If you're interested in near-field monitors, you might frown a little at a pair of Prodipe TDC 8 monitors. Prodipe? France? I don't know it at all. I felt the same way when I recently received two medium-sized packages. However, a look at the price of just under 400 Euros for two (!) loudspeakers aroused my interest, especially since some specifications don't seem to fit into the aforementioned price segment at first glance.
In addition, the product, which belongs to the French company IPE Music, comes up with an interesting housing format, which allows an alternative installation variant to the classic stand solution. All in all, a debut that makes us want more. Let's see what else we can elicit from the monitor, especially since the competition in the budget league is anything but low. Whoever wants to acquire a firm place in the consumer's favor has to shine with a few independent detail solutions, or else lay out the blueprint for an impressive number of copyists.
Prodipe's TDC group includes the 5, 6 and 8 versions, which are named after the size of the respective woofer. We have the most powerful version with the designation 8 for testing.
Construction
A single TDC 8 box comes with a weight of 10 kilograms and the dimensions (HxWxD): 350 mm x 250 mm x 280 mm, which is easy to handle and place accordingly in practice. If you want to place the speakers in front of you on the work surface, you also have the option of placing the monitor in either a straight or upwardly slanted version by turning the case. This has the advantage that you don't know the sweet spot in the chest area when the work surface is comparatively low, but it actually radiates in the direction of the hearing. In order to be able to operate the speakers close to a monitor, the construction has been magnetically shielded.
In terms of speakers, the Prodipe TDC 8 has a classic setup, meaning it has a two-way solution with a 30-watt 1-inch tweeter and an 8-inch woofer, which has an output of 80 watts, all figures as RMS. According to the manufacturer, the system has a frequency response of 40 Hz - 20 kHz with a 98dB S/N ratio. XLR balanced, 6.3 mm jack balanced/unbalanced and RCA are available as inputs, whereby the high frequency range can be varied by -2dB, -1dB, 0dB, +1dB using a rotary control. Finally, there is the power or IEC IEC connector with fuse and voltage selector switch.
In general, the boxes, which were developed in France and manufactured in China from MDF, are very cleanly finished and leave a solid impression. The entire construction is covered by black foil and shines with flawless implementation and the non-existent smell of the infamous hardware store formaldehyde flair.
In terms of circuitry, the Prodipe TDC 8 is an active solution, which includes the placement of the crossover before the respective power amplifiers. The advantages are mostly a better impulse behavior and the optimized control of the individual speakers. The final volume of the speakers can be adjusted continuously via a non-gridded rotary control. Personally, I prefer a grid on the volume control, as this is the only way to set both speakers to exactly the same output volume.
However, it gets really interesting when placing the speakers, since this is the coaxial principle, where tweeter and woofer radiate the sound from a common point. This can only be implemented by placing the tweeter in the center or, as in this case, in the middle of the woofer (the dome of the bass speaker was removed in favor of the tweeter driver) and is usually reserved for higher priced products. The advantages are, in addition to a higher phase fidelity, mostly a more authentic reproduction of the stereo image, and in addition, one can significantly reduce the cabinet volume in terms of width.
Another advantage of this design is the flexible alignment of the system. Since there is no "top" or "bottom" of the system apart from the arrangement of the bass reflex port, you can turn the monitor as you like, the radiation of the sound is not affected.
Practice
Although the slope of the cabinet invites placement on the work surface, I first position the speakers in my studio on the appropriate stands in the back of the room to better assess the stereo image. As a starting position, we first select the linear setting in the high frequency range without any cut or boost. Already with the first sounds coming out of the speakers, a strong bass presence around 100 Hz becomes apparent, which makes the speaker sound comparatively voluminous, but also very quickly, almost too quickly a feeling of satisfaction in the mix. It is important to keep this in mind during production.
The impulse behavior of the speaker is good, the stereo image is balanced and the phase fidelity is exemplary due to the coaxial principle. The system's depth staggering is fun and conveys a relaxed working feeling. Among other things, the comparatively deformation-resistant plastic material of the woofers, which are responsible for a discreetly hard basic sound, is striking. Especially at low listening volumes, subtleties in the low-mid range become a bit stiff, but this decreases with increasing volume.
By far one of the most difficult reproductions for a speaker system are distorted electric guitars. The conglomeration of a strong midrange presence with countless overtones regularly causes even constellations from the high price range to capitulate and transforms guitars that were just recorded in a high quality into scratchy buzz saws or muddy/muffy wool blanket representatives in no time. Especially the range between 1 - 4 kHz decides about woe and weal of a guitar recording and wants to be considered accordingly. Here the Prodipe TDC 8 does comparatively well, which is due to a slight overpresence at 3 kHz.
On the other hand, the system has a discreet hang between 200 - 800 Hz, which leads to a loss of warmth in the basic sound. If one wants to trim the monitor to linearity, one would be inclined to lower the tweeter by -1dB, which would bring about an equalization of the sound at a crossover frequency of 1.8 kHz, but would also affect the entire high frequency range beyond the 3 kilohertz mark. Ultimately, everyone has to personally find their preferences and adjust their hearing accordingly.
Due to the strong bass presence between 80 and 120 Hz, an optional additional bass reduction would have been very nice in my opinion, so you unfortunately only have the option to intervene in its basic sound via a placement of the monitor. You should therefore make sure that the speakers are placed far enough away from the nearest wall, as otherwise unpleasant overlaps can quickly occur.
Conclusion
With the Prodipe TDC 8 you get a good sounding and very well manufactured monitor, which earns many plus points due to its construction. The basic sound is unobtrusive, the stereo image is good, the price is excellent and the flexibility due to the optional angled positioning, coupled with the coaxial principle, is very good.
Additional Informations:
Prodipe Audio: Revolutionizing the World of Professional Audio Equipment
Introduction: Prodipe Audio is a leading company in the field of professional audio equipment, catering to musicians, sound engineers, and audiophiles worldwide. Founded in 2000 by Ludovic Lanen, a renowned French sound engineer and musician, the company has rapidly established itself as a reliable and innovative brand in the audio industry. Prodipe Audio's commitment to delivering high-quality products at affordable prices has made it a favorite among professionals and amateurs alike.
Vision and Mission: Prodipe Audio's vision is to democratize access to top-notch audio equipment by offering cutting-edge technology at competitive prices. The company's mission is to empower musicians, producers, and sound engineers with the tools they need to achieve their creative visions and elevate the quality of their work.
Product Range: Prodipe Audio boasts an extensive range of products designed to meet the diverse needs of its customers. The company's offerings include:
Studio Monitors: Prodipe Audio's studio monitors are renowned for their accuracy and fidelity, providing precise sound reproduction essential for critical listening and audio mixing.
b. Microphones: The company's microphones are engineered to capture every nuance of sound with exceptional clarity. From condenser mics to dynamic ones, Prodipe Audio's microphone range caters to a wide array of recording applications.
c. Headphones: Prodipe Audio offers professional-grade headphones that deliver a balanced and accurate sound, making them a popular choice among musicians and music producers.
d. Musical Instruments: The company also manufactures musical instruments, such as electronic drum kits and MIDI controllers, that blend cutting-edge technology with ergonomic designs.
e. Wireless Systems: Prodipe Audio's wireless systems enable performers and presenters to move freely while maintaining excellent audio transmission quality.
Innovative Technology: Prodipe Audio places a strong emphasis on research and development to continually innovate and refine their products. The company collaborates with expert sound engineers, musicians, and technicians to ensure that each product undergoes rigorous testing and improvement. Additionally, Prodipe Audio invests in cutting-edge technology to stay at the forefront of audio equipment advancements.
Artist Endorsements: Prodipe Audio's commitment to quality has garnered support from numerous prominent artists and sound professionals. Many musicians and producers, including Ludovic Lanen himself, endorse Prodipe Audio products, serving as a testament to the brand's credibility and performance.
Global Presence: With its headquarters located in France, Prodipe Audio has expanded its presence globally through a network of authorized dealers and distributors. Its products are available in music stores and online retailers across Europe, Asia, the Americas, and other regions.
Community Engagement: Prodipe Audio actively engages with its user community through online forums, social media platforms, and events. The company values customer feedback and incorporates it into product improvements and future developments.
Commitment to Sustainability: Prodipe Audio demonstrates a strong commitment to environmental sustainability by adhering to eco-friendly manufacturing practices, using recyclable materials in packaging, and complying with relevant regulations.
Awards and Recognition: Over the years, Prodipe Audio has received several industry accolades and awards for its exceptional product performance and innovation, further solidifying its position as a market leader.
Conclusion: Prodipe Audio's journey from a modest start-up to an internationally recognized brand has been fueled by its unwavering dedication to delivering high-quality audio equipment at accessible prices. With its relentless pursuit of innovation and customer satisfaction, Prodipe Audio continues to inspire and equip musicians, sound engineers, and audio enthusiasts worldwide, setting new standards for excellence in the professional audio industry.
Nearfield Monitors: Unveiling Precision in Professional Audio Monitoring
Introduction: Nearfield monitors, also known as studio monitors or reference monitors, play a pivotal role in professional audio production, providing accurate and reliable sound reproduction. These specialized speakers are designed for close-range listening, making them an indispensable tool for music producers, sound engineers, and recording studios. This report delves into the fascinating world of nearfield monitors, exploring their history, technology, features, and applications.
Historical Background: The concept of nearfield monitoring dates back to the mid-20th century when the need for accurate audio monitoring arose in recording studios. Early studio monitors were large, far-field systems that were challenging to calibrate and often resulted in inaccuracies due to room reflections. As recording techniques advanced, engineers sought a more precise solution, leading to the development of nearfield monitors. The first commercially available nearfield monitor, the Yamaha NS-10, revolutionized the industry and set the standard for reference monitoring in studios.
Key Features and Technology: Nearfield monitors are meticulously engineered to provide a flat frequency response and an unbiased representation of audio content. Key features and technologies that contribute to their accuracy include:
a. Tweeter and Woofer: Nearfield monitors typically consist of a high-frequency tweeter and a low-frequency woofer, with separate amplification for each driver. This two-way or three-way design allows for better control over the frequency range.
b. Enclosure Design: Nearfield monitors come in various enclosure types, such as ported, sealed, or bass-reflex designs. The choice of enclosure affects the speaker's low-frequency response and bass extension.
c. Crossover Network: The crossover network in nearfield monitors divides the audio signal into appropriate frequency bands and sends them to the corresponding drivers, ensuring seamless integration between tweeter and woofer.
d. Bi-Amping or Tri-Amping: Many high-end nearfield monitors offer bi-amping or tri-amping configurations, where each driver is powered by a dedicated amplifier channel. This setup enhances precision and reduces intermodulation distortion.
e. Room Calibration: Some nearfield monitors feature advanced room calibration technologies, using built-in microphones and DSP processing to compensate for room acoustics and optimize audio performance.
f. Magnetic Shielding: Magnetic shielding is employed to prevent electromagnetic interference, making nearfield monitors suitable for use near sensitive equipment like computer monitors.
Advantages of Nearfield Monitoring: The use of nearfield monitors offers several advantages to audio professionals:
a. Accurate Audio Representation: Nearfield monitors deliver a flat frequency response, allowing producers and engineers to make critical decisions with confidence and accuracy.
b. Reduced Room Interference: Due to their close listening proximity, nearfield monitors minimize the impact of room reflections, resulting in clearer and more precise audio monitoring.
c. Enhanced Stereo Imaging: The focused sound dispersion of nearfield monitors facilitates a detailed stereo image, aiding in the localization of sound sources.
d. Low Listening Fatigue: Nearfield monitors are designed for extended listening sessions with minimal listener fatigue, making them ideal for long studio sessions.
e. Portability and Versatility: Nearfield monitors come in various sizes, making them suitable for different studio setups and even home recording environments.
Applications: Nearfield monitors find extensive applications in various fields of audio production:
a. Music Production: Producers use nearfield monitors to mix and master music tracks, ensuring precise tonal balance and optimal dynamic range.
b. Film and Television Post-Production: Audio post-production professionals rely on nearfield monitors to edit and mix sound for films, television shows, and commercials.
c. Broadcasting: Radio and television broadcasters use nearfield monitors for monitoring audio content during live broadcasts and post-production tasks.
d. Gaming and VR Audio: In gaming and virtual reality environments, nearfield monitors are employed to create immersive soundscapes and realistic spatial audio.
Notable Brands and Models: Several renowned brands dominate the nearfield monitor market, offering a wide range of models tailored to different needs and budgets. Some popular brands include Genelec, KRK Systems, Yamaha, Focal, Neumann, and Adam Audio, each known for its commitment to audio quality and innovation.
Conclusion: Nearfield monitors have become an indispensable tool in the professional audio industry, empowering musicians, sound engineers, and content creators with accurate and reliable sound reproduction. Through advancements in technology and constant innovation, these specialized speakers continue to shape the landscape of audio monitoring, driving creative excellence and setting new standards for precision in audio production.
Donnerstag, 3. August 2023
TEST: Prodipe TDC8
Montag, 31. Juli 2023
TEST: Presonus R65
You really can't complain about a lack of product variety at Presonus. In addition to mixers, interfaces, software and all kinds of detailed solutions, there are also various monitor solutions in the American company's catalogue. With the Presonus R65 made in China, there is now another representative in the retail price class under 300 euros in the program, which can come up with an old familiar in the high-frequency range.
Structure of the Presonus R65
The Presonus R65 is an active 2-way near-field monitor, which is comparatively compact with the dimensions (W x D x H): 203 mm x 261 mm x 328 mm and a weight of 6.4 kilograms. The system features a 6.5-inch woofer made of Kevlar and a ribbon tweeter separated at 2.7 kHz, which is based on the Air Motion Transformer (AMT) principle, as known from the industry leader Adam. The woofer material Kevlar also seems to be developing more and more into a standard in the field of bass loudspeakers, since the low weight and quick response are a popular argument for the woven material.
According to the manufacturer, the Presonus R65 has a frequency range of 45 Hz to 22 kHz (-3dB) and a sound pressure level of 107 dB @ 1 m. The performance data of 100 watts in the bass range and 50 watts in the treble range once again allow for use in a small close control room or in home studio. Even if the performance specifications are convincing, one should never forget the corresponding headroom for impulse peaks, which can occur with hard bass peaks.
The Presonus R65 has a rich arsenal of tonal correction options to counteract the frequently occurring problems with reflecting walls or the (forced) close positioning of the monitors on standing walls or in room corners. In particular, the swinging up in the bass range can lead ad absurdum to any perception that is kept as neutral as possible, which is why Presonus wants to tackle this problem with 2 different filters. More on that later in the connection area.
Visually, the Presonus dares to get used to terrain, although the blue on the front, reminiscent of old turbo sound systems, will definitely find its fans. As the official company color, it is quite understandable, but most users will probably prefer the neutral black, which can be done quickly by exchanging the black front baffle included in the scope of delivery. Only six Allen screws have to be loosened and tightened again. The scope of delivery of the Presonus R65 also includes the appropriate hexagonal wrench as well as a manual and the power cable. Unfortunately, it was not possible to find out whether Presonus is considering offering further Buffels in additional colors for an individual color comparison.
In terms of housing, a lot has been done to counteract the standard problems of the reflection zones. In order to minimize comb filter effects, the front edges of the housing have been angled backwards, and the bass reflex opening has also been moved to the front. In general, in my opinion, near-field monitors that are used in home studios should always have their bass reflex opening facing the front. In small control rooms, who has the opportunity to position their monitors on high stands freely in the room with the appropriate clearance of at least one meter to the rear?
In terms of workmanship, the Presonus R65 has to be attested to have a good picture. The MDF panels covered with black vinyl fit neatly together and do not allow any corners to protrude or unclean foiling to be seen. The scope of delivery also includes a small foam board, from which you can cut four feet for the purpose of decoupling from the ground. Nice, but 4 small stick-on feet would make this step superfluous again.
The back of the Presonus R65
As already mentioned, the Presonus R65 offers extensive filter settings, which are housed in addition to the entire peripheral connection on the back of the housing. On the one hand there is a gain controller with a raster at 0 dB (U). Unfortunately, only this 0 dB range can be firmly defined, but if you consider how many products in this price range have no grid at all, you cannot rate this fixation aid highly enough. The connection options are also really extensive with symmetrical XLR, symmetrical TRS and asymmetrical cinch. Especially in the home studio you should take into account the different signal sources, a high-quality XLR signal routing is not always available.
When it comes to filters, Presonus comes up with a standardized treble and bass filter. The treble filter allows the settings 0 dB, -1.5 dB and -4 dB via a pressure switch, as well as an increase of +1 dB from around 2 kHz. The practical test will show whether an increase in a ribbon tweeter is necessary. In the bass range there is the option of a high-pass filter at 60 Hz, 80 Hz and 100 Hz, or you can also leave the filter on linear.
A special feature is the "Acoustic Space", which performs bass shelving below 250 Hz with 0, -1.5 dB, -3 dB and -6 dB. This should at least rudimentary the o. can get a grip on the tonal problems of an unfavorable positioning. The practice of the user will have to show whether these comparatively ruthless interventions in the sound can be better solved by an optimized positioning of the monitors. Remember, the more capital you invest in optimizing the control room in advance, the less you have to try later to get tonal over- or under-emphasis under control.
The energy-saving mode, which switches the speakers to standby mode after about 30 minutes of inactivity, is also very pleasant. It is activated by holding down the HF Driver and the Acoustic Space button for about 3 seconds.
The Presonus R65 in action
After activating the Presonus R65, the listener is initially offered a comparatively neutral sound, which is immediately noticeable in the ribbon tweeter. However, not in the form of a harsh, rather aggressive high frequency range, as was previously the case with some suppliers, but rather with all its advantages that ATM technology offers. The high-frequency range is comparatively airy and very quick to respond. There is no overemphasis, although the sound of an ATM tweeter requires a certain listening time for some users.
If we go a little deeper into the high mids in terms of frequency, we come across a weak point of the Presonus R65. The sound in this frequency range is comparatively "throaty", possibly also a bit "hollow", which makes the vocal range in particular sound a bit cold. In general, the system sounds comparatively harsh, which is not necessarily a disadvantage. However, you should always listen to it against another reference pair, especially in the mixdown, in order to regularly put your hearing into perspective.
A strength of the Presonus R65 is the mid and low-mid range. E-guitars and e-basses are reproduced quite succinctly and can assert themselves well in terms of sound. The playback is taut and well fanned out, so that many subtleties find their way into the listener's ear. Incidentally, the stereo image of the Presonus R65 is somewhat more focused thanks to the ATM technology, which means the stereo triangle is smaller, but it can also assert itself better in acoustically difficult rooms.
What the Presonus R65 lacks, however, is real bass. I am inclined to claim that everything below 150 Hz is only reproduced acoustically in a rudimentary manner. Unfortunately, this shortcoming cannot be compensated for using appropriate filters, since all sound measures in the bass range were only designed to reduce bass. Although Kevlar woofers are known for their quick response and clean definition, the Presonus R65 woofer seems to me to be clamped in very tightly, or is fixed by a very strong magnet. The tonal definition is very good as a result, but the hub suffers greatly as a result. Only the use of a subwoofer can help here, with Presonus offering a suitable extension with the Tremblor series.
The impulse behavior of the boxes, on the other hand, is very decent, and the spatial resolution is also absolutely convincing in the somewhat smaller stereo triangle.
Conclusion
With the Presonus R65, the American manufacturer has a near-field monitor in its ranks that can shine with a neutral basic sound and convincing high-frequency reproduction. Thanks to extensive filter settings, the system is also impressive in rooms with difficult acoustics.
If the manufacturer could get the somewhat underrepresented high-mid reproduction and the weak low bass under control, the system could definitely establish itself in the first league of the retail price class under 300 euros.
Additional Informations:
Comprehensive Report on PreSonus Audio
1. Introduction:
PreSonus Audio is a leading technology company specializing in audio hardware and software solutions for music recording, production, and live sound applications. Founded in 1995 by Jim Odom and Brian Smith in Baton Rouge, Louisiana, USA, PreSonus has rapidly grown into a prominent player in the pro audio industry. This report provides a comprehensive overview of PreSonus Audio, including its history, product range, technological innovations, market position, and commitment to empowering musicians and audio professionals.
2. Company Background:
PreSonus Audio was established with the vision of providing accessible and user-friendly audio solutions for musicians and recording engineers. The founders, both musicians and audio enthusiasts, sought to bridge the gap between professional audio quality and affordability. Through innovative technologies and product offerings, PreSonus has become synonymous with high-quality audio equipment that empowers creatives across the globe.
3. Product Range:
PreSonus Audio offers an extensive product range that caters to musicians, audio engineers, and content creators. The company's product lineup includes:
a) Audio Interfaces: PreSonus audio interfaces provide high-quality audio input and output for recording and live performances. They are available in various configurations, offering a range of connectivity options.
b) Digital Mixing Consoles: PreSonus digital mixing consoles combine intuitive control surfaces with powerful digital processing, enabling seamless mixing and signal routing in both studio and live sound settings.
c) Studio Monitors: PreSonus studio monitors deliver accurate and transparent audio reproduction, essential for critical listening and professional audio production.
d) Studio One Software: Studio One is PreSonus's flagship digital audio workstation (DAW) software, offering a robust platform for music production, recording, editing, and mixing.
e) Audio Processors: PreSonus offers a range of audio processors, including compressors, equalizers, and channel strips, designed to enhance audio signals and achieve optimal sound quality.
f) StudioLive Series: PreSonus StudioLive series combines digital mixers, recording interfaces, and software integration, providing an all-in-one solution for live sound and recording applications.
g) Notion Software: Notion is PreSonus's notation software, catering to composers and arrangers for music notation and scoring.
4. Technological Innovations:
PreSonus Audio has been a driving force in technological innovations, revolutionizing the audio industry with its products. Some notable technological advancements by PreSonus include:
a) Fat Channel Processing: PreSonus introduced the Fat Channel processing technology, a powerful digital processing engine, incorporated into their mixers and audio interfaces, allowing users to apply studio-quality effects and signal processing in real-time.
b) Integrated Hardware and Software Solutions: PreSonus is known for its seamless integration of hardware and software products, ensuring a cohesive and efficient workflow for audio professionals.
c) Remote Control Software: The company developed remote control software for its digital mixers, enabling users to control mixer functions wirelessly from their smartphones or tablets.
d) Advanced DSP Technology: PreSonus utilizes cutting-edge DSP (Digital Signal Processing) technology in their products, enabling low-latency monitoring, audio effects, and real-time audio processing without taxing the computer's CPU.
5. Market Position and Global Reach:
PreSonus Audio has garnered significant market recognition and has established a strong global presence. Their products are distributed through a network of authorized dealers and retailers, reaching customers in various countries.
6. Empowering Musicians and Audio Professionals:
PreSonus Audio is committed to empowering musicians and audio professionals through accessible and user-friendly technology. Their products are designed with a focus on usability, efficiency, and seamless integration, allowing creatives to focus on their artistry without technical limitations.
7. Awards and Recognition:
PreSonus Audio's dedication to innovation and product excellence has earned the company numerous awards and accolades. These accolades affirm the company's commitment to delivering high-quality audio solutions.
8. Education and Support:
PreSonus Audio provides extensive educational resources, including tutorials, webinars, and online communities, to support musicians and audio professionals in mastering their products and techniques.
9. Conclusion:
In conclusion, PreSonus Audio stands as a leading force in the audio technology industry, providing innovative and user-friendly solutions for musicians, producers, and audio engineers. With a diverse product range, technological advancements, and a commitment to empowering creativity, PreSonus continues to shape the future of audio production, recording, and live sound, solidifying its position as a trusted and influential brand in the pro audio market.
TEST: Presonus FP-10
Along with this, the cooperation with the internally used preamps is of crucial importance. Even if the converters do a good job in terms of sound, this does not mean that the preamps also deliver a corresponding signal and vice versa. Accordingly, the combination of the two components ultimately decides the weal and woe of each interface.
In recent years, a separate class of upper middle class interfaces has emerged, priced roughly in the 500 euro range. The same devices do not smash the budget of a project studio as quickly as, for example, the 2,000 euros + league does in no time at all, but on the other hand with very good detailed solutions they can definitely help to a successful production.
The Firepod from the American manufacturer Presonus is such an interface, whose special attention was paid to the eight Class A preamps, which should still be worth a comment or two in the course of the test.
construction
The Presonus Firepod is a 1U 19 inch component with an installation depth of just under 15 centimeters. The device is a pure Firewire audio interface (no USB available) with 24-bit / 96 kHz conversion rate. Conceptually it is an 8-in / 8-out interface, which is controlled by the included software (PC and Mac). The minimum system requirement for Mac is a G4 CPU 800 MHz or more with 512 MB RAM (as always, at least 1 GB, otherwise the operating system hardly runs), for PC Vista or XP at 1.2 GHz and 512 MB RAM.
The system is stackable up to three devices, which allows a 24-track input routing. For a balanced studio look, however, it must be remembered that the input signals are on the front and that, with the appropriate wiring, a mass of cables that should not be underestimated is stretched out in front of you.
The device comes with Cubase LE recording software, and the buyer is also offered the Presonus ProPak software suite with over 2 GB of plug-ins, loops and samples as a bonus.
On the input side, the Presonus Firepod has eight analog inputs on the front, which are designed as combo XLR connectors. Two switches can be used to apply 48 volt phantom power to channels 1 - 4 and 5 - 8 respectively. A special feature are channels 1 and 2, which can serve as a symmetrical send / return circuit. External limiters, compressors or similar can be looped in here without occupying an additional channel.
The eight preamps can each be adjusted from - 20 dB to + 20 dB and unfortunately only have a clip LED as a level control. A main controller controls the output to the main monitors, a phones controller controls the internal headphone amplifier. A mixer control can be used to continuously fade between the input signals and the playback level on outputs 1 and 2. The end of the front panel is a two-color LED, which lights up blue if there is correct synchronization between the computer and Firewire interface or S/PDIF interface, otherwise it lights up red.
On the back, next to the power supply connection (power supply is included), there is a strain relief where the thin power cable can be hooked up in floor-FY-pedal style. Not very elegant, but useful. However, the cable should remain there if possible after it has been clamped once, repeated removal and reconnection will wear through the plastic sheathing.
In addition to the two Firewire connections and an S/PDIF In/Out configuration, the Firepod also has MIDI In/Out. In addition to the main control output for the main monitors, there is also a cue mix line output, both in left / right jacks. In contrast to the main control, the volume of which can be adjusted using the volume control on the front, the sum signal is present at the cue mix output without any dynamic control options. A headphone amplifier can be connected here, for example.
The 8 line outputs described at the beginning follow, all designed as balanced jacks. The line inputs for channels 1 and 2 form the end on the right. Devices that do not require preamplification, such as MP3 players or external effects processors, should be connected here. The control panel is completed by the preamp outputs of channels 1 and 2.
Practice
The configuration of the Presonus Firepod is very simple. All drivers for Windows are included with the product, but with the Mac you can really lean back and relax, since the FP10 drivers are already in the Core Audio of the Mac and you only have to select the configuration in the menu window.
Right from the start, the excellent sound of the preamps strikes you. Equipped with above-average dynamic behavior, the preamps impress with their low-noise and detailed resolution, even with quiet and difficult signals.
The converters do their job satisfactorily throughout, but they cannot reproduce the very good signal processing of the preamps at the input with the same quality on the output side. Cascading to 3 devices can “only” be carried out at 44.1 kHz, and you also lose 2 of the 3 S/PDIF interfaces.
What I personally really miss is an at least rudimentary level indicator. The preamps deserve at least a 7-digit LED chain due to their quality, since with a clip LED you really only have the most necessary control over the signal to be processed.
However, if you always keep in mind what the Firepod delivers in terms of sound at this price, various components are already put into perspective. Especially when it comes to preamps, the product converts to a quality level that is otherwise only found in the next higher class.
Conclusion
The Presonus Firepod Interface offers a lot of light and little shadow. Equipped with eight excellent-sounding preamps, which are well above the price, the product knows how to convince in terms of sound in the input area. Minor shadow games such as the lack of level control, the expected cable clutter on the front and the average-sounding converters are compensated for by the very good price/performance ratio.
A very good sounding interface with a few small edges.
Additional Informations:
Comprehensive Report on PreSonus Audio
1. Introduction:
PreSonus Audio is a leading technology company specializing in audio hardware and software solutions for music recording, production, and live sound applications. Founded in 1995 by Jim Odom and Brian Smith in Baton Rouge, Louisiana, USA, PreSonus has rapidly grown into a prominent player in the pro audio industry. This report provides a comprehensive overview of PreSonus Audio, including its history, product range, technological innovations, market position, and commitment to empowering musicians and audio professionals.
2. Company Background:
PreSonus Audio was established with the vision of providing accessible and user-friendly audio solutions for musicians and recording engineers. The founders, both musicians and audio enthusiasts, sought to bridge the gap between professional audio quality and affordability. Through innovative technologies and product offerings, PreSonus has become synonymous with high-quality audio equipment that empowers creatives across the globe.
3. Product Range:
PreSonus Audio offers an extensive product range that caters to musicians, audio engineers, and content creators. The company's product lineup includes:
a) Audio Interfaces: PreSonus audio interfaces provide high-quality audio input and output for recording and live performances. They are available in various configurations, offering a range of connectivity options.
b) Digital Mixing Consoles: PreSonus digital mixing consoles combine intuitive control surfaces with powerful digital processing, enabling seamless mixing and signal routing in both studio and live sound settings.
c) Studio Monitors: PreSonus studio monitors deliver accurate and transparent audio reproduction, essential for critical listening and professional audio production.
d) Studio One Software: Studio One is PreSonus's flagship digital audio workstation (DAW) software, offering a robust platform for music production, recording, editing, and mixing.
e) Audio Processors: PreSonus offers a range of audio processors, including compressors, equalizers, and channel strips, designed to enhance audio signals and achieve optimal sound quality.
f) StudioLive Series: PreSonus StudioLive series combines digital mixers, recording interfaces, and software integration, providing an all-in-one solution for live sound and recording applications.
g) Notion Software: Notion is PreSonus's notation software, catering to composers and arrangers for music notation and scoring.
4. Technological Innovations:
PreSonus Audio has been a driving force in technological innovations, revolutionizing the audio industry with its products. Some notable technological advancements by PreSonus include:
a) Fat Channel Processing: PreSonus introduced the Fat Channel processing technology, a powerful digital processing engine, incorporated into their mixers and audio interfaces, allowing users to apply studio-quality effects and signal processing in real-time.
b) Integrated Hardware and Software Solutions: PreSonus is known for its seamless integration of hardware and software products, ensuring a cohesive and efficient workflow for audio professionals.
c) Remote Control Software: The company developed remote control software for its digital mixers, enabling users to control mixer functions wirelessly from their smartphones or tablets.
d) Advanced DSP Technology: PreSonus utilizes cutting-edge DSP (Digital Signal Processing) technology in their products, enabling low-latency monitoring, audio effects, and real-time audio processing without taxing the computer's CPU.
5. Market Position and Global Reach:
PreSonus Audio has garnered significant market recognition and has established a strong global presence. Their products are distributed through a network of authorized dealers and retailers, reaching customers in various countries.
6. Empowering Musicians and Audio Professionals:
PreSonus Audio is committed to empowering musicians and audio professionals through accessible and user-friendly technology. Their products are designed with a focus on usability, efficiency, and seamless integration, allowing creatives to focus on their artistry without technical limitations.
7. Awards and Recognition:
PreSonus Audio's dedication to innovation and product excellence has earned the company numerous awards and accolades. These accolades affirm the company's commitment to delivering high-quality audio solutions.
8. Education and Support:
PreSonus Audio provides extensive educational resources, including tutorials, webinars, and online communities, to support musicians and audio professionals in mastering their products and techniques.
9. Conclusion:
In conclusion, PreSonus Audio stands as a leading force in the audio technology industry, providing innovative and user-friendly solutions for musicians, producers, and audio engineers. With a diverse product range, technological advancements, and a commitment to empowering creativity, PreSonus continues to shape the future of audio production, recording, and live sound, solidifying its position as a trusted and influential brand in the pro audio market.
- Comprehensive Report on 19-Inch Audio Interfaces
1. Introduction: 19-inch audio interfaces are critical components in professional audio setups, catering to musicians, recording engineers, and content creators. These rack-mountable devices provide high-quality audio input and output capabilities, facilitating seamless audio recording, processing, and playback. This report provides a comprehensive overview of 19-inch audio interfaces, including their features, advantages, applications, and significance in the realm of professional audio production.
2. Features and Specifications: 19-inch audio interfaces are designed to fit into standard 19-inch equipment racks, making them a popular choice for studio installations and live sound setups. Key features and specifications of these interfaces include:
a) Multiple Input and Output Channels: 19-inch audio interfaces offer a wide array of input and output channels, ranging from a few to dozens, allowing users to connect multiple microphones, instruments, and audio sources simultaneously.
b) High-Quality Preamps: Many 19-inch audio interfaces are equipped with high-quality microphone preamps that ensure clean and transparent audio capture, minimizing noise and distortion.
c) Digital Connectivity: These interfaces often provide digital connectivity options such as USB, Thunderbolt, Ethernet, or ADAT, enabling seamless integration with computers, audio networks, and other digital audio equipment.
d) Sample Rate and Bit Depth: 19-inch audio interfaces typically support high sample rates and bit depths, ensuring accurate audio reproduction and recording.
e) Onboard DSP Processing: Some models feature onboard DSP (Digital Signal Processing) for real-time audio effects and low-latency monitoring.
f) Phantom Power: Many 19-inch audio interfaces offer switchable phantom power, essential for powering condenser microphones.
3. Advantages and Benefits: 19-inch audio interfaces offer several advantages that make them an essential component in professional audio setups:
a) Rack-Mountable Design: Their standardized 19-inch rack-mountable form factor allows easy integration into studio setups and live sound rigs, optimizing space and organization.
b) Expandability: With multiple input and output channels, 19-inch audio interfaces can accommodate various audio sources and expand as the needs of the audio setup evolve.
c) Professional Audio Quality: These interfaces are engineered to provide high-fidelity audio performance, making them ideal for critical recording and broadcast applications.
d) Low Latency: High-quality converters and onboard DSP processing contribute to low latency, crucial for real-time monitoring and responsive audio processing.
e) Versatility: 19-inch audio interfaces are versatile tools suitable for a wide range of applications, from multitrack recording to live sound reinforcement.
4. Applications of 19-Inch Audio Interfaces: 19-inch audio interfaces find applications in diverse audio production scenarios:
a) Studio Recording: In recording studios, 19-inch audio interfaces facilitate multitrack recording of vocals, instruments, and other audio sources.
b) Live Sound: In live sound setups, these interfaces serve as the central hub for audio processing and routing during concerts and events.
c) Broadcast and Podcasting: 19-inch audio interfaces are commonly used in radio stations, podcast studios, and broadcasting facilities for audio capture and processing.
d) Film and Post-Production: These interfaces are instrumental in film and post-production environments for recording and editing audio for movies, TV shows, and video projects.
5. Significance in Professional Audio Production: 19-inch audio interfaces play a pivotal role in professional audio production, as they serve as the bridge between analog and digital audio worlds. They ensure seamless integration between microphones, instruments, and computers, enabling musicians and audio engineers to capture and process high-quality audio with ease and efficiency.
6. Conclusion: In conclusion, 19-inch audio interfaces are indispensable tools in the world of professional audio production. Their rack-mountable design, extensive input and output capabilities, high-quality preamps, and low-latency performance make them a preferred choice for musicians, recording engineers, and audio professionals worldwide. Whether in recording studios, live sound setups, broadcasting facilities, or film production environments, 19-inch audio interfaces are key components that enable the creation of exceptional audio content.
TEST: Presonus Eris E8 XT
As a near-field monitor manufacturer, you have it e.g. Truly not easy at the moment. The market is flooded with suppliers and products, and especially in the budget sector, users are not only dealing with inexpensive special series from established names, but are also confronted with a more than rich selection of small and micro manufacturers, some of which have interesting ones Detail solutions shine. What remains for the manufacturer is to convince the buyer with ever better products, or to give an upgrade to a product that is already doing well, as in this case with the Presonus Eris E8 XT, which represents a continuation of the internal Eris series.
Structure of the Presonus Eris E8 XT
As is usually the case in the near-field area, the Presonus Eris E8 XT is an active 2-way near-field monitor with the dimensions (W x D x H): 247 mm x 292 mm x 406 mm and a weight of 10.4 kilograms is comparatively compact. The system features an 8-inch Kevlar woofer and a silk dome tweeter separated at 2.2 kHz. The Kevlar woofer material, which is dark blue in this model, is often used in the bass speaker area, as the low weight and fast response are a popular argument for the woven material. A special feature is the 100 degree x 60 degree waveguide, which represents one of the further developments compared to the previous model.
Even if the box can still be seen as comparatively handy, placing it on the desk close to the DAW monitor is no longer possible in this size. Speaker stands are definitely in demand here, which need to be placed as optimally as possible. In this case, it is important to keep the greatest possible distance to the next wall in order to avoid corresponding room modes.
The Presonus Eris E8 XT has a wide range of tonal correction options to counteract any problems that may arise with reflective walls or the (possibly forced) positioning of the monitors close to standing walls or in room corners in small control rooms. In particular, the oscillation in the bass range can lead ad absurdum to any perception that is kept as neutral as possible, which is why Presonus wants to tackle this problem with several filter levels. More on that later in the connection area.
In order to minimize comb filter effects, the side edges of the housing have been rounded off. In addition, the bass reflex opening has been moved to the front. In general, in my opinion, near-field monitors that are used in the home studio should always have their bass reflex opening facing the front, which counteracts any drone frequencies that may occur.
According to the manufacturer, the Presonus Eris E8 XT has a frequency response of 35 Hz to 20 kHz and a sound pressure level of 105 dB in continuous operation. The performance data of 75 watts in the bass range and 65 watts in the treble range once again suggest use in a small control room or in a home studio. Even if the performance specifications are convincing, one should never forget the corresponding headroom for impulse peaks, which can occur with hard bass peaks. We will place a special focus on the bass reproduction in the practical area, as this would have been significantly improved according to the manufacturer.
Visually, Presonus plays it safe and uses the popular matt black. In terms of workmanship, the Presonus Eris E8 XT, which is made in China, has to be attested to have an extremely good image. The MDF panels covered with black vinyl fit neatly together and do not allow any corners to protrude or unclean foiling to be seen.
The back of the Presonus Eris E8 XT
As already mentioned, the Presonus Eris E8 XT offers extensive filter settings, which are housed next to the entire connection peripherals on the back of the housing.
On the one hand there is a gain controller with a raster at 0 dB (U). Unfortunately, only this 0 dB range can be firmly defined, but if you consider how many products in this price range have no grid at all, you cannot rate this fixation aid highly enough. The connection options are also really extensive with symmetrical XLR, symmetrical TRS and asymmetrical cinch. In the home studio in particular, you should take the different signal sources into account, as high-quality XLR signal routing is not always available within the studio peripherals.
When it comes to filters, Presonus goes the established way with a shelving filter (+/- 6 dB) in the treble range and an optional bass reduction using low cut at 80 and 100 Hz. In addition, the system offers a so-called acoustic space switch, which can be set with - 2 dB or - 4 dB in the bass range the above Counteract room modes. These switches taper down quite extensively from about 800 Hz, i.e. in the best case you can lower exactly the frequency range that the reflection of the wall swings up disproportionately.
The real specialty, however, is located in the mid-range. While many manufacturers deliberately leave the mid-range linear and thus to the basic sound of the box, Presonus decided to set up a bandpass at 1 kHz, optionally with +/- 6 dB. An interesting variant, especially since there are a lot of frequencies in the vocal and guitar range in this frequency band. It should be briefly mentioned that Presonus does indeed have an extensive filter section at the start for a product in this price range, which is by no means a matter of course in this segment.
There is also an IEC cold device connection, optionally for 120/240 volts, the voltage selector switch and the on/off switch.
The Presonus Eris E8 XT in action
Before I start the hearing test, I always first take a look at the retail price of the product. Why? In order to adapt the sound expectations to the product. It would be grossly unfair to compare a product in the highly competitive 250 class to one in the four figure range. So then.
After activating the Presonus Eris E8 XT, the listener is initially offered a comparatively neutral sound, which is tight and a little "bony". Nevertheless, considering the price, the sound can be described as consistently balanced, including a decent transient image. The high-frequency range is well defined, although it tends to "buzz" a little, that is to say, it reproduces the highs, but it lacks the "pleasing" quality of the next higher price range. The waveguide leaves a very good impression and in fact expands the stereo triangle by a few centimetres, so that the working range is significantly expanded.
In the high-mid range we encounter the crossover point, which, as expected, weakens the definition somewhat, which is primarily at the expense of the vocals and some horns. Once again, the Presonus shows the low mids as a clear plus point in the sound. This is where the box has its strengths, although the sound is a little harsh, but considering the retail price it is a real highlight.
Since I don't know the first Eris series, I can't draw a direct comparison to the upgrade, but the promised bass extension doesn't really work for me. Despite the voluminous 8-inch speaker, there seems to be little movement in the low-frequency range. It may be that the frequencies are shown in the test image, but in terms of sound, the box achieves a maximum rating of "satisfactory" in the bass range, but remains rather unspectacular despite the 8-inch speaker. Here you should use an additional subwoofer for a balanced frequency image and adjust it accordingly to the satellites.
Unfortunately, this shortcoming cannot be compensated for using appropriate filters either, since all sound measures in the bass range were only designed to reduce bass. Although Kevlar woofers are known for their quick response and clean definition, the Presonus Eris E8 XT woofer seems to me to be firmly clamped or is fixed by a strong magnet. The tonal definition is very good, but the hub suffers.
The system handles the usual spatial impressions such as depth gradation and spatial resolution well enough for the retail price. All in all, the Presonus Eris E8 XT can be said to have a “cheap” sound in the best sense of the word, which means that the system is really worth its price.
Conclusion
With the Presonus Eris E8 XT, the American manufacturer has a near-field monitor in its ranks that can shine with a neutral basic sound and convincing low-mid reproduction. The system convinces with extensive connection options and a versatile filter section.
For a retail price of €249 per box, you get a good home recording monitor that also knows how to assert itself in acoustically unfavorable control rooms.
Additional Informations:
Comprehensive Report on PreSonus Audio
1. Introduction: PreSonus Audio is a leading technology company specializing in audio hardware and software solutions for music recording, production, and live sound applications. Founded in 1995 by Jim Odom and Brian Smith in Baton Rouge, Louisiana, USA, PreSonus has rapidly grown into a prominent player in the pro audio industry. This report provides a comprehensive overview of PreSonus Audio, including its history, product range, technological innovations, market position, and commitment to empowering musicians and audio professionals.
2. Company Background: PreSonus Audio was established with the vision of providing accessible and user-friendly audio solutions for musicians and recording engineers. The founders, both musicians and audio enthusiasts, sought to bridge the gap between professional audio quality and affordability. Through innovative technologies and product offerings, PreSonus has become synonymous with high-quality audio equipment that empowers creatives across the globe.
3. Product Range: PreSonus Audio offers an extensive product range that caters to musicians, audio engineers, and content creators. The company's product lineup includes:
a) Audio Interfaces: PreSonus audio interfaces provide high-quality audio input and output for recording and live performances. They are available in various configurations, offering a range of connectivity options.
b) Digital Mixing Consoles: PreSonus digital mixing consoles combine intuitive control surfaces with powerful digital processing, enabling seamless mixing and signal routing in both studio and live sound settings.
c) Studio Monitors: PreSonus studio monitors deliver accurate and transparent audio reproduction, essential for critical listening and professional audio production.
d) Studio One Software: Studio One is PreSonus's flagship digital audio workstation (DAW) software, offering a robust platform for music production, recording, editing, and mixing.
e) Audio Processors: PreSonus offers a range of audio processors, including compressors, equalizers, and channel strips, designed to enhance audio signals and achieve optimal sound quality.
f) StudioLive Series: PreSonus StudioLive series combines digital mixers, recording interfaces, and software integration, providing an all-in-one solution for live sound and recording applications.
g) Notion Software: Notion is PreSonus's notation software, catering to composers and arrangers for music notation and scoring.
4. Technological Innovations: PreSonus Audio has been a driving force in technological innovations, revolutionizing the audio industry with its products. Some notable technological advancements by PreSonus include:
a) Fat Channel Processing: PreSonus introduced the Fat Channel processing technology, a powerful digital processing engine, incorporated into their mixers and audio interfaces, allowing users to apply studio-quality effects and signal processing in real-time.
b) Integrated Hardware and Software Solutions: PreSonus is known for its seamless integration of hardware and software products, ensuring a cohesive and efficient workflow for audio professionals.
c) Remote Control Software: The company developed remote control software for its digital mixers, enabling users to control mixer functions wirelessly from their smartphones or tablets.
d) Advanced DSP Technology: PreSonus utilizes cutting-edge DSP (Digital Signal Processing) technology in their products, enabling low-latency monitoring, audio effects, and real-time audio processing without taxing the computer's CPU.
5. Market Position and Global Reach: PreSonus Audio has garnered significant market recognition and has established a strong global presence. Their products are distributed through a network of authorized dealers and retailers, reaching customers in various countries.
6. Empowering Musicians and Audio Professionals: PreSonus Audio is committed to empowering musicians and audio professionals through accessible and user-friendly technology. Their products are designed with a focus on usability, efficiency, and seamless integration, allowing creatives to focus on their artistry without technical limitations.
7. Awards and Recognition: PreSonus Audio's dedication to innovation and product excellence has earned the company numerous awards and accolades. These accolades affirm the company's commitment to delivering high-quality audio solutions.
8. Education and Support: PreSonus Audio provides extensive educational resources, including tutorials, webinars, and online communities, to support musicians and audio professionals in mastering their products and techniques.
9. Conclusion: In conclusion, PreSonus Audio stands as a leading force in the audio technology industry, providing innovative and user-friendly solutions for musicians, producers, and audio engineers. With a diverse product range, technological advancements, and a commitment to empowering creativity, PreSonus continues to shape the future of audio production, recording, and live sound, solidifying its position as a trusted and influential brand in the pro audio market.
TEST: Positive Grid Bias Rack
First analogue, then digital, right? Didn't we all learn that? As soon as an amp has won its place in the analogue world and the maximum amount of marketing has been achieved, the software company XY comes along and starts the secondary exploitation in the form of algorithms that are supposed to come as close as possible to the original. In this way they want to save themselves the “analogue effort” in the form of transport, maintenance, storage, miking and volume control, so that the next guitar recording can, if necessary, be carried out in any station toilet. The last step on the ladder is sampling in the form of a Kemper preset, which corresponds to 99% of the original setting and is now the standard recording situation in professional studios.
The reverse approach was previously unknown to me, i.e. an established software emulation goes and develops an algorithm-based analog hardware amplifier, which brings the virtual amps primarily to the stage, or as an old-school miked version to the recording studio. This is exactly what the company Positive Grind has put into practice and, parallel to their head version, they have also launched the Positive Grid Bias Rack on the market. Wow, that's what I call an anti-establishment approach. I can already promise you one thing, you will be amazed!
conception
Rarely has the conception sub-department been as interesting as with the Positive Grid Bias Rack, as the approach is a highly interesting combination of classic potentiometer screws and state-of-the-art preset management. Right at the beginning, both the head and the rack variant have the same inner workings, the rack variant, on the other hand, can be screwed into the 19 inch rack, as expected, and is therefore easier to transport. And quickly get one more guess out of the way. Even if the Head variant has a lot of eyes on the photo gallery when it comes to the layout of colleague Kemper, the technical conception is completely different.
For now, we'll leave all the software mumbo-jumbo aside and focus on the amp right-out-of-the-box without worrying about all the possibilities. At this moment we have a 2 U rack amplifier in front of us, which comes up with a comparatively moderate weight of almost 7 kilograms. The amp, developed in the USA, is assembled in Taiwan and has an insane output of 600 watts RMS at 8 ohms or 300 watts at 16 ohms. Oh my gosh, these are performance data that we otherwise only know from Class D bass amplifiers and we already have another special feature on the screen. Yes, the Positive Grid Bias Rack can also be used for the electric bass, there is a separate database for it.
At this point at the latest, the reader will notice that this amplifier cannot possibly be a typical amplifier, possibly still based on all tubes. It doesn't either, it's more about amplifying as neutrally as possible a sound that the user has previously glued together from the classic components of preamp tubes, power tubes, cascading of the tubes, tube selection, transformer winding, equalizer and many other niceties. Of course, 600 watts for a guitar amp is hard to beat in terms of gigantism, but for a bass amp, such a power specification guarantees a headroom-rich sound. Therefore, be careful with the output controller.
front
"Output, how does that sound, are we in outgear country or what?" Well, yes, this control may seem a bit strange, but the rest of the front panel is also very familiar to the average guitar player. Gain, bass, middle, treble, presence and master are anything but software aliens, but established elements of tone shaping. The controls in the upper row, on the other hand, already show why the amp, which costs almost € 1,400, has much, much more to offer than what is apparent at first glance.
The short version: The amp has 25 different basic sounds, which are split into 5 different basic sounds (clean, glassy, blues, crunch, metal), each with 5 different amp models. After that, 5 different "Tube Stages" can be switched, which determine the degree of distortion and compression with a separate distortion controller for the 25 basic sounds, making 125 sounds in principle. After this, you can also choose whether you prefer the Solid State, Push Pull, Split Load or Single Ended versions of the power amp emulation (topology), together making about 500 different sounds. And that's just a fraction of the possibilities...
There is also a programmable custom control on the far right, which is factory-set to the noise gate. In addition, there are 2 mini switches above the headphone jack, which allow an individual assignment for 2 external foot switches.
back
The back of the Positive Grid Bias Rack also makes no secret of the fact that this is a kind of “guitar amplifier homunculus”. A single speaker out (there could have been 2 or more with these performance specifications) still maintains contact with the world of the stage, after which studio connections in the form of XLR and TRS take over the scepter. 2 different expression pedal inputs and an FX loop allow the connection of external pedals, a USB port allows direct connection to the DAW. Triple MIDI (In, Out, Thru) allows different footswitches and allows you to manage the sounds. But what is that? An antenna connector labeled "Wireless" on the back?
overkill
Anyone who has already gasped for air at the 500 sound possibilities of the front panel should better break off this article now and stop reading. The possibilities that open up in cooperation with an iPad and the Bias Amp app are beyond imagination. The Positive Grid Bias Rack establishes contact with the iPad via Bluetooth and then allows the sounds to be edited by a factor of 200. The app's interface is optically programmed in an excellent way and lets an undisciplined user immediately fall into a spinning and swapping mania.
Preamp and power amp tubes can be swapped, the tone stack topology of different amps can be imported and mixed, the grid voltage can be changed, the number of windings and the material of the output transformer can be determined and much more. If you now also take the speaker simulation via the XLR and studio outs for a direct feed for the P.A. or a DAW on board, the cabinet, speakers, microphone type and beam angle can also be determined. Sure, old hat, also has Logic and syndicates on board, but you should have a look at the difference in sound. All in all, according to the manufacturer, the Positive Grid Bias Rack should be able to produce over 100,000 different sounds, so if you don't have anything else planned for the summer...
Oh yes, with a function called Amp Matching you can do a little "Kemper for pedestrians" if you are interested. You take an amp model, which comes very close to your personal amp, samples a sound sample of your amp and lets the Positive Grid Bias Rack recreate the sound material. Depending on the source material, the result can really be seen. Nice examples can be seen on the Positive Grid website. Of course, you can also exchange the sounds over the network and save them as you please.
approach
I'm really obsessed and dare to make a key statement that one or the other will knock out my ears. Of course, the classic comparisons such as Fender, Marshall, Mesa and many others are tried to put the characters of the individual sounds in drawers, the user needs a reference to orient himself. But the real fun only comes when you leave these role models aside and simply rely on your ears, in the sense of whether I like it or not.
I would also like to focus less on the speaker-emulated-directly-into-the-console sounds, and rather take a close look at the stage suitability of the amp. Therefore, I will only present sound examples that were recorded or generated in a classic form with a microphone and "real" loudspeakers.
sound
If you accept this "reduction", you have a truly powerful tool in the Positive Grid Bias Rack, which is hard to beat in terms of flexibility. What you can get out of a JTM45 or a JCM800 alone. Maybe see how a Marshall would have sounded with a 6L6? Or at least something like that? Oh, there it is again, the frantic attempt to describe a sound with a trademark. Pfui, Axel, what did I just say?
I could go and hammer in tons of lines into this test, which would always be just an attempt to describe the sounds. I find such tests not only boring, but also misleading, since every musician has a completely different idea of what the perfect amp should sound like for them. In this case, I can only recommend borrowing the amp, not doing anything for at least a weekend and sending your lovely wife to go shopping with your credit card so that she leaves you alone for 48 hours. The investment could be worth it.
Conclusion
What the American company offers in terms of flexibility with its Positive Grid Bias Rack is second to none. The amp, which was developed from a software application, offers the musician who likes to experiment tonal possibilities that the classic analog design cannot deliver.
To speak of better or worse here would not even begin to capture the core of the sound, so you should take the system to heart and then decide whether over 100,000 sound variations take your breath away or you into the pond of eternal bliss in sound.
Be sure to try it!
Additional Informations:
Comprehensive Report on Positive Grid
1. Introduction:
Positive Grid is a leading technology company specializing in audio software and hardware for musicians, producers, and music enthusiasts. Founded in 2008 and headquartered in California, USA, Positive Grid has become synonymous with innovation and excellence in the music industry. This report provides a comprehensive overview of Positive Grid, including its history, product range, technological advancements, market impact, and commitment to musical creativity.
2. Company Background:
Positive Grid was founded by Dr. Albert Liu, an avid guitarist and software engineer, with the vision of leveraging cutting-edge technology to enhance the music creation process. The company's initial focus was on developing software solutions for guitar and bass amplification simulation, leading to the creation of the critically acclaimed BIAS Amp and BIAS FX software.
3. Product Range:
Positive Grid offers a diverse range of software and hardware products tailored for musicians and music producers. The company's product lineup includes:
a) BIAS Amp: BIAS Amp is a groundbreaking software that allows guitarists and bassists to create their own custom amplifier models, offering unparalleled flexibility and tone-shaping capabilities.
b) BIAS FX: BIAS FX is an innovative software that simulates a wide array of guitar pedals and effects, enabling users to craft their signature sounds for recording and live performances.
c) Spark Amp: The Spark Amp is a revolutionary smart amplifier that combines high-quality sound with advanced technology, including intelligent features like Smart Jam and Auto Chord, enhancing the practice and creative process for musicians.
d) Pedals and Audio Interfaces: Positive Grid offers a line of hardware products, including guitar pedals and audio interfaces, designed to seamlessly integrate with their software offerings and provide musicians with superior sound quality and performance.
4. Technological Advancements:
Positive Grid has been a pioneer in audio software development, consistently pushing the boundaries of technology. Some notable technological advancements by Positive Grid include:
a) Realistic Amp and Effect Simulation: Positive Grid's software utilizes advanced algorithms and machine learning to provide highly realistic and responsive amplifier and effect simulations, setting new standards for tone accuracy.
b) Artificial Intelligence (AI) Integration: The Spark Amp's AI-powered features, such as Smart Jam and Auto Chord, demonstrate Positive Grid's commitment to harnessing AI for creative music-making experiences.
c) Cloud-Based Collaboration: Positive Grid introduced cloud-based collaboration features in its software, enabling musicians to collaborate on projects remotely, breaking down geographical barriers.
5. Market Impact and Global Reach:
Positive Grid's software and hardware products have gained widespread popularity and recognition worldwide. Musicians, producers, and audio professionals from various genres appreciate the company's commitment to high-quality sound and user-friendly interfaces. The company's products are available through authorized dealers and digital marketplaces, reaching customers across the globe.
6. Empowering Musical Creativity:
One of Positive Grid's core values is to empower musical creativity through accessible and innovative tools. The company's software solutions cater to both beginners and seasoned musicians, encouraging experimentation, and inspiring musical expression.
7. Awards and Acclaim:
Positive Grid's dedication to excellence has been acknowledged with numerous awards and accolades. The company's products have received recognition from industry experts and musicians, solidifying Positive Grid's position as a leading audio technology provider.
8. Community Engagement:
Positive Grid fosters a vibrant and engaged community of musicians through online forums, social media channels, and user-driven content. The company actively listens to customer feedback and incorporates suggestions into product updates, ensuring that users' needs are at the forefront of their development process.
9. Conclusion:
In conclusion, Positive Grid has made a significant impact on the music industry, providing musicians and music producers with innovative software and hardware solutions that enhance the creative process and redefine sound possibilities. With its commitment to technological advancement, musical creativity, and community engagement, Positive Grid continues to be a trailblazer in the audio technology space, inspiring musicians worldwide and shaping the future of music production and performance.
TEST: Positive Grid Bias Mini
The market for small and very small amplifiers is booming like no other. One could think that in times of in-ear monitoring systems and volume-limited club gigs, no one is willing to drag the 100 watt all-tube bolides, which can only show off their power on large open-air stages, unless you have the necessary means to pay backliners or to contractually oblige appropriate stage hands with the organizer. The company Positive Grid, which has made a name for itself in the modeling amp sector in recent years, would also like to benefit from this trend and is launching the Positive Grid Bias Mini, a tactile, slimmed-down version of the Positive Grid Bias Rack, each in a guitar and a bass version. Let's have some happy editing.
The concept of the Positive Grid Bias Mini
The world of guitarists has changed a lot in the last few decades. While the live performance in a band context was the highest of all feelings until the establishment of YouTube, many musicians avoid this rocky path, which is characterized by low salaries, constant discussions with the other band members and large investments of time and money, and play a video game prefer to be alone in the living room at home.
The other side of the coin, professional or semi-professional musicians are confronted with increasingly precarious cost/benefit analyzes below the stadium bands, which makes the transport of high-quality, but also heavy and large equipment no longer appear economical. In addition, a classic rock band is ALWAYS too loud in terms of stage volume, so that amplifiers of the 20 watt class or less are very popular, especially in clubs, at least from the FOH.
Therefore, amps with minimal dimensions, a "real" speaker out for live shows and a USB port for virtual sound management on the computer or mobile device are very popular. The Positive Grid Bias Mini is just such an amplifier, which also has what is currently by far the most visually appealing app when it comes to sound editing.
The construction of the Positive Grid Bias Mini
With a weight of only 2.5 kilograms and dimensions (W x H x D): 26.6 cm x 4.6 cm x 24.8 cm, the Positive Grid Bias Mini largely meets the expectations of the "Traveling Musician". . The product, which is one U high and a little more than half a 19" rack wide, fits in any suitcase or backpack and can therefore be easily taken to any air show. However, the 7 potentiometers protrude forward without any protection and run the risk of being kinked off without another soft bag or rack if handled improperly. On the side of the case there are already four holes per side for the corresponding rack wings, but unfortunately I couldn't find any commercially available accessories anywhere.
Said 7 controls are very intuitive to use, apart from the preset and output controls. The remaining five controls generate a standard head, which has a gain control, a three-band tone control and a master volume control. Said output control should not be confused with the master volume control. Depending on the modeling amp, the master volume control also has massive sonic effects on the sound in addition to the volume, while the output control only makes it "loud".
The preset controller, on the other hand, which was designed as an endless controller, allows access to 16 presets, which change between green and red depending on the preset degree of distortion. The presets can later be assigned your own sounds. In addition, there is a headphone out on the front, unfortunately only in a mini jack for reasons of space, and an on / off switch.
On the back there is an FX loop next to the IEC connector, a TRS footswitch socket with which you can connect the Positive Grid footswitch (not included in the scope of delivery), a USB port for connection to the computer, a Bluetooth switch for management via iOS and an XLR line Out to be able to play live without a box, for example. The amp also has MIDI In / Out, but unfortunately both sockets are also designed as mini jacks. Although the appropriate adapters are included with the product, it is only a matter of time before the mini-jack sockets generate the first wobbles in the signal transmission due to the leverage effect when the MIDI cables are hanging down. I know every millimeter counts with lunchbox amps, but this solution is not practical, at least for live use.
Of course, small amps are also often used with smaller boxes from the 1x12" or 2x12" range, which brings us to the output power of the Positive Grid Bias Mini. Yes, Class D power amps cost almost nothing and have huge amounts of power, but what may still make some sense in the bass sector (although who the hell needs a 1000 watt bass amp?) still makes sense for the guitar in the worst case counterproductive. The Positive Grid Bias Mini delivers 300 watts at 4 ohms, which is not only an unbearable volume for guitars, it can only be delivered without damage by a few 4x12 cabinets with at least 75 watt speakers or more.
Due to the transistor design, this is still around 200 watts even with cabinets with 8 ohms, and almost 150 watts with 16 ohms. Imagine an 8 ohm 1x12" cabinet with a 60 watt speaker, the same shoots through the head in seconds if handled improperly. Therefore, be extremely careful when using small cabinets and always pay attention to the "paper drag"!
The Bias Amp Pro 2 software for the Positive Grid Bias Mini
Rarely do you get such visually appealing software for a modeling amp as with Positive Grid. The Bias Amp Pro 2 software can be downloaded from the Positive Grid website, a download code is included with the product.
Hardly any other software offers the user such extensive design options as the Bias Amp Pro 2. Preamp tubes, output tubes, bias settings and even transformers can be swapped out at will and yes, the sound changes accordingly. BUT, even the most optimistic user secretly knows that the sonic result cannot be compared with a corresponding hardware solution, it is merely an emulation of the same.
So anyone who thinks that they can just change the transformer for a product with a three-digit sales price with the JTM, with a result like in the "real" world, is really going through life very naively. This is not to say that the Positive Grid Bias Mini has to sound bad in any way, it just doesn't sound identical as if a corresponding building block had been changed in haptic form.
That's why I'm always very skeptical about the factory designations of the respective presets. No matter how often the original name is artfully rewritten due to trademark rights, the original sound is still worlds away. Again, to be safe, this does NOT mean the Positive Grid Bias Mini has to sound bad in any way, but the amp always loses when compared directly to the real thing. That's why I won't add the name of the emulated amplifier later in the practical part, but consider the sounds as independent positive grid sounds.
The Positive Grid Bias Mini in action
As already mentioned, the great advantage of the Positive Grid Bias Mini is its flexibility. With the three major areas of application, the amp offers the flexibility of traditional live (operation with cabinet and microphone pickup for PA), modern live (operation with cabinet and sound emulation via line out for PA) and home recording (directly via line out or USB into the DAW), that many guitarists want these days.
To make it a bit harder for the Positive Grid Bias Mini, I took the line out sounds with speaker emulation as a starting point. The same sounds sent over a 412 300W Marshall Cabinet sounded a bit fresher, more direct and more dynamic, but did not differ to the extent that one is used to from other amps with speaker emulation.
When it comes to sound variety, you can spend days tweaking your favorite sound with the Amp Pro 2 software. A really pretty toy, but this only changes the basic sound in some tiny details. Nonetheless, a nice thing to personalize your sounds with.
Sonically, both the clean and the distorted sounds offer a solid base of tones that cover most of a normal guitarist's life. However, the amp suffers somewhat from the problem of the latent "musty" basic sound that almost all modeling amps call their own. The distinctive overtone waves of the originals are missing, which comes at the expense of the transparency of the sound.
Conclusion
With the Positive Grid Bias Mini you get a very flexible and portable mini amplifier, which is particularly useful for working musicians who travel a lot. The amp offers a wide selection of passable sounds, which can also be personalized with the very appealing Bias Amp Pro 2 software. Very well suited for cover bands or projects that require a wide range of sounds and pickup options.
Additional Informations:
Comprehensive Report on Positive Grid
1. Introduction:
Positive Grid is a leading technology company specializing in audio software and hardware for musicians, producers, and music enthusiasts. Founded in 2008 and headquartered in California, USA, Positive Grid has become synonymous with innovation and excellence in the music industry. This report provides a comprehensive overview of Positive Grid, including its history, product range, technological advancements, market impact, and commitment to musical creativity.
2. Company Background:
Positive Grid was founded by Dr. Albert Liu, an avid guitarist and software engineer, with the vision of leveraging cutting-edge technology to enhance the music creation process. The company's initial focus was on developing software solutions for guitar and bass amplification simulation, leading to the creation of the critically acclaimed BIAS Amp and BIAS FX software.
3. Product Range:
Positive Grid offers a diverse range of software and hardware products tailored for musicians and music producers. The company's product lineup includes:
a) BIAS Amp: BIAS Amp is a groundbreaking software that allows guitarists and bassists to create their own custom amplifier models, offering unparalleled flexibility and tone-shaping capabilities.
b) BIAS FX: BIAS FX is an innovative software that simulates a wide array of guitar pedals and effects, enabling users to craft their signature sounds for recording and live performances.
c) Spark Amp: The Spark Amp is a revolutionary smart amplifier that combines high-quality sound with advanced technology, including intelligent features like Smart Jam and Auto Chord, enhancing the practice and creative process for musicians.
d) Pedals and Audio Interfaces: Positive Grid offers a line of hardware products, including guitar pedals and audio interfaces, designed to seamlessly integrate with their software offerings and provide musicians with superior sound quality and performance.
4. Technological Advancements:
Positive Grid has been a pioneer in audio software development, consistently pushing the boundaries of technology. Some notable technological advancements by Positive Grid include:
a) Realistic Amp and Effect Simulation: Positive Grid's software utilizes advanced algorithms and machine learning to provide highly realistic and responsive amplifier and effect simulations, setting new standards for tone accuracy.
b) Artificial Intelligence (AI) Integration: The Spark Amp's AI-powered features, such as Smart Jam and Auto Chord, demonstrate Positive Grid's commitment to harnessing AI for creative music-making experiences.
c) Cloud-Based Collaboration: Positive Grid introduced cloud-based collaboration features in its software, enabling musicians to collaborate on projects remotely, breaking down geographical barriers.
5. Market Impact and Global Reach:
Positive Grid's software and hardware products have gained widespread popularity and recognition worldwide. Musicians, producers, and audio professionals from various genres appreciate the company's commitment to high-quality sound and user-friendly interfaces. The company's products are available through authorized dealers and digital marketplaces, reaching customers across the globe.
6. Empowering Musical Creativity:
One of Positive Grid's core values is to empower musical creativity through accessible and innovative tools. The company's software solutions cater to both beginners and seasoned musicians, encouraging experimentation, and inspiring musical expression.
7. Awards and Acclaim:
Positive Grid's dedication to excellence has been acknowledged with numerous awards and accolades. The company's products have received recognition from industry experts and musicians, solidifying Positive Grid's position as a leading audio technology provider.
8. Community Engagement:
Positive Grid fosters a vibrant and engaged community of musicians through online forums, social media channels, and user-driven content. The company actively listens to customer feedback and incorporates suggestions into product updates, ensuring that users' needs are at the forefront of their development process.
9. Conclusion:
In conclusion, Positive Grid has made a significant impact on the music industry, providing musicians and music producers with innovative software and hardware solutions that enhance the creative process and redefine sound possibilities. With its commitment to technological advancement, musical creativity, and community engagement, Positive Grid continues to be a trailblazer in the audio technology space, inspiring musicians worldwide and shaping the future of music production and performance.
TEST: Positive Grid Bias Distortion
One would think that everything that needs to be said about distortion pedals has been said. Strictly speaking it is. Anyone who owns a TS-9, an OD-1 or a Big Muff knows what they have and in which context they want to use this sound. The downside is that over the years up to 20 or more booster, overdrive, distortion or fuzz pedals accumulate on the home floorboard, which not only all want to be mounted and supplied with power, but also one does not tear a hole in your personal pedal budget that is to be underestimated.
Many multi-effects boards have been trying to remedy this for decades, some better, some worse, but they all have one thing in common. Apart from the common parameters such as tone, gain or volume, possibly paired with a three-band tone control, the user cannot change much on the supplied preset. I like it, I don't like it, do it or die!
The Positive Grid Bias Distortion Pedal takes a different approach here. Designed at first glance as a comprehensive floor pedal of the classic kind, what is probably the most powerful software tool currently available from a pedal manufacturer slumbers in the background. The basic presets can be bent beyond recognition, and existing distortion pedals can be recreated and saved using the tone matching known from the Positive Grid Bias Head.
conception
The Positive Grid Bias Distortion Pedal has 20 presets in its starting basis, which can be selected via an endless control. By pressing the button for a longer period of time, you can assign the previously set sounds to one of the three foot switches. Attention, the switches are comparatively close together, and there is no mechanical protection for the potentiometers above them, which means trampling with biker boots inevitably leads to incorrect operation of the pedal! The fourth switch on the right is a boost controller, which is infinitely variable in intensity and has a triple sound characteristic (treble, clean, fat) via a mini switch.
The Positive Grid Bias Distortion receives its operating voltage from a supplied multi-voltage/multi-plug power supply unit, which works worldwide and supplies the pedal with power via the USB port. In an emergency, there is also a classic 9V power socket with an additional adapter. MIDI In/Thru and an expression pedal input allow additional external management.
In terms of operation, we find old acquaintances again with gain, level and a three-band tone control, only the blend control makes us sit up and take notice. Here you can continuously crossfade the mixing ratio between the dry distorted signal and the processed signal in the output stage. "Huh? Where am I supposed to be able to set something like that?” At this point at the latest, the inclined reader will notice that the positive grid bias distortion is a completely different concept than what most of us are used to. And what is the purpose of the WLAN sign including the glowing LED on the back of the housing?
Practice
In order not to overwhelm the user, Positive Grid first emulated copies of the most common distortion pedals, such as Ibanez TS9, Boss DS1, BK Butler Tube Driver, Fulltone OCD, Roger Mayer Voodoo1, Boss Metal Zone, EHX Big Muff, ProCo Rat, Voodoo Lab Sparkle Drive, Boss DS2 Turbo, Fulltone Fulldrive, Voodoo Lab Super Fuzz, Roger Mayer Spitfire and the MXR Fuzzface. To say it straight away, these are references to the originals, if you expect a perfect clone here you will be disappointed.
However, you have the option of using the Tone Match method to recreate a distortion device of your choice using predefined modules, which works surprisingly well. Only response and playing feel varied a little depending on the pedal type. However, the big aha effect opens up when you start the software, which is available for MacOS/PC and iPad. Not to be beaten optically, you can now exchange or modify the basic components down to the smallest detail. It doesn't matter whether it's the configuration of transistors, high-pass or low-pass filters, attack, release, output stages, almost all parameters of the inner workings of a distortion device can be varied, which leads to an almost endless variety.
The pedal communicates with the computer / iPad via Bluetooth and saves the specified sounds including a personal look. Visually, the system is unbeatable. Great cinema with a large play instinct promotion is announced here. In terms of sound, the result depends heavily on the equipment used. A single-channel all-tube amp that is as neutral as possible offers the best opportunity to try out the different sounds with its clearly structured basis. Unfortunately, many editing options also offer the possibility of screwing past the desired result, so you should take a lot of time and give your ears a rest from time to time.
Conclusion
The Positive Grid Bias Distortion Pedal opens up endless possibilities for the ambitious distortion nerd. Using the supplied software, personal sound requests can be bent down to the last detail and create pedal types that are not yet available in this form from any manufacturer.
Try it out and bring plenty of time!
Additional Informations:
Comprehensive Report on Positive Grid
Introduction: Positive Grid is a leading technology company specializing in audio software and hardware for musicians, producers, and music enthusiasts. Founded in 2008 and headquartered in California, USA, Positive Grid has become synonymous with innovation and excellence in the music industry. This report provides a comprehensive overview of Positive Grid, including its history, product range, technological advancements, market impact, and commitment to musical creativity.
2. Company Background: Positive Grid was founded by Dr. Albert Liu, an avid guitarist and software engineer, with the vision of leveraging cutting-edge technology to enhance the music creation process. The company's initial focus was on developing software solutions for guitar and bass amplification simulation, leading to the creation of the critically acclaimed BIAS Amp and BIAS FX software.
3. Product Range: Positive Grid offers a diverse range of software and hardware products tailored for musicians and music producers. The company's product lineup includes:
a) BIAS Amp: BIAS Amp is a groundbreaking software that allows guitarists and bassists to create their own custom amplifier models, offering unparalleled flexibility and tone-shaping capabilities.
b) BIAS FX: BIAS FX is an innovative software that simulates a wide array of guitar pedals and effects, enabling users to craft their signature sounds for recording and live performances.
c) Spark Amp: The Spark Amp is a revolutionary smart amplifier that combines high-quality sound with advanced technology, including intelligent features like Smart Jam and Auto Chord, enhancing the practice and creative process for musicians.
d) Pedals and Audio Interfaces: Positive Grid offers a line of hardware products, including guitar pedals and audio interfaces, designed to seamlessly integrate with their software offerings and provide musicians with superior sound quality and performance.
4. Technological Advancements: Positive Grid has been a pioneer in audio software development, consistently pushing the boundaries of technology. Some notable technological advancements by Positive Grid include:
a) Realistic Amp and Effect Simulation: Positive Grid's software utilizes advanced algorithms and machine learning to provide highly realistic and responsive amplifier and effect simulations, setting new standards for tone accuracy.
b) Artificial Intelligence (AI) Integration: The Spark Amp's AI-powered features, such as Smart Jam and Auto Chord, demonstrate Positive Grid's commitment to harnessing AI for creative music-making experiences.
c) Cloud-Based Collaboration: Positive Grid introduced cloud-based collaboration features in its software, enabling musicians to collaborate on projects remotely, breaking down geographical barriers.
5. Market Impact and Global Reach: Positive Grid's software and hardware products have gained widespread popularity and recognition worldwide. Musicians, producers, and audio professionals from various genres appreciate the company's commitment to high-quality sound and user-friendly interfaces. The company's products are available through authorized dealers and digital marketplaces, reaching customers across the globe.
6. Empowering Musical Creativity: One of Positive Grid's core values is to empower musical creativity through accessible and innovative tools. The company's software solutions cater to both beginners and seasoned musicians, encouraging experimentation, and inspiring musical expression.
7. Awards and Acclaim: Positive Grid's dedication to excellence has been acknowledged with numerous awards and accolades. The company's products have received recognition from industry experts and musicians, solidifying Positive Grid's position as a leading audio technology provider.
8. Community Engagement: Positive Grid fosters a vibrant and engaged community of musicians through online forums, social media channels, and user-driven content. The company actively listens to customer feedback and incorporates suggestions into product updates, ensuring that users' needs are at the forefront of their development process.
9. Conclusion: In conclusion, Positive Grid has made a significant impact on the music industry, providing musicians and music producers with innovative software and hardware solutions that enhance the creative process and redefine sound possibilities. With its commitment to technological advancement, musical creativity, and community engagement, Positive Grid continues to be a trailblazer in the audio technology space, inspiring musicians worldwide and shaping the future of music production and performance.
- Comprehensive Report on Distortion Pedals
1. Introduction: Distortion pedals are fundamental tools used by guitarists and other musicians to alter the timbre and character of their instrument's sound. These devices have played a crucial role in shaping the sound of various music genres, from rock and metal to blues and punk. This report provides an in-depth overview of distortion pedals, including their history, types, working principles, applications, and impact on the music industry.
2. History of Distortion Pedals: The history of distortion pedals can be traced back to the 1960s when guitarists sought to replicate the gritty, overdriven tones heard in early rock and blues recordings. Initially, musicians achieved distortion by pushing tube amplifiers to their limits, unintentionally creating a distorted sound. In the mid-1960s, the first dedicated distortion pedal, the Maestro FZ-1 Fuzz-Tone, was introduced, paving the way for future innovations in guitar effects.
3. Types of Distortion Pedals: Over the years, various types of distortion pedals have been developed to cater to different musical preferences and styles:
a) Fuzz Pedals: Fuzz pedals are the earliest form of distortion pedals, producing a heavily saturated and fuzzy sound reminiscent of vintage rock and blues recordings.
b) Overdrive Pedals: Overdrive pedals aim to replicate the natural breakup of tube amplifiers, providing a warm and smooth distortion often used in blues, classic rock, and jazz.
c) Distortion Pedals: Distortion pedals offer a more aggressive and heavier distortion, suitable for rock, hard rock, and metal genres.
d) High-Gain Distortion Pedals: High-gain distortion pedals are designed for extreme distortion and metal music styles, producing intense and saturated tones.
4. Working Principles: Distortion pedals alter the guitar signal through various circuit designs and components. The primary components include diodes, transistors, operational amplifiers (op-amps), and potentiometers. When the guitar signal passes through the circuit, the diodes or transistors "clip" the signal, effectively introducing harmonic overtones and creating distortion. The amount of distortion can be controlled using the pedal's gain knob.
5. Applications of Distortion Pedals: Distortion pedals are versatile tools used in a wide range of musical contexts:
a) Rock and Blues: Distortion pedals are synonymous with the sound of classic rock and blues guitarists, providing the iconic "crunch" and gritty tones heard in many legendary recordings.
b) Metal and Hard Rock: High-gain distortion pedals are favored by metal and hard rock guitarists for their aggressive and powerful sound, essential for heavy riffs and solos.
c) Experimental and Alternative Music: Distortion pedals are also popular in experimental and alternative music genres, where musicians use them to create unique and unconventional sounds.
6. Impact on the Music Industry: Distortion pedals have had a profound impact on the music industry. They have contributed to the evolution of guitar-based music, influencing the development of new music genres and sub-genres. The distinct tones produced by distortion pedals have become signatures of iconic guitarists, shaping the sound of bands and defining musical eras.
7. Technological Advancements: As technology has advanced, distortion pedals have also evolved.
Digital distortion pedals offer a wide range of customizable sounds and presets, replicating the characteristics of various analog pedals. Additionally, advancements in semiconductor technology have led to improved performance, reduced noise, and increased durability of distortion pedals.
8. Conclusion: In conclusion, distortion pedals are essential tools for musicians seeking to shape and define their sound. From vintage fuzz tones to modern high-gain distortions, these devices have left an indelible mark on the music industry, influencing countless musicians and shaping the sound of various music genres. As technology continues to progress, distortion pedals will undoubtedly remain at the forefront of guitar effects, continuing to inspire creativity and musical innovation.