TEST: Audio Technica ATR 3350

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

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

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


construction

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

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

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



Practice

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

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

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

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

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

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


Conclusion

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

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

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

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Additional Informations:

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

### Inception and Technological Trajectory

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

### Diversification and Engineering Milestones

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

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

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

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

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

### Pioneering Technologies and Contributions to Audio Science

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

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

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

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

### Industry Accolades and Recognition

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

### Commitment to Environmental Sustainability and Corporate Responsibility

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

### Future Prospects in a Dynamic Industry Landscape

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

### Conclusion

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

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

### Historical Context and Development

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

### Design and Working Principle

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

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

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

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

### Connectivity Options

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

### Applications and Usage

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

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

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

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

### Technical Considerations

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

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

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

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

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

### Conclusion

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

TEST: Audio Technica ATH-E70

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

The details of the Audio-Technica ATH-E70

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

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

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


The Audio-Technica ATH-E70 in practice

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

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

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

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

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

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

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

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

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

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

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

Conclusion

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

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Additional Informations:

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

### Founding and Early Years

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

### Expansion and Product Evolution

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

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

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

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

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

### Technological Innovations and Industry Contributions

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

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

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

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

### Awards and Recognitions

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

### Environmental and Social Responsibility

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

### Challenges and Future Outlook

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

### Conclusion

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

TEST: Audient ASP 800

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

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



Conception

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

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

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

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


Saturation to the point of abandonment

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



Practice

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

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


sound and more

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

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

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

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


Conclusion

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

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

Highly recommended!

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Additional Informations:

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

### Founding and Philosophy

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

### Product Line and Innovation

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

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

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

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

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

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

### Commitment to Education

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

### Environmental and Social Responsibility

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

### Challenges and Future Prospects

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

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

### Conclusion

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

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

### Understanding Harmonic Saturation

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

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

### Types of Harmonic Saturation

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

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

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

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

### Applications in Music Production and Sound Engineering

Harmonic saturation is employed in various stages of audio production:

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

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

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

### The Role of Saturation Plugins and Hardware

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

### Conclusion

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

TEST: Audeze LCD-X

 What always fascinates me is the fact that new, mostly small companies regularly break into a seemingly saturated market in order to use unusual details to exploit an area that they believe has previously been underrepresented. This is also the case for the company Audeze, which was only founded in the USA in 2008. With its Audeze LCD-X, it has brought a heavyweight onto the market that is worth seeing in every respect and wants to cause a sensation using unusual driver technology.

The concept of the Audeze LCD-X

In order to stand out from many other headphones in terms of sound, the Audeze LCD-X uses magnetostatic drivers, which have recently gained a very good reputation in the scene, but also have a massive problem in the truest sense of the word. Anyone who holds the Audeze LCD-X in their hand for the first time will be overwhelmed by the structural dimensions and, above all, by the very high weight of almost 700 grams. The subsequent practical test will show to what extent this has an impact on wearing comfort.

The relatively low impedance of just 20 ohms is unusual for headphones in this price range. Audeze explicitly points out that it is important to be able to use the headphones on almost any device. As is probably well known, competitors in the “600” ohm class can e.g. B. can hardly be operated on an iOS device or comparable, but instead require a high-quality headphone amplifier. Although this is definitely an upgrade in terms of sound reproduction, in practice it is sometimes associated with some limitations. On the other hand, every producer/sound engineer who is prepared to pay a retail price of just under €1,400 will probably also own a separate headphone amplifier.

The additional technical data of the Audeze LCD-X read very impressively, although the frequency response of 5 - 50,000 Hz with "usable sound level components" now, at least for me, is more intimidating than exciting. The manufacturers' constant pontificating of numbers above 20,000 Hz is now extremely tiring, especially since it has no benefit whatsoever for human hearing. Perhaps high-end manufacturers in particular should keep in mind that they are devaluing their product rather than upgrading it, as this behavior is usually practiced by the low-end department in order to give their mostly inferior products a better look.

The construction of the Audeze LCD-X

The headphones have an open design and therefore share the well-known advantages and disadvantages of this design with many competitors. On the one hand, this design does not completely isolate the user from the outside world and can be used very well at moderate ambient noise levels, but on the other hand, loud instruments such as e.g. B. Drums the functionality of the listener. Since the Audeze LCD-X was designed for use in mixing and mastering, there is no need for further considerations regarding the area of application.

With headphones of these dimensions, the question of transport naturally arises. The Audeze LCD-X does not have a special transport folding device, but you can use a screwdriver to loosen the cross screws on the side support rods and thus disassemble the headphones into three parts. This means that the receiver can also be transported in comparatively small, rectangular containers. Otherwise, only the packaging box would remain, which, however, takes up a lot of space with dimensions of 31 cm x 19 cm x 26 cm, or the optional transport case, which also visually brings back memories of Peli Cases.

In terms of workmanship and presentation, the Audeze LCD-X sometimes reminds me of Soviet tank drivers who always wore these huge headphones in the typical American blockbusters of the Cold War, which were almost indestructible. The Audeze LCD-X also has similar attributes. Its workmanship is extremely solid for headphones and suggests a very long service life. Depending on the order, ear pads and headbands are made from vegan Alcantara or the skin of a dead animal.

The accessories of the Audeze LCD-X

Just as the headphones themselves are robust, so too is the production of the accessories. The cables, which are routed on both sides, have a 4-pin mini XLR plug and, thanks to their braided and painted design, give the impression that they can easily withstand even massive kicks. All components give the impression that they were designed for heavy field operations in Afghanistan rather than for relaxed operation in the control room.

The cable length is approximately 2.5 meters and ends in a gold-plated 6.35 mm TRS connector. In order to also cover the consumer sector, which likes to work with a 3.5 mm jack, the headphones also come with an approx. 20 cm long adapter cable, which also has a gold-plated stereo mini jack plug.

Practice

As expected, the open design of the Audeze LCD-X makes it suitable for mixing and mastering. Operation in the recording room, separate from the instrument group, is limited by the interference of external sound sources and also by the very high weight, which brings us directly to the biggest problem with the Audeze LCD-X. Of course, every head shape and every wearing comfort requirement is individual, but the enormous weight of the headphones makes multiple possible uses difficult.

On the one hand, the weight puts a lot of pressure on the throat and neck, which makes a longer, continuous session impossible, at least for me. However, what is even more important to me personally is the fact that as soon as you lower your head, the listener, for example, B. to concentrate when typing on the keyboard, slips completely from the head due to the weight. Even adjusting the carrying handle couldn't help. Rhythmic head movements, such as B. some of which are done unconsciously by a musician during recording are completely impossible with the Audeze LCD-X.

I even caught myself literally balancing the headphones on my head while listening to the test so as not to tilt backwards or forwards, which unfortunately didn't make it possible to work in a relaxed manner. However, I would like to point out again that these are purely subjective impressions that can be completely different depending on the user. I can therefore only recommend that every interested user complete a personal wearing test. I, on the other hand, unfortunately cannot use these headphones due to their weight, as I got a headache after just 15 minutes due to neck tension.

Now let's come to the good side of the Audeze LCD-X. Audeze writes in a package insert that the headphones are “burned in” (played in) and do not require any further treatment. I don't want to discuss further whether these treatments produce a significant difference in sound or whether it is just the user's longing for an effect comparable to playing a wooden instrument; everyone should make their own judgment here.

The Audeze LCD-X was powered by my SPL Phonitor Mini headphone amplifier and had to compete against my Beyerdynamic T1, which has been my reference in the studio for many years. In addition to the usual test tones, several test mixes from our own and external production were used.

The first listening impression was very positive, as the basic sound of the Audeze LCD-X was very similar to the Beyerdynamic, although several details were drawn differently. In terms of frequency, the Audeze appeared a little more powerful in the low bass range, but also made the high frequency range a bit sharper. Overall, the sound of the Audeze LCD-X can be described as very powerful and balanced without any over or under emphasis.

When it comes to impulse behavior and spatial imaging, the Audeze LCD-X can only be given top marks. The response is excellent, the depth adjustment is beyond any point of criticism. Even the finest differences in the sound are resolved very finely and allow a clear assessment in the mix.

Conclusion

The Audeze LCD-X leaves a mixed impression, oscillating between excellent sound characteristics and unbearable “wearing comfort”. With top-class spatial resolution, voluminous basic sound and excellent impulse response, the headphones are one of the best the market currently has to offer, but this is negated by their weight of just under 700 grams and a wobbly and strenuous fit on the head.

It is advisable to complete a long session with the product in order to then decide individually whether you can withstand the strain. In terms of sound, the Audeze LCD-X is definitely worth the torture.

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Additional Informations:

Audeze Audio, a prominent name in the high-end audio market, specializes in producing premium headphones with a focus on planar magnetic technology. Founded in 2008 in Southern California, Audeze started as a company with a passion for innovation and quality in audio reproduction, quickly gaining a reputation for their exceptional sound quality and craftsmanship.

### Beginnings and Foundational Philosophy

Audeze's story began when founders Sankar Thiagasamudram and Alexander Rosson met engineer Pete Uka, who introduced them to his advancements in planar magnetic technology. Recognizing the potential for this technology in headphones, they embarked on a journey to create high-end audio products. Audeze's philosophy hinges on a commitment to innovation, uncompromising quality, and the delivery of a truly immersive listening experience. This ethos is evident in their early product lines and continues to be the driving force behind their newer models.

### Planar Magnetic Technology: The Core of Audeze's Products

Planar magnetic drivers, the hallmark of Audeze headphones, set them apart from typical dynamic driver headphones. These drivers use a thin, lightweight diaphragm suspended between arrays of precisely arranged magnets. The result is minimal distortion, better accuracy, and a highly dynamic response. Audeze continuously refines this technology, striving for thinner diaphragms and more effective magnetic structures to enhance the listening experience.

### Product Range: From Audiophiles to Professionals and Gamers

Audeze's product line spans several categories:

1. **Audiophile Headphones**: The LCD series, including the LCD-2 and LCD-3, are renowned for their clarity, deep bass, and spacious soundstage. These are often used by audiophiles in home listening environments.

2. **Professional Audio**: Audeze has made inroads into the studio market with products like the LCD-X, known for its neutral sound profile and precision, making them ideal for mixing and mastering professionals.

3. **Gaming Headphones**: Recognizing the growing market for high-quality gaming audio, Audeze introduced the Mobius and Penrose headphones, offering 3D audio and wireless connectivity, appealing to both casual and competitive gamers.

4. **In-Ear Monitors**: Expanding their product line, Audeze also offers in-ear models like the iSINE series, which brings their planar magnetic technology to a more portable form.

### Innovation and Partnerships

Audeze’s commitment to innovation is not just confined to product development. They have also engaged in various partnerships to enhance their technology. Collaborations with music artists, gaming companies, and software developers have led to specialized products and features, such as integrated head tracking technology in their gaming headphones.

### Environmental and Social Responsibility

Audeze is also aware of its environmental impact. They use sustainable materials where possible and aim to create durable products that stand the test of time. Additionally, Audeze contributes to social causes, recognizing the importance of giving back to the community.

### Challenges and Future Outlook

Like any company, Audeze faces challenges, including competition from other high-end audio manufacturers and the need to continually innovate in a fast-paced industry. However, their commitment to quality and the loyal customer base they have built position them well for the future.

Audeze continues to explore new technologies and market niches. With the rise of virtual reality and augmented reality, there are opportunities for Audeze to integrate their audio solutions into these emerging fields, potentially offering even more immersive audio experiences.

### Conclusion

Audeze stands as a beacon of quality and innovation in the high-end audio industry. Their dedication to planar magnetic technology, combined with a deep understanding of their audience’s needs, has established them as a leader in the field. As they continue to push the boundaries of what is possible in headphone sound quality, Audeze is well-poised to remain at the forefront of the audio technology landscape for years to come.

TEST: ART USB MIx

 „Ist der niedlich“. Ich weiss, das ist nicht unbedingt eine professionelle Einleitung für einen Testbericht, aber ich muss zugeben dass ich am liebsten noch „was willst du denn mal werden wenn du groß bist?“ dahinter hängen möchte. Das Angebot an Kleinstmischern, respektive Interfaces, hat sich sich in den letzten Jahren vervielfacht, nicht ohne Grund wie jeder weiss.

Mittlerweile wird ein Großteil von Budget-Produktion mit mobilem Equipment wie Notebook oder Tablet Computer aufgenommen, Fotokameras greifen in Video-Bereiche ein, die früher nur von amtlichen Filmkameras geschultert werden konnten und alle benötigen ein möglichst kleines, transportables, geräuscharmes Interface, ausgestattet mit den nötigen Ein-/Ausgängen, was möglichst die Abmessungen eines iPad Mini nicht übersteigen soll. Dabei teilt sich der Markt in den reinen Wandler Bereich, der neben einem Vorverstärker und einem rudimentären Ein- und Ausgangsbereich keine weiteren Funktionen bietet und winzige Mischpulte, welche zwar auch die Filter aussparen, aber neben mehreren Eingängen auch ein flexibles Monitoring ermöglichen.

Zur letzten Gruppe gehört das in China gefertigte ART USB Mix Computer Interface, welches trotz Zwergenabmessungen von der Haptik her ganz wie ein „echtes“ Mischpult daher kommt. Na ja, sagen wir fast ...

Konstruktion

Wie die meisten USB Pulte bis 16 Kanäle kommt auch der ART USB Mix in typischer Desktop Ausrichtung daher, will heissen abgerundete Kante vorne, glatte Fläche mit Drehreglern und zur Stirn hin eine leichte Erhöhung für die jeweiligen Steckverbindungen. Nur werden oben genannte Kontrollelemente auf gerade mal 41 mm x 101 mm x 121 mm (HxBxT) untergebracht, wobei der Winzling mit gerade mal 500 Gramm Gewicht zu Buche schlägt. Damit das Interface sich dennoch auch auf glatten Flächen halten kann, werden dem Produkt vier kleine aufklebbare Füsse aus Kunststoff beigelegt.

Der erste Eindruck des Interfaces bezüglich der Verarbeitung ist wirklich sehr gut. Das Gehäuse wurde aus massivem Stahlblech gefertigt, die Buchsen sind am Gehäuse gekontert und verfügen trotz enger Abstände untereinander über genügend Platz als dass auch massive Neutrik Stecker verwendet werden können. Der Mischer ist dreikanalig ausgelegt, was sich in Form eines Mikrofoneingangs ausgeführt als Kombibuchse und eines Stereo-Lineeingang nieder schlägt. Ein Druckschalter verwandelt den Mikrofoneingang in ein hochohmigen Inputverwalter, der Stereoklinkeneingang kann wahlweise auch als 2 Mono Kanäle betrieben werden und verträgt sowohl symmetrische als auch unsymmetrische Signalführung.

Als Ausgänge stehen zwei Klinkenbuchsen als Main Mix Out und eine Kopfhörerbuchse zur Verfügung, welche einen eigenen Signalregler aufweist. Über einen Druckschalter lässt sich das USB Playback Signal auf die Kanäle 2 und 3 routen um die erstellte Aufnahme gleichzeitig zu kontrollieren. Das Gerät verfügt des Weiteren über eine zuschaltbare 48V Phantomspeisung, zwei Clip-LEDs (Channel 1 / Summe) und eine grüne Betriebsleuchte. Den Strom holt sich das Produkt bei Anschluss an den Computer über den USB Port, oder aber bei reiner Mischerfunktion über ein mitgeliefertes Netzteil, welches ebenfalls an den USB Hub angeschlossen wird.

Software-seitig liegt dem Produkt eine Version von Audacity bei, ein Tool, welches sich bereits als Freeware Version für alle Computer Plattformen in den letzten Jahren einen hervorragenden Ruf erarbeitet hat. Für den Windows Bereich liegen alle nötigen Treiber bei, bei Apple muss wie fast immer gar nichts installiert werden, lediglich im Bereich der Ton-Systemfelder muss USB Audio Codec für Ein- und Ausgänge gewählt werden. Selbst Mac OS 9 wird noch unterstützt. Gewandelt wird wahlweise bei 44.1 oder 48 kHz, allerdings nur mit 16 Bit.


Praxis

Aufgrund seiner geringen Größe lädt das ART USV Mix auf den ersten Blick zum fleißigen Transportieren ein, auf den zweiten Blick jedoch liegt der stationäre Betrieb noch etwas näher. Aufgrund der vier vergleichsweise hohen Potentiometerköpfe ist es meines Erachtens nur eine Frage der Zeit bis einer oder mehrere der Regler durch ungewollte Belastung in einem Koffer, Tasche oder Ähnlichem einen Haarriss auf der Platine verursachen oder aber ganz abbrechen. Diese These wird auch dadurch untermauert, dass besagte Regler nicht wie die Buchsen der Anschlussperipherie durch Muttern am Gehäuse gekontert sind, sondern direkt auf der Platine aufsitzen.

Eine gute Lösung hierfür bietet jedoch das Verpackungsmaterial, in dem das Produkt ausgeliefert wird. Es beinhaltet unter anderem eine passgenaue Schaumstoffwanne, welche die Seitenwände über die Potentiometerachsen hinaus zieht und so für einen guten Schutz während des Transportes sorgt.

Während der Verkabelung wird schnell deutlich dass ART ein besonderes Augenmerk auf die Verarbeitung gelegt hat. Ich persönlich freue mich immer wenn ein TRS Stecker ordentlich gepackt wird und nach der Arretierung sich nicht weiter bewegen lässt. Glücklicherweise sucht man beim USB Mix die schlabberigen Plastikbuchsen, wie sie sonst gerne in diesem Preissegment vertreten sind, vergebens. Einmal gesteckt ist eine gesicherte Signalführung in trockenen Tüchern und brauch in Sachen Qualität sich auch nicht vor deutlich teureren Produkten zu verstecken.

Überhaupt glänzt der Vorverstärker mit einem sehr geringen Nebengeräuschpegel, auch bei relativ hoher Signalanhebung. Alle Bedienungselemente sind selbsterklärend und mittels weniger Handgriffe zu bedienen. Man könnte den ART USB Mix als eine Art Deluxe-Version der zumeist bereits am Rechner vorhandenen Anschlüsse bezeichnen. USB Kabel rein und endlich kann man mit einem „ordentlichen“ Kabel einen „ordentlichen“ Pegel in einer „ordentlichen“ Signalführung übertragen.

Das Produkt richtet sich primär an Benutzer, welche letztendlich nur das Signal möglichst hochwertig in den Rechner gewandelt haben wollen, um dieses dort mit den jeweiligen Plug-Ins weiter zu bearbeiten. Klangregelung, Aux-Wege oder weiterführendes Routing sucht man hier vergebens, was aufgrund des Einsatzgebietes aber absolut Sinn ergibt.


Fazit

Um sich in der Masse der Kleinst-Interfaces hervor zu tun, bedarf es heutzutage schon etwas mehr als einfach nur die Features der Konkurrenz zu kopieren und sein Produkt mit einem anderen Logo zu versehen. Dem scheint sich auch die Firma ART bewusst zu sein und hat genau in den Bereichen Verarbeitung und Hardware den Booster angesetzt, eben den Bereichen, die gerne in Sachen Qualität der Kalkulation zum Opfer fallen.

Das Gehäuse ist für dieses Preissegment über Gebühr massiv, die Buchsen packen kräftig zu, die allgemeine Verarbeitung ist sehr gut. Wer ein preiswertes, gut verarbeitetes, gut klingendes und leicht zu transportierendes Interface sucht, sollte den ART USB Mix auf jeden Fall einmal antesten.

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Additional Informations:

ART Audio, established in 1988 by Tom Willis, is a brand that stands as a paragon in the high-fidelity audio equipment industry, primarily celebrated for its commitment to the nuanced and intricate world of valve amplifier technology. This article delves into the technical and aesthetic philosophy of ART Audio, exploring its product range, manufacturing excellence, and its position within the audio market.

### The Underlying Technical Philosophy

ART Audio's dedication to valve amplifiers is deeply entrenched in a profound understanding of their acoustic properties. The brand’s preference for valve technology over solid-state alternatives is rooted in the valves' unique ability to produce a sound that is perceived as warmer and more lifelike. This preference is not merely a nod to tradition but a strategic choice influenced by the valves’ nonlinear response to electrical signals, introducing harmonics that add a desirable quality to the audio.

#### Valve Technology: A Deep Dive
Valve amplifiers use vacuum tubes to amplify the sound. These tubes, also known as thermionic valves, work by controlling the electric current between electrodes in an evacuated envelope. The intricate design of these valves plays a crucial role in the overall sound output, affecting aspects like harmonic distortion, frequency response, and soundstage depth. Unlike solid-state amplifiers that can sometimes impart a certain harshness or sterility to the sound, valve amplifiers are known for their ability to produce a richer, more resonant audio experience.

### Comprehensive Product Range

ART Audio’s product lineup is a testament to their commitment to high-quality audio reproduction and technical superiority.

1. **Tube Amplifiers and Preamps**: These products are at the heart of ART Audio's lineup. Each model is designed with specific tube types, like the 845, EL34, and KT88, chosen for their distinct sonic characteristics. The Art Audio Carissa SET 845, for instance, uses the 845 power tube renowned for its robust output and rich tonal quality, making it a preferred choice for audiophiles seeking a profound listening experience.

2. **Phono Stages and Turntables**: Recognizing the resurgence of vinyl, ART Audio’s phono stages are engineered to amplify the delicate signals from vinyl records with minimal distortion, ensuring the analog warmth and richness are faithfully preserved.

3. **Mono-Block and Stereo Power Amplifiers**: These amplifiers represent the pinnacle of ART Audio’s commitment to sound clarity and power. Mono-block amplifiers, such as the Art Audio Veloce, offer individual amplification for each stereo channel, enhancing sound separation and reducing crosstalk, whereas stereo amplifiers provide a compact yet powerful solution.

4. **Integrated Amplifiers**: ART Audio's integrated amplifiers like the Art Audio PX25 MKii combine preamplifier and power amplifier functions in one unit. These amplifiers are designed with sophisticated circuitry to maintain signal integrity and ensure high-quality sound reproduction.

### Artisanal Manufacturing and Customization

Every ART Audio product is handcrafted in the UK, adhering to stringent quality control standards. This artisanal approach to manufacturing allows for meticulous attention to detail, ensuring that each product not only meets the technical specifications but also embodies the brand’s aesthetic values. The handcrafted nature of these products also opens avenues for customization, allowing audiophiles to tailor their equipment to their specific sound preferences.

### The Technical Listening Experience

ART Audio equipment is engineered to deliver a sound experience that transcends the ordinary. This is achieved through a wider dynamic range, lower distortion levels, and an accurate representation of the original recording. The result is an immersive and emotionally engaging listening experience that resonates with audiophiles who seek more than just sound reproduction – they seek a sound experience.

### Target Audience and Market Position

ART Audio caters to a niche market of audiophiles and sound professionals who value the intricacies and quality of sound. Their products are not mass-produced but are instead crafted as high-end, bespoke audio solutions. This positioning in the market underscores ART Audio’s commitment to quality over quantity and their dedication to serving the needs of serious audio enthusiasts.

### Innovation and Future Perspectives

ART Audio continues to push the boundaries of audio technology, integrating modern advancements with traditional valve technology. This includes exploring innovative circuit designs, incorporating digital technologies where beneficial, and continually refining their valve amplification techniques. This balance of tradition and innovation ensures that ART Audio remains at the forefront of the high-fidelity audio equipment industry, poised to meet the evolving demands of the audiophile community.

In summary, ART Audio is more than just a manufacturer of high-quality audio equipment; it is a brand that represents the zenith of audio engineering, combining traditional craftsmanship with modern technological advancements. Their commitment to technical excellence, coupled with a profound understanding of the emotional impact of music, positions them as a distinguished entity in the realm of high-fidelity audio.

TEST: ART Tubemix

 When it comes to handy, analog desktop mixers with an interface integration, the name ART is probably familiar to many users. Anyone who can handle a manageable number of inputs when it comes to podcasts or home recording will certainly have noticed the American manufacturer with production in China when researching new equipment.

In order to stay in the conversation, the manufacturer is installing a tube in its latest product, the ART TubeMix, which is probably the most analogue component since control elements have been around, in this case the ever-popular 12AX7 / ECC83. Tube consoles are as old as recording technology itself, although most interested users are more familiar with them from recording temples in the 1960s such as Abbey Road Studios, rather than from current console technology. Let's see whether the beloved "non-linearity" of this component in the form of "heat", compression and saturation also comes into its own in the small mixer.

Construction and construction

The ART TubeMix is a 5-channel mixer in which channels 3 and 4 have been combined to form a stereo signal. The same stereo channel strip can also be operated in mono via a jack input, but does not have any adjustable pre-amplification in the form of a gain control. However, these can be found on channels 1, 2 and 5, whereby the first two channels in the input section can choose between jack and XLR, while channel 5 only has a high-impedance jack input.

While the first two channels have a control range of -7 dB to 33 dB (Line) or 0 dB to 43 dB (XLR), channel 5 has the option of processing the applied signal from -12 dB to 26 dB. In general, channel 5 quickly attracts attention because, in addition to purely high-impedance signal management, an amp simulation can be switched to the channel using a pressure switch. The practical test will show whether this is really an amp simulator or a much more useful speaker simulator.

To save space, all controls on the surface of the housing are designed as rotary controls. In addition to a three-band EQ (80 Hz, 2.5 kHz and 12 kHz), each channel has 2 AUX controls (left / right), a peak LED, a panorama control and a level control. The AUX channel is available as a TRS stereo circuit in/out, and the mixer also has a left/right control room out and a left/right main output. The TRS signal routing allows you to manage mono effects using a simple jack plug and corresponding stereo effects using a Y-whip.

In order to visually support the analogue character of the ART TubeMix, the mixer has two VU meters, which, with their natural inertia, always bring a certain relaxedness to the level control. Fast-paced LEDs may provide instant level control, but the more “musical” solution is still VU meters.

In the master area you can also use pressure switches to switch the signal from the VU meter, the 2x 6-digit LED display, phantom power and the different assignments of the signal to the control room and main mix. Except for the input socket of the included power supply and the USB connection socket, all connections are located on the top of the housing.

The device itself is very solid, which can be seen in the comparatively small dimensions (H x W x D): 82 mm x 195 mm x 245 mm by the hefty weight of 2.5 kilograms. The extent to which you can become comfortable with the “rustic oak” side panels depends on your personal level of suffering.

Tube circuit and USB

Anyone hoping for fat saturation in the style of a guitar amplifier will unfortunately have to lower their expectations. In terms of circuitry, the tube was placed behind the gain control and in front of the filters, so that it can only color the applied signal. The tube can be switched to either the first two channels or channel 5; the stereo channel 3/4 is left out completely.

According to the manual, the USB 2 interface used (16-bit / 48 kHz) is recognized by all modern PCs (from Windows 7) and Macs (from OSX 10.9) computers; no driver installation is required. The mixer also comes with an installation CD which contains a manual, the recording software Audacity 2.1.3 and an ART Asio driver. The very unusual 18 V / 1000 mA AC power supply is of course also included.

Practice

When you switch on the ART TubeMix, the first thing you do is check whether the power plug has not been plugged in correctly. Why? Well, the product does not have a power LED. Not even the VU meters are illuminated, i.e. H. You can't tell what level is present in dim lighting. Without an applied signal that activates the LED chains, you can only activate the 48 V phantom power and rely on the LED for the operating voltage, which is definitely not in the spirit of the inventor and you also run the risk of, e.g. B. to send a passive ribbon microphone to the eternal hunting grounds in no time. No offense, but in my opinion something like that is not possible.

When it comes to feel, however, the ART TubeMix scores well. The controls run evenly, have a pleasant resistance and, with the exception of the volume controls such as level, main level, control room and the AUX channels, have a 0 grid, which also makes blind operation easier. Unfortunately, this cannot be said about the Amp Simulator, Tube Assign and Meter-USB Source pressure switches. Black switch on a black background with a short stroke, and also without a status LED, forcing the user to concentrate on which status he has just activated.

First, let's take a closer look at the filters. The corner frequencies adopted from the early Mackie desks do a good job, although I personally like the mostly neglected mid filter the best. The 12K comes across a little harsh, while the 80 Hz boosts the bass range in a somewhat undefined way. All in all, however, the EQ does its job quite well. Now let's take a look at the two highlights of the ART TubeMix, the tube circuit and the amp simulator.

What could already be assumed based on the key technical data is also immediately noticeable in practice. Understandably, given its reputation when it comes to tube preamps, ART would like to sell the TubeMix as a tube mixer, but unfortunately this is not so easy to implement. In order to adequately integrate a preamp tube into the sound process, an anode voltage of approx. 170 - 250 volts is required, which must be generated via appropriate transformers. An 18 volt power supply cannot do this, so you shouldn't have too high expectations when it comes to tube circuitry.

Activating the tube in the signal path creates a clearly perceptible compression of the signal with a slight low-mid/bass boost, which is much more sophisticated than the EQ's bass control. At the same time, however, the transparency of the signal also decreases, so that solo monitoring benefits from the tube circuit, but in the sum mix the signal decreases in its succinctness. The extent to which this is an advantage or disadvantage depends on the source material and the total mix. Everyone has to have their own experiences here.

Due to the circuitry, you cannot change the saturation of the tube using the gain control, so activating the tube is equivalent to a kind of booster function in terms of volume, compression and filter behavior. Here too, personal taste decides.

Finally, the amp simulator still has to flex its muscles. To do this, I played an electric guitar directly into the desk via a Pushking Overdrive. It is noticeable that even with the Amp Simulator circuit deactivated, the high-impedance input is designed to have significantly lower treble than the other channels. The infamous scratching above 4K, which creates a distorted guitar, can hardly be heard here and only increases significantly when the tube circuit is activated.

Activating the Amp Simulator is supposed to create an emulation of guitar amplifier and speaker simulation, but only extends to a targeted increase/decrease of typical frequencies. The circuit cannot reproduce the dynamic and tonal behavior of a classic amplifier/loudspeaker combination. This input may be useful for quickly capturing a compositional idea, but it can never replace high-quality hardware emulation or even professional microphone recording.

Conclusion

The ART TubeMix is a handy yet massive mixer/USB interface on the market that attracts attention with two unusual features. A manually activated tube circuit and an amp simulator increase the flexibility of the product, which easily and quickly transports almost all signals into the DAW and out again.

I hope I no longer have to complain about the lack of any operating displays and the unlit VU meters with the 2.0 edition of the product.

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Additional Informations:

ART Audio, established in 1988 by the visionary Tom Willis, stands as a testament to the fusion of technical ingenuity and the profound love for music. This company, steeped in the tradition of high-fidelity audio craftsmanship, has dedicated itself to elevating the listening experience of recorded music to an art form.

### The Core Philosophy: A Symphony of Tubes and Technology
At the heart of ART Audio's ethos is a deep-seated reverence for valve amplifiers. In an era dominated by digital advancements, ART Audio swims against the current, championing the rich and warm sound that only valve technology can produce. This deliberate choice is not just a nod to nostalgia but a well-considered decision to harness the unique ability of valve amplifiers to imbue digital sound sources with a more organic and less abrasive quality.

### Expansive Product Landscape: Crafting Sonic Masterpieces
ART Audio's catalogue is a veritable cornucopia of auditory delights, each product meticulously designed and handcrafted to deliver an unparalleled auditory experience:

1. **Eloquent Tube Amplifiers and Preamps**: The crux of their offering lies in their range of tube amplifiers and preamps, such as the lauded Art Audio Carissa SET 845 and the Art Audio PX25 MKii. These devices are not just equipment but conduits of pure, unadulterated sound.

2. **Turntables and Phono Stages**: For the vinyl aficionados, ART Audio extends its craftsmanship to turntables and phono stages, ensuring that the warmth of analog sound is captured in its most pristine form.

3. **Mono-Block and Stereo Power Amplifiers**: From the robust power of their mono-block amplifiers to the compact efficiency of their stereo amplifiers, each model is a testament to ART Audio's commitment to excellence in sound reproduction.

4. **Integrated Amplifiers**: Merging the functionality of preamplifiers and power amplifiers, their integrated amplifiers offer a harmonious blend of convenience and top-tier audio performance.

### The Artisanal Touch: Handmade in the UK
Every piece of ART Audio equipment is a labor of love, hand-assembled in the UK with an unwavering attention to detail. This artisanal approach ensures that each product is not just a piece of technology but a masterpiece of audio engineering.

### The ART Audio Experience: Beyond Listening
Owning an ART Audio product is not merely about listening to music; it’s about experiencing it. The company strives to create a deeper connection between the listener and the music, transcending the mere act of listening to create an immersive, emotional experience.

### The Audience: A Loyal Following
ART Audio has garnered a dedicated following among those who appreciate the finer nuances of sound. Their products are a staple in high-end audio setups, revered by audiophiles and music lovers alike for their ability to bring recorded music to life.

### Looking to the Horizon: Innovating While Honoring Tradition
ART Audio stands at the crossroads of tradition and innovation, continuously evolving to meet the demands of the modern audiophile while staying true to its heritage. This balance ensures that ART Audio remains at the forefront of the high-fidelity audio equipment industry, now and in the future.

In essence, ART Audio is more than just a manufacturer of high-quality audio equipment; it is a purveyor of musical experiences, a bridge between the past and the future of sound technology. The company's unwavering dedication to quality, coupled with a deep understanding of the emotional power of music, firmly positions it as an illustrious name in the realm of high-fidelity audio.

TEST: ART Pro MPA II

 With their ART Pro MPA II, ART are once again highlighting their affinity for tubes. The comparatively very low retail price of under 400 euros, however, makes you frown a little. Can a classic tube sound be created for so little money?

The concept of the ART Pro MPA II

The ART Pro MPA II is a two-channel microphone preamplifier, which, as a special feature, has a double triode of type 12AX7 (ECC83) placed in the signal path per channel. This is one of the most common types of tubes used in instrumental applications, as they can almost without exception be found in every tube preamplifier of a guitar amplifier. However, the ART Pro MPA II is primarily constructed using transistor technology; the tube is located between the input and output stages and only provides coloring of the sound. A complete tube construction would not have been possible even with this retail price; you have to expect at least a four-digit amount here.

In general, the product is aimed at users who are visually attracted to vintage equipment, as the two large VU meters are a visual eye-catcher. Both meters can be readjusted using a small screwdriver if necessary and, together with the two 8-digit LED chains, enable extensive management of the signal.

Personally, I think the natural inertia of a VU meter as an average level display with the fast peak LEDs for any peaks that may occur is the perfect way to monitor the applied voltage. However, the name “Tube Warmth” below the LED chains indicates a display behavior that is not clearly visible at first glance. The saturation of the tubes is displayed here, which often runs analogously to the increase in the deflection of the VU meters, but must be viewed separately from it.

The front of the ART Pro MPA II

A gain control per channel is mandatory, which already offers a pre-amplification of 40 dB. An additional switch was placed below the respective VU meters, which increases the gain factor by a further 20 dB if necessary. In conjunction with the amplification of the output stage, which can boost the signal by a further 10 dB, even very weak-signal ribbon microphone-style microphones are provided with sufficient catch-up amplification.

Another special feature is that the input impedance of the channel can be varied from 150 to 3000 ohms, which sometimes has a massive effect on the sound of the microphone. In most cases, microphones sound best for the majority of listeners due to their low load and high impedance, but it is always worth experimenting a little with the control. The sonic possibilities definitely multiply.

Below the gain control there is a high-impedance jack input, which also enables the connection of high-impedance instruments such as electric bass or electric piano. ATTENTION, as a little practical tip, it is often said that you can also connect electric guitars to inputs of this type. From an electrical point of view yes, from a sound point of view definitely not! The characteristic sound of an electric guitar is only available in conjunction with a high-quality, microphoned amplifier or at least a good modeling amp in the style of a Kemper amp (which then also uses other inputs), unless you really want the “eighties” sound. Strat-Clean-PU-Select-Switch-to-4-directly-into-the-console” sound that cannot be beaten in terms of sterility.

To the right of the Hz input there is a high pass whose frequency can be adjusted between 7.5 - 200 Hz. It is impossible to determine whether the lowest frequency has any meaning or whether it is just an extreme value that looks good in the buyer's eyes, but low cut filters with values in the single-digit Hz range are completely meaningless in practice. It continues with 4 pressure switches, whereby in addition to the +20 dB switch already mentioned, the 48 V phantom power can be activated, the phase can be rotated and the anode voltage of the double triode can be changed. In the High setting, the tube proves to be somewhat more stable in saturation at large amplitudes than in the Normal setting. So if you like the sound to be a little cleaner, you should go to “High”, for a little more “dirt” please use “Normal”.

If you turn to the middle of the ART Pro MPA II front panel, an unusual but very practical switch appears, which switches the preamp into the M/S matrix, in which the stereo effect is achieved solely through level differences, not through delay differences between the channels. Normally, a circuit like this requires a little more effort; here the task is done for you with a simple push. A very good detail.

Another feature increases the flexibility of the preamp immensely. The ART Pro MPA II can be switched from a dual mono to a stereo device using a pressure switch on the right of the housing, with the left output control now managing both channels in terms of output level, while the right output control mutates into a stereo balance control.

The back of the ART Pro MPA II

On the back of the ART Pro MPA II, things are comparatively unspectacular, although again very practical. In contrast to the Hz inputs, which are located on the front, the balanced XLR inputs and outputs are on the back of the housing. The output is available as both XLR and TRS, both outputs are symmetrical. Using an additional switch you can choose between the hobby / HiFi level of -10 dBV and the professional level of + 4 dBu.

The inner workings of the ART Pro MPA II

A popular selling point for preamps is the concept of a discrete circuit, which does not work with integrated circuits but with individual transistors, which usually has a positive effect on the sound. The rest of the equipment is also quite convincing based on the names. OP's type NE5532 along with the Burr Brown OPA 2134 and a powerful toroidal transformer, which is also responsible for the majority of the rather heavy weight of just under 5 kilograms, raise expectations for the sound result.

The ART Pro MPA II in practice

Anyone who peddles the sales argument of a tube will, as expected, have to put up with a lot more when it comes to saturation than their competitors who are based purely on transistors. After activating the device, the LED chains initially perform a kind of “warm-up dance” until the double triodes have reached their operating temperatures.

In order to be able to assess the impedance controller's sound design, I used a dynamic microphone, which is known to require more amplification than the phantom power-supported condenser bolides. The subsequent sound files were made with a Beyerdynamics M 88, the “Phil Collins” microphone.

What makes a difference in terms of sound is the very clear and finely structured resolution of the ART Pro MPA II. Regardless of the saturation of the tube, the resolution of the signal is very benevolent and pleasant. As expected, the difference in sound with different input impedances is enormous and, as expected, almost all microphones sound best when turned to the right, i.e. with the highest possible impedance.

ART recommends starting at 12 o'clock at 600 ohms, but I wasn't that impressed with this setting. The ART Pro MPA II also handled condenser microphones and even the sometimes cumbersome and bass-heavy ribbon microphones perfectly without any complaints. One thing that was noticeable was that the preamp still operated with very little noise even at maximum pre-amplification. Adding tube saturation changed almost nothing in terms of the amount of background noise.

As expected, the tube circuitry has more of an effect on the color of the signal and less on the basic sound itself. The compression of the signal increases marginally, hence the subjectively perceived volume of the signal, but this cannot hide the fact that it is more or less a nice bonus rather than a style-defining element within the sound shaping.

Conclusion

With the ART Pro MPA II, the American manufacturer with Chinese production is consistently continuing its push for tube coloring at a low retail price. With a comparatively low retail price of less than 400 euros, the preamp offers a high degree of flexibility in terms of possible uses, high-quality components, extremely little background noise, a discrete circuit and a tastefully roaring coloring of the signal. You certainly can't expect a transistor-free all-tube sound at this retail price, but the product still impresses with a high density of top performers in its construction.

If you want to improve your sound shaping compared to the generally poor preamplifiers of your audio interface, you should definitely give the product a try.

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Additional Informations:

ART Audio, founded in 1988 by Tom Willis, is a company that has made a significant mark in the high-fidelity audio equipment industry. The brand stands out for its dedication to enhancing the listening experience of recorded music, a mission that is reflected in every aspect of its product design and development.

### Philosophy and Design Approach
ART Audio's philosophy is centered around the use of valve amplifiers. Despite the digital era's advancements, the company has identified and embraced the unique qualities that valve amplifiers bring to audio reproduction. These amplifiers are known for their ability to soften the sometimes aggressive nature of digital sound sources, thereby enriching the musicality of the audio.

This approach is not just a matter of component selection but a comprehensive design philosophy that prioritizes musicality and listening pleasure. ART Audio’s products are characterized by their meticulous engineering and attention to detail, resulting in equipment that is both technically proficient and emotionally resonant.

### Product Range and Features
ART Audio's product range showcases a commitment to high-quality audio reproduction:

1. **Tube Amplifiers and Preamps**: Their amplifiers and preamps are noted for their exceptional sound quality. Notable examples include the Art Audio Carissa SET 845 and the Art Audio PX25 MKii, each offering unique characteristics in terms of power output and sound quality.

2. **Phono Stages and Turntables**: Catering to the vinyl resurgence, ART Audio also produces turntables and phono stages, enhancing the analog listening experience for vinyl enthusiasts.

3. **Mono-Block and Stereo Power Amplifiers**: Their lineup includes both mono-block and stereo power amplifiers. The mono-block amplifiers are designed for those seeking the ultimate in power and separation, while the stereo amplifiers provide a more compact solution without compromising on quality.

4. **Integrated Amplifiers**: For those seeking a combination of a preamplifier and power amplifier in a single unit, ART Audio's integrated amplifiers offer a convenient yet high-quality option.

### Hand-Crafted Quality
Each product from ART Audio is hand-made in the UK, ensuring meticulous attention to detail and quality. This craftsmanship is a key component of the brand's identity, reflecting a blend of traditional techniques and modern audio technology.

### The ART Audio Experience
ART Audio's equipment is designed not just for technical excellence but for creating a deeper emotional connection with music. Their products are known to deliver a listening experience that is both immersive and emotionally engaging, resonating with both audiophiles and casual listeners.

### Market Position and Customer Base
The brand has cultivated a loyal following among audiophiles and music enthusiasts who appreciate the nuanced and rich sound quality that valve amplifiers provide. Their products are often found in high-end audio setups and are respected for their ability to deliver a superior listening experience.

### Future Outlook
As a company, ART Audio balances respect for the past with a vision for the future. They continue to innovate and adapt, ensuring that their products remain relevant and desirable in an ever-evolving audio landscape.

In summary, ART Audio represents a unique blend of traditional craftsmanship and modern audio technology, with a strong emphasis on the emotional impact of music. Their dedication to quality, combined with a deep understanding of what makes music listening enjoyable, positions them as a distinguished name in the high-fidelity audio equipment industry.