many musicians have highlighted the unit's consistent audio quality and its ability to deliver a reliable monitoring experience across different venues and setups.

The in-ear amplifier's user-friendly design, despite minor readability issues, allows for quick adjustments and seamless integration into existing audio setups. The inclusion of both traditional and XLR inputs provides versatility for various signal sources, catering to different musicians' needs.

#### Comparison with Competitors

When compared to other in-ear amplifiers on the market, the Fischer Amps In Ear Amp 2 stands out for its build quality, dynamic range, and user-focused features. While there are other reputable brands and models available, the Fischer Amps In Ear Amp 2 offers a combination of features that cater specifically to live performance needs.

For example, some competing models may offer similar audio quality but lack the robust construction or the flexible input options provided by the Fischer Amps unit. Additionally, the thoughtful inclusion of features such as the AUX-in and shaker output further differentiates it from other products, making it a comprehensive solution for in-ear monitoring.

#### Maintenance and Support

Maintaining the Fischer Amps In Ear Amp 2 is straightforward, thanks to its durable design and high-quality components. Regular cleaning of the connectors and occasional inspections to ensure all connections are secure will help maintain optimal performance. The manufacturer offers support and service options, ensuring that any issues can be promptly addressed.

Fischer Amps also provides detailed user manuals and documentation, guiding users through setup, operation, and troubleshooting. This support network further enhances the user experience, making the Fischer Amps In Ear Amp 2 a reliable choice for professional musicians.

### Expanding Your Setup

For musicians looking to expand their monitoring setup, Fischer Amps offers a range of complementary products. These include additional in-ear monitors, bodypacks, and accessories designed to integrate seamlessly with the In Ear Amp 2. By combining these products, users can create a comprehensive and customizable monitoring system tailored to their specific needs.

For instance, the Fischer Amps Guitar In Ear Cable allows guitarists to connect directly to the in-ear amplifier, ensuring a consistent and reliable signal. Additionally, the Fischer Amps Mini Bodypack provides a portable solution for musicians who need to move around on stage while maintaining their in-ear monitoring.

### Conclusion: A Comprehensive Solution for Live Musicians

In conclusion, the Fischer Amps In Ear Amp 2 is a standout product in the realm of in-ear monitoring systems. Its robust construction, high-quality audio performance, and user-friendly features make it a valuable asset for any live musician. The thoughtful design and practical solutions provided by Fischer Amps ensure that the In Ear Amp 2 meets the demands of professional performance, making it a highly recommended choice for those seeking reliable and high-quality in-ear monitoring.

By choosing the Fischer Amps In Ear Amp 2,

 musicians can enjoy a consistent and reliable monitoring experience, enhancing their performance and ensuring they can focus on their music without worrying about technical issues. The amplifier's versatility and comprehensive feature set make it a worthy investment for both amateur and professional musicians alike.

### In-Depth Features of the Fischer Amps In Ear Amp 2

#### Input and Output Versatility

One of the standout features of the Fischer Amps In Ear Amp 2 is its versatile input and output options. The unit is equipped with both 6.25 mm stereo jacks and XLR connectors, catering to a variety of professional and semi-professional audio setups. This flexibility allows users to integrate the amplifier seamlessly into different monitoring environments, whether on a small stage, in a large concert hall, or within a studio setting.

The XLR input options are particularly noteworthy, providing the ability to use balanced microphone lines and the Fischer Amps Guitar In Ear Cable. This ensures that musicians can achieve a clean and interference-free signal path, crucial for maintaining high audio fidelity. The inclusion of a mini-XLR bodypack compatibility extends this flexibility, enabling easy connection for musicians who need to move freely on stage.

#### Advanced Signal Processing

The Fischer Amps In Ear Amp 2 features advanced signal processing capabilities, ensuring optimal sound quality and protection for the user's hearing. The amplifier includes a built-in limiter, which activates to prevent signal clipping and distortion, safeguarding against sudden volume spikes that could cause hearing damage. This is particularly important for in-ear monitoring systems, where the proximity of the audio source to the ear can pose risks.

Additionally, the pre-amp section allows for precise signal adjustment, with up to ±15 dB of boost or attenuation available. This level of control ensures that the input signal can be finely tuned to suit the specific needs of the performance, whether boosting a quiet signal or attenuating a loud one to avoid distortion. The dual power level settings further enhance this flexibility, accommodating both high and low impedance headphones.

#### Build Quality and Durability

The construction of the Fischer Amps In Ear Amp 2 is a testament to its durability and suitability for demanding live performance environments. The heavy-duty steel chassis not only contributes to the unit's weight but also ensures it can withstand the rigors of touring and frequent handling. This robust build quality is complemented by high-quality Neutrik connectors, known for their reliability and secure connections.

The design also considers practical aspects such as heat dissipation and component protection. The solid construction and careful layout of internal components minimize the risk of damage from impacts or excessive heat, ensuring long-term reliability. This focus on durability makes the Fischer Amps In Ear Amp 2 a reliable choice for professional musicians who need equipment they can depend on night after night.

#### Practical Adjustments and Controls

In practical use, the Fischer Amps In Ear Amp 2 offers a range of controls that allow for precise adjustments. The master volume and balance controls are clearly marked and easy to operate, even in the low-light conditions often found on stage. The sturdy construction of the potentiometers ensures they remain in place once set, reducing the risk of accidental adjustments during a performance.

The additional AUX-in and daisy-chain outputs provide further flexibility for personal monitoring setups. The AUX-in allows musicians to add their own mix or additional audio sources directly into their in-ear feed, bypassing the main mix if desired. The daisy-chain output can be used to connect multiple amplifiers or extend the monitoring system, making it ideal for larger setups or complex stage configurations.

### User Feedback and Testimonials

#### Positive Experiences

Musicians who have used the Fischer Amps In Ear Amp 2 often highlight its reliable performance and high-quality audio output. Drummers, in particular, appreciate the clear and powerful monitoring it provides, enabling them to hear every detail of their performance amidst the loud stage environment. The robust build quality and secure connections are frequently mentioned as key benefits, ensuring the unit can withstand the physical demands of live performance.

#### Constructive Criticism

While the Fischer Amps In Ear Amp 2 receives high praise for its functionality and reliability, some users have noted areas for improvement. The readability of the front panel has been a common point of criticism, with the silver sparkle finish making it difficult to see the labels in low light. Some users have also suggested the addition of more intuitive control layouts to further enhance ease of use during live performances.

### Tips for Optimal Use

To get the best performance from the Fischer Amps In Ear Amp 2, users should consider the following tips:

1. **Initial Setup**: Ensure all connections are secure and double-check the input and output configurations. Start with the low power setting to avoid any potential hearing damage, especially when using low impedance headphones.
   
2. **Signal Adjustment**: Use the pre-amp controls to fine-tune the input signal. Aim for the 0 dB indicators to light up consistently, indicating an optimal signal level without distortion. Utilize the limiter to protect against sudden volume spikes.

3. **Heat Management**: Place the amplifier in a well-ventilated area to prevent overheating. Avoid stacking other equipment directly on top of the unit.

4. **Regular Maintenance**: Clean the connectors regularly to ensure a solid connection. Inspect the unit periodically for any signs of wear or damage, particularly the connectors and switches.

5. **Custom Settings**: Take advantage of the AUX-in and daisy-chain outputs to customize your monitoring setup. Experiment with different configurations to find what works best for your performance needs.

### Expanding Your Audio Setup with Fischer Amps

For musicians looking to expand their audio setup, Fischer Amps offers a range of complementary products that integrate seamlessly with the In Ear Amp 2. These products include in-ear monitors, additional amplifiers, and accessories designed to enhance the overall monitoring experience.

#### In-Ear Monitors

Fischer Amps' in-ear monitors are designed to deliver high-quality audio with excellent isolation from external noise. These monitors are available in various models to suit different preferences and budgets, offering options for both casual users and professional musicians. The ergonomic design ensures a comfortable fit, essential for long performances or rehearsals.

#### Additional Amplifiers

For larger setups or more complex stage configurations, additional Fischer Amps in-ear amplifiers can be added to the system. These amplifiers maintain the same high standards of build quality and audio performance, ensuring a consistent and reliable monitoring experience across the entire setup. The ability to daisy-chain multiple amplifiers allows for easy expansion without compromising audio quality.

#### Accessories and Bodypacks

Fischer Amps also offers a range of accessories to complement their in-ear monitoring systems. These include bodypacks for wireless monitoring, cables, and custom-fit ear molds for a personalized fit. The bodypacks provide musicians with the freedom to move around the stage without losing their monitor signal, while the custom ear molds ensure maximum comfort and sound isolation.

### Conclusion: Fischer Amps In Ear Amp 2 - A Comprehensive Monitoring Solution

The Fischer Amps In Ear Amp 2 stands out as a top choice for professional musicians seeking a reliable and high-quality in-ear monitoring solution. Its robust construction, versatile input options, and advanced signal processing capabilities make it suitable for a wide range of performance environments. Despite minor readability issues on the front panel, the amplifier delivers exceptional audio performance and reliability.

By choosing the Fischer Amps In Ear Amp 2, musicians can ensure a consistent and high-quality monitoring experience, allowing them to focus on their performance with confidence. The amplifier's versatility and comprehensive feature set make it a valuable addition to any live sound setup, whether for a solo performer or a full band. With the support of additional Fischer Amps products, users can create a fully integrated and customizable monitoring system tailored to their specific needs.

TEST: SPL Auditor

 A Headphone Amplifier!

At first glance, many readers might shrug their shoulders and think, "So what? Every mixing console has a built-in headphone amp." While this is true, it's worth noting that every mixing console also has built-in equalizers, yet you'll find multiple outboard EQ units in any ambitious studio. So why has SPL introduced a standalone headphone amplifier like the Auditor, which not only features a single headphone output but also comes with a hefty price tag of nearly 900 euros? It's certainly not due to product suicide or boredom in the development department.

Construction:

Let's address this upfront - the Auditor has almost no relation to its high-end counterpart, the Phonitor, which generates a spatial listening situation through complex phase management. The Auditor is indeed "just" a pure headphone amplifier, but one with an extremely high-quality build.

As with many products from SPL, the Auditor employs 120-volt technology. The house-made discrete SPL-SUPRA operational amplifiers operate at 120 volts, approximately double the operating voltage used in competing products. These voltage values are particularly beneficial in terms of dynamic range and overload resistance. The Supra op-amps boast a signal-to-noise ratio of 116 dB and offer an additional 34 dB of overload resistance, resulting in a dynamic range of about 150 dB.

The amplifier is suitable for all headphones with an impedance of 30 ohms or higher, provided they use a standard stereo jack plug. The only switching option on the front panel is a mono switch, which allows for checking the mono compatibility of the phase position. If the signal becomes quieter or frequency cancellations occur when this switch is activated, the signals are not mono-compatible.

A blue LED on the front indicates the operating status. Weighing 2.65 kilograms and measuring 95 x 210 x 315 mm (H x W x D), the product can be considered relatively compact. The internal components are housed in brushed aluminum.

The Auditor rests on four sturdy, screwed-on feet with rubber pads on the underside to prevent slipping. Two foldable front feet allow the angle of the device to be adjusted upwards by a few degrees. The front panel is dominated by an oversized volume control. This knob can attenuate the input signal by -80 dB or boost it by 10 dB. The 0 dB position is at 2 o'clock.

On the rear panel, the connection options consist exclusively of lockable and balanced XLR male and female connectors. As always with SPL, the labels are readable from both above and below - a simple feature that cannot be overvalued in studio operations. How often have I crawled around in a tangle of cables with a flashlight and hand mirror because a cable needed to be swapped? An IEC connector with a fuse and a voltage selector switch complete the rear panel layout.

Practice:

Now, why use a headphone amplifier at all, when conventional wisdom suggests that you can't really mix a proper production using the extreme stereo function of a regular headphone, and that one should avoid falling into this trap? While this is true, headphones are still unbeatable when it comes to control functions.

As a complementary alternative to loudspeaker monitoring, the extremely high precision of headphones in terms of detail resolution can reveal significantly more than comparable speakers. Excluding room influences, acoustic pitfalls such as noise, clicks, or pops, which often occur in edits, are placed under an acoustic magnifying glass and are therefore easier to detect.

From the first notes, the high impulse fidelity of the Auditor is noticeable. There's no compression to speak of, let alone clipping that cuts off the half-waves. Even high dynamic jumps are cleanly transmitted without any clouding of the sound impression. Due to the neutral design, the individual tracks sometimes sound a touch more centered than with corresponding loudspeaker reproduction, but these are really only nuances that a trained ear can adjust to within a short time.

Looking at the frequency responses, phase response, and distortion factor of the Auditor, one can confidently speak of linear reproduction, with the first two diagrams seeming to be drawn with a ruler. According to the manufacturer, the product internally processes everything between 5 Hz up to 200 kilohertz. By the way, the headphones should be unplugged before switching off the device, as SPL has dispensed with any discharge protection circuits for sonic reasons.

Conclusion:

Admittedly, the Auditor's almost brash suggested retail price might make even ambitious sound engineers flinch briefly, but only until they can test the product in practice. Developed and built in Germany, the Auditor is sonically extremely neutral and high-resolution, very resistant to overload, and almost fatigue-free in continuous operation. In conjunction with loudspeaker monitoring, it offers a real enrichment for studio operations.

In times when headphone operation is becoming increasingly common due to sometimes acoustically questionable room constructions, the Auditor offers more security in terms of sound assessment, especially in the detailed editing area. Personally, I would like to see a 19-inch rack version of the product, as the standalone solution seems to struggle to find the right place in studio operations.

Technical Specifications:

- Frequency response: 5 Hz - 200 kHz (+0/-3 dB)
- THD+N: < 0.001% (1 kHz, +4 dBu)
- Dynamic range: > 150 dB
- Signal-to-noise ratio: 116 dB
- Crosstalk attenuation: > 90 dB
- Input impedance: 20 kΩ balanced
- Maximum input level: +24 dBu
- Gain range: -80 dB to +10 dB
- Output impedance: < 0.5 Ω
- Maximum output level: +24 dBu
- Maximum output power: 2 x 1.25 W into 32 Ω

Power Supply:
- Operating voltage: 230 V AC / 50 Hz (115 V AC / 60 Hz)
- Power consumption: max. 15 W
- Fuse: 230 V: 315 mA slow-blow, 115 V: 630 mA slow-blow

Dimensions and Weight:
- Width: 210 mm (8.27")
- Height: 95 mm (3.74")
- Depth: 315 mm (12.4")
- Weight: 2.65 kg (5.84 lbs)

The Auditor's 120-volt technology is a key feature that sets it apart from many other headphone amplifiers on the market. This high-voltage design allows for an exceptionally wide dynamic range and headroom, which is crucial for accurate monitoring in professional audio environments. The discrete SUPRA operational amplifiers, designed and manufactured by SPL, are at the heart of this technology.

These op-amps operate at voltages significantly higher than those found in typical audio equipment, which usually run at around 30 to 60 volts. The increased voltage allows for several benefits:

1. Increased Headroom: The higher voltage provides more room for signal peaks before clipping occurs, resulting in cleaner, more transparent audio reproduction.

2. Lower Noise Floor: The 120-volt design contributes to the Auditor's impressive signal-to-noise ratio of 116 dB, ensuring that even the quietest passages in a mix are reproduced accurately without being masked by system noise.

3. Improved Transient Response: The high-voltage design allows for faster slew rates, meaning the amplifier can respond more quickly to rapid changes in the audio signal. This results in more accurate reproduction of transients and improved overall clarity.

4. Enhanced Dynamic Range: With a dynamic range exceeding 150 dB, the Auditor can faithfully reproduce both the softest whispers and the loudest crescendos in a recording without compression or distortion.

The Auditor's mono switch is a valuable tool for checking phase coherence and mono compatibility of stereo mixes. When engaged, it sums the left and right channels, allowing the engineer to identify any phase cancellation issues that might occur when the mix is played back in mono. This is particularly important for ensuring that a mix translates well across various playback systems, including those that sum stereo to mono.

The oversized volume control on the front panel is not just for show - it's a high-precision potentiometer that allows for fine adjustments to the listening level. The wide range of adjustment (-80 dB to +10 dB) provides flexibility for different headphone sensitivities and personal listening preferences.

The balanced XLR inputs and outputs on the rear panel are another nod to professional use. Balanced connections offer better noise rejection over long cable runs, which is crucial in studio environments where the Auditor might be located some distance from the mixing console or audio interface.

In terms of build quality, the Auditor's all-metal chassis provides excellent shielding against electromagnetic interference, which is crucial for maintaining the unit's low noise floor. The adjustable front feet allow for ergonomic positioning, which can be particularly useful in cramped studio environments where space is at a premium.

While the Auditor doesn't offer the spatial simulation features of its more expensive sibling, the Phonitor, its focus on pure signal quality makes it an excellent choice for critical listening tasks. Its ability to drive a wide range of headphones, from low-impedance consumer models to high-impedance professional units, adds to its versatility in the studio.

The lack of a protective circuit for headphone disconnection, while potentially risky, is a deliberate choice by SPL to maintain the purest possible signal path. This decision underscores the company's commitment to audio quality above all else, even if it requires more careful operation by the user.

The dynamic range of 150 dB, as specified for the SPL Auditor headphone amplifier, is an exceptionally high value that manifests itself in several aspects in everyday use:

1. Noise-free operation: Such a high dynamic range means that even during very quiet passages, practically no inherent noise from the amplifier is perceptible. This allows for extremely detailed reproduction even at low volumes.

2. Rich in detail: The large dynamic range allows for the perception of the finest nuances in music, from the quietest to the loudest parts. This is particularly important for classical music or audiophile recordings that often have a very wide dynamic range.

3. Overload resistance: With a 150 dB dynamic range, the amplifier can process very loud signal peaks without distortion, avoiding clipping or compression.

4. Realistic reproduction: The human auditory sense has a dynamic range of about 120-130 dB. At 150 dB, the Auditor significantly exceeds this range, allowing for a true-to-life reproduction of the entire audible spectrum.

5. Flexibility: The large dynamic range allows for optimal driving of various types of headphones with different sensitivities, without having to compromise on sound quality.

6. Precise control: For sound engineers and producers, this high dynamic range means they can hear even the smallest errors or artifacts in a recording, which is essential for precise mixing and mastering.

7. Future-proofing: Although current recordings rarely utilize the full 150 dB dynamic range, the amplifier is prepared for future high-resolution audio formats that might potentially use a larger dynamic range.

It's important to note that the full benefit of this enormous dynamic range only comes into play in conjunction with high-quality headphones and high-quality audio recordings. In everyday use with average recordings and headphones, one probably won't be able to exploit the full range of these 150 dB, but the reserves ensure consistently clean and distortion-free reproduction.

In conclusion, the SPL Auditor represents a no-compromise approach to headphone amplification. Its high-voltage design, meticulous attention to signal integrity, and robust construction make it a valuable tool for audio professionals who demand the utmost accuracy in their monitoring chain. While its price point may put it out of reach for some, those who invest in the Auditor will find a device capable of revealing nuances in their mixes that might otherwise go unnoticed, potentially leading to better-sounding final products.

TEST: Soundcraft MFXi 12

 Although I have been involved with music technology of all kinds for several decades now, certain facts still give me pause for thought. Recently, it struck me again how dominant British consoles have become in terms of sound shaping. Especially in the early days of studio and live sound reinforcement technology, one could almost speak of a monopoly position.

Particularly when it comes to filters, "British standards" still apply today, from simple rehearsal room setups to the upper echelons of the few remaining high-end studios with corresponding facilities. And of course, one should not forget the characteristic preamplifier.

One of the big names from this era is Soundcraft. Active for over three decades now, the company, which now operates under the aegis of Harman International, is also opening up to smaller budgets without having to make too many concessions in the aforementioned references. As expected, this unfortunately no longer goes hand in hand with European manufacturing, but must be produced on the other side of the globe, in China.

With the MFXi series in the 12-channel version, I now have a small console for testing that sets out to follow in big footsteps in terms of tradition and sound.

## Construction

Even if one didn't know which country Soundcraft originated from, the "classic" British surface of the small console jumps out at you immediately after unpacking the test subject. Villa Kunterbunt at its best! Fully committed to British tradition, the optics indulge in the classic "color orgy", once again ruining the rather discreetly oriented sense of taste of the continental European ;-)

Potentiometer knobs vie for supremacy in the "colorful-as-colorful" contest with the colors yellow, red, pastel green, purple, light blue, black and white, all presented on a dark blue frame. Yes, that's how the British are, just as isolated in terms of taste as their currency and their little island on which they roam ;-).

The MFXi 12 is a 12-channel mixer that comes in an extremely compact package with dimensions of 482 mm x 94 mm x 405 mm and a weight of 6.7 kg. In addition to the twelve mono inputs, there are two additional stereo channels available for management. As a special feature, the product has an integrated Lexicon FX device, which has 32 memory slots. If needed, the mixer can also be rack-mounted using two side wings.

A mono channel strip is structured as follows:

- Mic: lockable XLR input for microphones or similarly low-level signals, all of which can be supplied with 48V phantom power if needed
- Line: balanced jack input for high-level signals such as drum machines, keyboards, etc.
- Insert: insertion point before the gain control in Y-configuration, typically used for compressor or limiter
- Gain: preamplifier control from 5 dB to 60 dB
- High-Pass Filter: low cut filter at 100 Hz, often used to reduce noise from wooden stages or finger-drumming noises of hyperactive singers
- HF: Shelving filter at 12 kHz with +/- 15 dB
- MF: Semi-parametric filter from 150 Hz to 3.5 kHz with +/- 15 dB at a Q factor of 1.5
- LF: Shelving filter at 80 Hz with +/- 15 dB
- Aux 1: fixed pre-fade, thus suitable as a monitor path
- Aux 2: switchable pre- or post-fade
- Fx: Level control for Lexicon FX
- Pan: Panorama control
- Mute: Mute switch with control LED
- PFL: Pre-Fade-Listening, signal is routed to headphones, control room outs and signal LEDs for pre-listening
- Mix/Sub: optional routing of the signal to main out or subgroup left/right
- PK: red peak LED, connected to pre-EQ, post-EQ and post-fade
- SP: Signal LED, indicates if a signal is present, pre-EQ switched

As expected, the stereo input channels lack XLR inputs, and there is no insertion point. They also feature a fixed mid-filter at 720 Hz, also adjustable by +/- 15 dB, with a Q factor of 0.8.

The master section has the usual control options of a console in this series, such as separate subgroup management and FX management. It's nice that despite the cramped space on the master control panel, thanks to "Villa Kunterbunt", you can assign the individual controls to their subordinate and superordinate functions in seconds.

On the rear, the console has only a very sparse equipment, which is limited to an IEC connector, an ON/OFF switch and a Kensington anti-theft device.

## Practice

It's tight on the console surface, that much must be said. Anyone hoping to be able to turn a potentiometer of the channel strips completely by 270 degrees with two fingers, with the exception of the gain control, will unfortunately be disappointed, unless they have extremely slim fingers like a model or stopped growing at the tender age of nine. Here you inevitably always bump into the adjacent controls, so you can only change your settings in 2-3 approaches. Well, not an existential criterion, but it annoys me like hell!

On the other hand, the controls run pleasantly stiffly, so that at least you don't unintentionally change the settings of the next pot again. At least that... Of course, you have to save on width to keep the 19-inch component in mind, but a little more depth would have worked wonders here. The general workmanship, however, is very good, there's nothing to complain about here. No wobbling, no jerking, no scratching, excellent.

In terms of preamp and filters, the MPXi 12 leaves a really good impression. Not that it completely blows you away in both sound groups, as you're used to from the large Soundcraft consoles, but for the price Soundcraft is asking, the components do quite remarkable things.

Once again, the Lexicon FX processor proves to be a real highlight. The spaces generated by the integrated effects unit are of high plastic density, great liveliness and know how to convince more than just for this price, respect!

## Conclusion

Nomen est omen! That's what Soundcraft must have said to themselves when they conceived the concept of the MPXi series. The task of bringing a good-sounding console to market as inexpensively as possible while not having to cut too many trademarks has been accomplished by the British company.

With the MPXi 12, the traditional company has created a small, flexible console that doesn't disappoint in terms of sound, scores in terms of workmanship, and comes with an excellent sounding Lexicon effects unit right from the start, for which you would have had to pay far more than half the console price for a hardware version not too long ago.

If it weren't for this cramped space on the control panel, you'd have to search hard to find fault with the product.

Handy, practical, good, a real Soundcraft indeed.

## Technical Specifications

- Frequency response: 20 Hz - 20 kHz (+0/-1 dB)
- THD: <0.007% @ 1 kHz, 0 dBu
- Noise: -127 dBu (150Ω source, max gain, 20 Hz - 20 kHz)
- Crosstalk: >90 dB @ 1 kHz
- Input impedance: Mic: 2 kΩ, Line: 10 kΩ
- Maximum input level: Mic: +22 dBu, Line: +30 dBu
- Phantom power: +48V, switchable per channel
- EQ: HF: ±15 dB @ 12 kHz, MF: ±15 dB (150 Hz - 3.5 kHz), LF: ±15 dB @ 80 Hz
- High-pass filter: 100 Hz, 18 dB/octave
- Aux sends: 2 (1 pre-fade, 1 switchable pre/post-fade)
- FX send: Post-fade
- Subgroups: 2 (L/R)
- Main mix: Stereo
- Lexicon FX: 32 presets (various reverbs, delays, choruses)
- USB interface: 2-in/2-out, 24-bit/48 kHz
- Power consumption: 40W
- Dimensions (W x H x D): 482 x 94 x 405 mm
- Weight: 6.7 kg

## Additional Features

The Soundcraft MFXi 12 also includes several features that enhance its versatility:

1. GB30 Mic Preamps: These renowned preamps, designed by Graham Blyth, provide exceptional clarity and headroom.

2. Sapphyre Asymmetric EQ: This EQ design allows for more musical and natural-sounding adjustments to the audio signal.

3. dbx® Limiters: Channels 1-2 feature built-in dbx limiters to prevent signal overload.

4. 100mm Faders: Long-throw, smooth faders for precise level control.

5. Lexicon Effects Engine: 32 studio-grade effects including reverbs, delays, and modulation effects.

6. Aux Sends: Two aux sends per channel for external effects or monitor mixes.

7. Direct Outputs: Each mono input channel features a direct output for multitrack recording.

8. 4-band EQ on Mono Inputs: Allows for detailed sound shaping.

9. 3-band EQ with Swept Mids on Stereo Inputs: Provides flexibility for stereo sources.

10. Mute Groups: Allows for quick muting of multiple channels.

11. Talkback Section: Built-in talkback mic with routing options.

12. 12-segment LED Meters: Accurate visual feedback of signal levels.

13. Rack-mount Kit Included: Allows for easy integration into existing setups.

14. Robust Metal Chassis: Ensures durability for live and studio use.

15. Global Phantom Power: Switchable +48V phantom power for condenser microphones.

## Applications

The Soundcraft MFXi 12 is suitable for a wide range of applications:

1. Small to Medium Live Venues: Ideal for clubs, bars, and small theaters.

2. Houses of Worship: Perfect for managing multiple inputs in church settings.

3. Educational Facilities: Great for school auditoriums and music departments.

4. Project Studios: Offers professional features for home and project studio recording.

5. Mobile DJs: Compact size makes it suitable for mobile setups.

6. Podcasting: Multiple inputs and USB interface make it great for podcast production.

7. Small Broadcast Setups: Suitable for small radio stations or internet broadcasting.

8. Corporate Events: Handles multiple microphones and playback sources for presentations.

9. Rehearsal Spaces: Provides monitoring options for band rehearsals.

10. Small Theater Productions: Manages multiple actors' mics and sound effects.

## User Interface and Workflow

The MFXi 12's user interface is designed for intuitive operation:

1. Color-coded Controls: Different colored knobs for different functions aid quick identification.

2. Logical Layout: Channel strips follow a top-to-bottom signal flow for easy understanding.

3. Clear Labeling: All controls are clearly labeled for easy reference.

4. Illuminated Switches: Mute and PFL switches are illuminated for clear status indication.

5. Centralized Master Section: All main controls are grouped for easy access.

6. Dedicated FX Return: Separate fader for the internal Lexicon effects return.

7. Flexible Monitoring: PFL and AFL options for easy signal checking.

8. Comprehensive Metering: Main output and solo bus have 12-segment LED meters.

## Sound Quality

The MFXi 12 maintains Soundcraft's reputation for excellent sound quality:

1. Low Noise Floor: The preamps and overall circuit design result in a very low noise floor.

2. Wide Dynamic Range: Capable of handling both very quiet and very loud sources.

3. Transparent EQ: The Sapphyre Asymmetric EQ allows for musical adjustments without artifacts.

4. Clean Signal Path: High-quality components throughout maintain signal integrity.

5. Warm British Sound: The preamps impart a subtle warmth characteristic of British consoles.

6. Professional Effects: The Lexicon effects add depth and space without compromising clarity.

7. Accurate Stereo Imaging: Precise pan controls and stereo channels maintain a wide, accurate stereo field.

The Soundcraft MFXi 12 distinguishes itself from other 12-channel mixers in several aspects:

1. British Sound: The MFXi 12 offers the characteristic "British" sound that Soundcraft is known for. This is particularly evident in the preamps and EQs, which impart a subtle warmth and musicality.

2. Integrated Lexicon Effects Processor: A highlight is the built-in Lexicon FX processor with 32 memory slots. The effects, especially the reverbs, are characterized by high quality and liveliness.

3. Color-coded Control Surface: The MFXi 12 stands out with its striking, colorful design. The multi-colored potentiometer knobs facilitate operation and are typical of the British style.

4. Compact Construction: With dimensions of 482 mm x 94 mm x 405 mm and a weight of 6.7 kg, the MFXi 12 is very compact and portable.

5. Flexible Channel Configuration: In addition to the 12 mono inputs, the mixer offers two additional stereo channels.

6. High-quality Filters and EQs: The MFXi 12 features the high-quality filters and EQs typical of Soundcraft, which are considered a reference in the industry.

7. Rack-mounting Option: If needed, the mixer can be rack-mounted using two side wings.

This combination of British sound character, high-quality features, and compact design makes the Soundcraft MFXi 12 an interesting option compared to other 12-channel mixers in this price range.

Furthermore, the MFXi 12 offers some additional features that set it apart:

8. GB30 Mic Preamps: These preamps, designed by Graham Blyth, provide exceptional clarity and headroom, which is not common in this price range.

9. Sapphyre Asymmetric EQ: This unique EQ design allows for more musical and natural-sounding adjustments to the audio signal, a feature often found in higher-end consoles.

10. dbx® Limiters: Channels 1-2 feature built-in dbx limiters to prevent signal overload, which is a valuable addition for live sound applications.

11. USB Interface: The inclusion of a 2-in/2-out USB interface allows for easy integration with computers for recording or playback, which is not always present in analog mixers of this class.

12. Comprehensive Routing Options: The mixer offers flexible routing capabilities, including subgroups and multiple aux sends, providing versatility for various applications.

13. Build Quality: Despite its affordable price point, the MFXi 12 maintains Soundcraft's reputation for robust construction and reliability.

14. Legacy and Support: Being part of the Soundcraft family, users benefit from the company's long-standing reputation and support network.

These features, combined with Soundcraft's heritage in professional audio, make the MFXi 12 a unique offering in the 12-channel mixer market. It bridges the gap between budget-friendly mixers and more expensive professional-grade equipment, offering a taste of high-end features at a more accessible price point.

In conclusion, the Soundcraft MFXi 12 represents a compelling option for those seeking professional-grade mixing capabilities in a compact, affordable package. It successfully brings many of the hallmarks of larger Soundcraft consoles to a more accessible format, making it a versatile tool for a wide range of audio applications.

TEST: Sony DWZ M50

 ## Sony DWZ-M50 Wireless Microphone System: A Hidden Gem in the Audio World

It's always interesting to observe how a company name, which is among the most famous in one sector of consumer electronics, can be underappreciated in a related field despite years of continuous presence and high-quality product lines. Sony is all too familiar with this phenomenon. Despite producing high-end reverb units and the legendary Dash machines in the late eighties, the corporation is mostly associated with screens or playback devices in the minds of users.

To bridge this gap in perception, the Japanese conglomerate has introduced the DWZ Wireless Series to their lineup. Manufactured in Korea, the products consist of the DWZ-B30GB, designed for instrumentalists, and the DWZ-M50 system, which I have for testing. The latter comprises a microphone and its corresponding receiver. Both products operate in the 2.4 GHz band, which is exempt from the general unrest regarding carrier frequencies. The signal is transmitted digitally at 24-bit/48 kHz.

A helpful tip: on the Thomann Music Store website, you can view the frequencies used by any wireless system, regardless of manufacturer, along with their worldwide approvals and any associated restrictions. This is an invaluable tool that sheds light on the sometimes chaotic regulations of international radio traffic.

## Construction

The Sony DWZ-M50 package includes the ZTX-M01 handheld microphone, the ZRX-HR50 half-rack receiver with power supply, a microphone holder, and two antennas that are screwed onto the back of the receiver using two bayonet locks. The overall build quality of the package is impressive. Sufficiently thick sheet steel or metal is used at almost all relevant points, suggesting a long lifespan. You'll search in vain for cheap plastic latches or other inferior materials.

All connections on the receiver are located on the rear panel and consist of two unbalanced 1/4" outputs, a balanced XLR output (switchable between line and microphone level), and a USB port for maintenance work. On the front, an endless rotary encoder with push function navigates the menu, complemented by an Esc button for returning to the main screen and the On/Off switch. A clearly readable color display informs the user about all important parameters such as reception quality, transmitter battery status, the selected channel, and any use of the internal equalizer. The equalizer features five bands (60 Hz, 250 Hz, 1 kHz, 4 kHz, 12 kHz), each of which can be boosted or cut by 12 dB.

The system transmits on six different channels, with two transmission options available. In the "Wide" preset, the 2.5 MHz range is used, which leaves other frequency users virtually undisturbed. In return, you have to accept a slightly higher latency. The alternative is "Narrow," which operates with a narrower bandwidth and shorter latency but may potentially interfere with existing wireless networks. The handheld and receiver obtain their optimal channel selection through a scan mode, which in this setup is called "Clear-Channel-Scan."

The ZTX-M01 handheld is powered by two AA batteries and, according to the manufacturer, has an average operating time of 8 hours. A lockable Power/Mute switch allows the microphone to be temporarily deactivated, which is particularly useful during breaks in performance and relieves the sound engineer. The lock can only be accessed by unscrewing the middle part of the microphone. Here you'll also find a digital display for matching the channel to the receiver and a USB port for firmware updates.

The handheld comes factory-equipped with a dynamic capsule featuring a cardioid polar pattern. If needed, it can be retrofitted with a proprietary supercardioid, wide cardioid, or condenser capsule. Third-party capsules from various manufacturers such as Shure or Neumann can also be mounted on the handheld. When unscrewing the microphone capsule, there's also the option to reduce the output level of the microphone via a small PAD switch, offering attenuation of 6 or 12 dB. This allows you to control even Tom Jones-level sound pressure without internal distortion.

## In Practice

Setting up the combination is, as expected, straightforward. The handheld and receiver find each other immediately, with channel selection occurring automatically. In terms of sound, the ZTX-M01 offers a very clear and neutral reproduction of the voice with a slight emphasis on the presence frequencies. Nevertheless, you don't need to worry about constant de-esser use; the tonal design is practical and gives even more subtle voices good assertiveness.

The handheld feels good in the hand, shows good balance, and due to its moderate weight of about 300 grams including batteries, it won't become a burden even for delicate female arms during a longer performance. Signal transmission is stable; even several walls within my studio or a trip to the end of my garden property did not lead to any signal loss. Remarkably, the latency is extremely short and inaudible at just 3 milliseconds, guaranteeing truly immediate transmission. The handheld convinces in both singing and speech applications, shining with an unpretentious basic configuration.

## Sound Quality

The Sony DWZ-M50 system impresses with its audio fidelity. The microphone capsule delivers a frequency response that is well-suited for vocal applications, with a slight boost in the upper midrange that adds clarity and presence to the voice without becoming harsh or sibilant.

In testing, the system performed admirably across a range of vocal styles. From soft, intimate performances to powerful rock vocals, the DWZ-M50 maintained clarity and detail. The cardioid polar pattern effectively rejects off-axis sounds, helping to isolate the vocalist's performance and reduce the risk of feedback in live situations.

The system's digital transmission ensures that the audio quality remains consistent throughout the operating range. There's no degradation of signal quality as you move away from the receiver, which is sometimes an issue with analog wireless systems.

The built-in equalizer in the receiver is a valuable tool for fine-tuning the sound to suit different voices or to compensate for room acoustics. With its five bands, it offers enough flexibility to make meaningful adjustments without becoming overly complex.

## Range and Reliability

One of the standout features of the DWZ-M50 is its impressive range. In open-air tests, the system maintained a stable connection at distances exceeding 60 meters (about 200 feet). Even in more challenging environments with walls and other obstacles, the range remained more than adequate for most live performance scenarios.

The 2.4 GHz band, while more crowded than traditional UHF bands, proved to be surprisingly robust. The Clear-Channel-Scan feature effectively identified and locked onto the clearest available frequencies, minimizing interference even in RF-dense environments.

During extended use, the system demonstrated excellent reliability. There were no dropouts or unexpected disconnections, even when other wireless devices were in use nearby. This level of dependability is crucial for professional applications where signal loss is not an option.

## Battery Life

Sony's claim of 8 hours of battery life from two AA batteries proved to be conservative in our tests. With fresh alkaline batteries, we consistently achieved over 9 hours of continuous use before the low battery indicator appeared. This is more than enough for most performance scenarios, though for longer events or heavy users, rechargeable NiMH batteries could be a cost-effective and environmentally friendly option.

The battery life indicator on both the handheld transmitter and the receiver display was accurate and provided ample warning before power depletion, allowing for timely battery changes.

## Versatility

While the DWZ-M50 is primarily designed for vocal applications, its versatility shouldn't be overlooked. The ability to swap out the microphone capsule opens up a range of possibilities. For instance, using a supercardioid capsule could provide better isolation in noisy stage environments, while a condenser capsule might be preferred for capturing more nuanced performances in controlled settings.

The switchable output level on the receiver (between mic and line level) adds to the system's flexibility, allowing it to interface seamlessly with a wide range of audio equipment from mixing consoles to camera inputs for video production.

The inclusion of both XLR and 1/4" outputs on the receiver is a thoughtful touch, ensuring compatibility with virtually any audio setup without the need for adapters.

## User Interface and Ease of Use

Sony has done an excellent job with the user interface of the DWZ-M50 system. The color display on the receiver is bright, clear, and provides all the necessary information at a glance. The menu system, navigated by the rotary encoder, is intuitive and easy to use, even for those who might be less technically inclined.

The automatic pairing between the transmitter and receiver is a time-saver, especially in fast-paced live environments. The Clear-Channel-Scan feature, which automatically selects the best available frequency, works quickly and effectively, reducing setup time and potential for user error.

The lockable power/mute switch on the handheld transmitter is a smart feature that prevents accidental muting or power-off during performance. While the lock can only be engaged by partially disassembling the microphone, this design ensures that it won't be accidentally toggled.

## Comparison with Competitors

In its price range, the Sony DWZ-M50 competes with systems from established pro audio brands like Shure, Sennheiser, and Audio-Technica. While these brands may have more name recognition in the professional audio world, the DWZ-M50 holds its own in terms of features and performance.

Compared to similarly priced systems, the Sony offers comparable or better sound quality, and its range and reliability are on par with the best in its class. The inclusion of a 5-band EQ in the receiver is a standout feature that many competitors don't offer at this price point.

Where some competitors might have an edge is in their ecosystem of compatible products or in the availability of alternative capsules. However, Sony's openness to third-party capsules somewhat mitigates this disadvantage.

## Value for Money

Considering its feature set, build quality, and performance, the Sony DWZ-M50 represents excellent value for money. At a street price under 600 euros, it offers capabilities that are often only found in systems costing significantly more.

The robust construction suggests that this is a system built to last, which should be factored into any value calculation. Additionally, the flexibility offered by the interchangeable capsule design and the built-in EQ adds to the long-term value of the system.

## Potential Improvements

While the DWZ-M50 is an impressive system overall, there are a few areas where improvements could be made in future iterations:

1. Including a carrying case would be a welcome addition, especially for users who frequently transport their equipment.

2. The ability to use rechargeable lithium-ion batteries, perhaps with a charging dock, could appeal to heavy users and venues.

3. While the 2.4 GHz band performs well, offering a UHF option could broaden the system's appeal in markets where 2.4 GHz wireless use is more restricted.

4. Expanding the range of proprietary capsules would give users more options without needing to look to third-party manufacturers.

## Conclusion

For those willing to look beyond the big names in the transmitter segment, Sony has a real bargain on hand with the DWZ-M50 package. With a street price under 600 euros, the system sits in the mid-price range but can boast features that are generally only included in the scope of delivery from a four-digit price point upwards.

The build quality of the Japanese manufacturer's Made in Korea product is very good and suggests a long service life. In terms of sound, the handheld asserts itself in practice through its neutral to brilliant tuning and covers a correspondingly wide range of vocal applications. The PAD switch also allows you to tame very loud voices accordingly, even before the signal starts its journey to the receiver.

The Sony DWZ-M50 is a product worth testing, one that doesn't need to shy away from comparison with other providers. It offers professional-grade features and performance at a price point that makes it accessible to a wide range of users, from ambitious amateurs to working professionals.

Its combination of sound quality, reliability, and user-friendly features makes it a strong contender in the competitive wireless microphone market. While it may lack the brand recognition of some competitors in the pro audio space, the DWZ-M50 proves that Sony's expertise in consumer electronics translates well to professional audio products.

For venues, houses of worship, educational institutions, or touring performers looking for a dependable wireless system that won't break the bank, the Sony DWZ-M50 deserves serious consideration. It's a reminder that sometimes the best solutions come from unexpected places, and that it pays to look beyond the usual suspects when choosing audio equipment.

In an era where wireless spectrum is becoming increasingly crowded and regulated, the DWZ-M50's use of the 2.4 GHz band also offers a degree of future-proofing. As traditional UHF bands become more restricted, systems like this may become increasingly attractive options.

Ultimately, the Sony DWZ-M50 is a testament to the company's engineering prowess and understanding of user needs. It's a system that punches above its weight class and serves as a worthy ambassador for Sony in the professional audio world. For those in the market for a new wireless microphone system, the DWZ-M50 is not just an option to consider – it's one that could very well end up being your top choice.