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1More ANC TWS Review – Slipstream

Pros –

Great ANC with usable modes and minimal artefacts, Stable fit, Well-considered V-shaped signature, Excellent foreground detail retrieval, Wide soundstage, Stable connectivity

Cons –

Larger charging case, Large housings won’t suit those with small ears, App has questionable functionality

Verdict –

The 1More TWS ANC may not best market leaders, but gets very close for considerably less with a more technical sound on top.

Introduction –

1More are a US-based audio company who have built a strong cult following with their triple-driver hybrid in-ears and more well-received products since. The ANC TWS is one of their more coveted products and also one of their most unanimously lauded. It is especially feature packed, offering advanced ANC and a hybrid DD + BA driver setup not commonly seen on this form factor. So, it came as little surprise when 1More announced that their ANC TWS would be the first TWS in-ear to achieve THX certification. What was less obvious to consumers is that there’s more to this than a simple badge on the box; consider the THX certified models – that being manufactured around June 2020 onwards – as V2 hardware. This revision will also features a revised balanced armature driver, similarly, the firmware has been upgraded according to feedback by THX engineers alongside adding support for 1More’s QuietMax technology first introduced on their neckband model. This is a very nice refinement of an already very competitive TWS in-ear.

The 1More TWS ANC is available for $179.99 USD at the time of writing. To read more about it and 1More’s technologies see their product page here. To purchase one for yourself, please see here (affiliate).

Disclaimer –

I would like to thank Ari very much for his quick communication and for providing me with the 1More ANC TWS for the purpose of review. All words are my own and there is no monetary incentive for a positive review. Despite receiving the earphones free of cost, I will attempt to be as objective as possible in my evaluation.

Specifications –

  • Weight: 7.9g (single earbud), 63.2g (case), 79g (total)
  • Dimensions: 38 x 18 x 28.5 mm (earbud), 81.32 x 30 x 38.5 mm (case)
  • Bluetooth Version: 5.0, 10m range, apt-X and AAC supported
  • Battery: 55 mAh (earbuds), 410 mAh (case), 5v 1A charging
  • Runtime (50% vol): 6hrs (ANC off), 5hrs (ANC on), 22hrs total (incl. case ANC off)
  • Impedance: 32 ohms

The Pitch –


The ANC TWS’ design opens up several avenues for enhanced ANC performance. QuietMax consists of dual-band ANC, intelligent wind reduction and methods to reduce wearing pressure. On traditional single-driver earphones, ANC diminishes sound quality as the driver must handle two duties. With the ANC TWS, 1More attempt to circumvent this by delegating the DD to ANC duties and allowing the BA driver to cover a wider frequency range with ANC on. 1More are also utilising two mics to offer feedforward and feedback ANC so it can detect noises within the ear canals in addition to ambient, offering additional attenuation.

The dual mic system is also handy for wind noise reduction, as the earphones are able to reduce the sensitivity of the ambient noise feedforward mic and rely more on the in-ear feedback mic to mitigate artefacts. There are also two ANC modes that vary not in intensity, but bandwidth. One is a wide-band attenuation to cancel a wide range of sounds including voices, the other focusing more on lower wearing pressure and the cancellation of explicitly more constant low-frequency background noise. Overall, this is a very intelligent approach to ANC with clear benefits to real world performance. This technology is further explain here.

Upgraded Firmware

When the TWS ANC first launched, it was slammed for sounding very different when ANC was activated, becoming overly bass heavy. This has since been remediated to some degree with firmware updates, now creating a more consistent sound profile – the more balanced one offered with ANC off is now mostly retained with ANC on. Furthermore, the V2 hardware units have also been updated with ANC and audio tweaks based on feedback from THX engineers. 1More explains THX certification and how to identify your hardware version on their website here.

Unboxing –

1More always provide a stunning unboxing experience and the TWS ANC is no different. The box looks premium with high-quality print and renders. There’s a brushed metal tab on the magnetic tab that opens to reveal the earphones and case within a foam inlet. A separate box contains the remaining accessories. There are 3 sizes of retentive loops, 1More’s interpretation of stabiliser wings, in addition to 3 pair of soft silicone tips and 3 pairs of harder silicone tips. I found it especially important to find the right combination of both due to the size and shape of the ANC TWS. Also take note that the tips are directional, try rotating them 180 degrees if you can’t get a good seal.

Design –

If you’re familiar with 1More’s other TWS designs, you’ll find a similar experience with the ANC TWS. A key differentiator from the lower-end models is the all-black colour scheme with slick carbon-fibre faceplates and red accented grills. It gives the earphone a seriously sporty aesthetic that’s reminiscent of automotive design and also very distinct. They are one of the largest TWS in-ears I’ve tested personally, but are very lightweight, being mostly plastic in terms of construction. In turn, they don’t feel especially dense or high-quality in the hand, but the positive trade-off is a more stable and less obtrusive fit; you feel the size much less in wearing. They have no official IP rating, but 1More claim the design is suitable for workouts and light moisture if not any kind of submersion.

The majority of the housing sits outside the ear while the portion that sits in the ear is compact and covered by a silicone cover. The user is able to choose between 3 sizes of silicone rings, the smallest having no retention for those with smaller ears. The experience can be likened to that provided by Master & Dynamic’s MW07 earphones; they feel soft in the ear and achieve a nice, locked-in sensation once tilted appropriately. This works in tandem with angled nozzles and oval ear tips, though do take note that users will be limited to the stock ear tips since the nozzles are also oval and elongated which can affect purchase with third party tips. Infrared sensors are also apparent to auto-pause when removed from the ear.

Fit & Comfort –

The earphones are clearly on the larger side, most apparent when looking at photos of the inner face as shown below. Accordingly, they protrude noticeably from the ear, so a far cry from svelte competitors such as the Airpod Pros and Pixel Buds though roughly on par with something like the WF-1000XM3. In turn, they aren’t suitable for sleeping on and do pick up a little more wind noise than the smaller aforementioned designs. In addition, they are not the best choice for those with smaller ears as I found them very unstable without the stabiliser rings attached. Due to their larger design, finding the right sized stabilisation rings and eartips is imperative. With the large rings and stock medium tips, I was able to achieve a consistent seal and stable fit for my ears.

I was able to run and skip without requiring adjustment, a surprisingly good result given that the medium rings installed out of the box were very awkward for me. I do also personally find the rings more comfortable than wing style stabilisers and even the small fins on the MW07 earphones. They form no hotspots and spread the force evenly over a large area, where the fins and wings tended to push on certain parts of my ears harder causing mild discomfort over time. If you have average sized ears and above, the 1More ANC TWS will provide a very comfortable and stable fit.

Case –

Though not nearly as compact as the Airpods case or even the Pixel Buds case, the 1More charging case has well-considered dimensions that make it more pocketable than most. It’s long but also slim and narrow, so it slides into the pocket comfortably next to a wallet or phone. The case feels great to handle, high-quality and solidly built with a gunmetal anodized exterior and silicone base that keeps it steady when placed on a table. Of course, I wouldn’t recommend repeating this, but the case is bottom heavy so it tends to fall towards the rubber base when dropped, offering some shock protection. The hinge feels solid as well, not the smoothest and the reverse lock feels stiff, but it works reliably and hasn’t popped out or caused other issues during testing.

The magnets that hold the lid closed are strong so you don’t have to worry about losing the earbuds when dropped or placed in a bag. Similarly, the earbuds seat themselves very snugly into the case and there is plenty of room for large tips and rings. The case charges via Type-C and supports Qi wireless charging. There’s a status LED on the front and a pairing button inside. Of note, the case will power the earphones off even if completely discharged, but it will not power them back on when removed requiring the user to hold the MFB on the earphones to power on manually. The case offers around 3 full charges and I found it to match that figure comfortably during testing. Fast charge is also available, offering 2 hours of listening time with 15 minutes of charging.

Usability –


If you’re able to operate any other TWS earphone, you’ll have few troubles here. The 1More’s are easy to use with intuitive controls. Upon opening the case, they enter pairing mode or automatically reconnect to previously paired devices. Pairing can also be manually initiated with the button inside the case. Auto pairing was quick and reliable on my Pixel 4. Once setup, I was also very impressed with the connectivity. They offer among the best range of any TWS earphone I have on hand, able to traverse around 3 rooms with double brick wall before becoming intermittent, but even then, they held onto audio most of the time. With my phone on person, I experienced no issues with cut-out or interference, even in busy areas such as the CBD or public transport. Connected over apt-X, latency was also a strong performer with minimal lip sync making them suitable for videos, movies and some gaming.


Here I am experiencing a mixed bag, the physical controls work well, and the touch controls are among the better performers I’ve tried. I appreciate the use of touch for more complex actions such as ANC mode, and more reliable physical controls for volume, skip track and call accept/reject functionality. However, there are a few caveats that irk during daily use. For one, there is no ability to customize the control scheme, aggravating as I can’t set a dedicated button for instant pass-through mode. The touch controls also have a noticeable latency but have voice feedback announcing the ANC mode, passthrough, etc. Meanwhile, the physical controls lack any kind of auditory feedback, aggravating since skipping tracks requires a 2s hold, but only initiates once the button has been released. So, if you hold the button for too long, the earpiece powers off, too short and it only changes the volume; an unreliable control that I struggled to acclimatise to during my testing. You can’t palm the touch-sensitive faceplates like the Sennheiser MTW2 so they’re a bit difficult to tap when running per say, they are also nowhere near as responsive as the class-leading Google Pixel Buds with capacitive touch panel. That said, the touch controls are reliable enough, hitting about 95% accuracy during daily use.

1More Music App  

It’s good to see some app integration here as it permits some functions that other more audio-centric earphones lack. That said, the experience is quite limited which seems like wasted potential here. The app is limited to basic controls of the features available. There’s a slider that adjusts the ANC mode between the 3 settings and a pass-through toggle just below. You can also adjust whether the IR sensors auto-pause music or both pause and play, however, you cannot disable this feature. OTA firmware upgrades are available alongside a quick guide for fit and controls. There is no eQ or other sound mode setting and no ability to change audio feedback. There is an addition 1More app available, however, this essentially only offers firmware updates and automatic burn-in for those wanting to extract maximum performance from their earphones out of the box.

ANC Performance

Given 1More’s bold claims with the introduction of QuietMax, I was very curious to try their technology for myself – especially, since impressions online vary wildly. Of course, effectiveness will vary greatly based on seal, so ensure you have the best setup of tips and rings, I do personally get a very good seal with these. I also have not tried the non-THX V1 earphone so these will be purely impressions based on the newest revision.

Well, if my prior comments had you concerned about 1More’s ability to deliver on claims, the ANC performance will surely redeem them, it is superb. I found them almost on par with market leaders such as the Airpods Pros and Sony WF-1000XM3, which is to say, very effective and instantly noticeable. Those models cancel out just a little more midrange, so voices sound a bit more muted on both, however, low-frequency noises were similarly attenuated to near silence on the 1More’s, if not a little more so. The only downside is that high-frequencies are a little more apparent when ANC is on than these models, with a noticeable whoosh. That said, the 1More’s are also less susceptible to artefacts. A common area where I experience difficulties with the other models was chains rattling in the gym, the change in pressure when doors close on the train and a pop when the rope strikes the ground during skipping. The 1More’s had no issues with any of these noises where the Sony’s and Airpods would pop and clip noticeably.

ANC Modes

As mentioned in my rundown of QuietMax, the ANC TWS offers two modes of ANC; one wideband, one low-frequencies and less aggressive in general. They are very useable with well-defined use cases for each – if somewhat inconvenient to toggle between. It should be noted that wind noise is still noticeable on these earphones, but was better controlled than competitors even on the more aggressive ANC setting (mode 1), and it was roughly halved in volume on the low-frequency ANC setting (mode 2). The worst performer here was the Sennheiser MTW2 that almost amplified wind noise despite being by far the least aggressive in terms of actual noise cancellation. The first mode does a sensational job at silencing background hums and drones, think road and traffic noise, AC, computer fans and distant chatter, in addition to a good job at lowering the intensity of voices and keyboard noise. Meanwhile, setting 2 cancels those hums and drones at about 80% of the effectiveness of the first mode, while leaving voices less attenuated. However, the 2nd mode also vastly lowers artefacts and there is almost zero wearing pressure, where some becomes apparent on the 1st mode when in louder environments.

I think this is a good trade-off and a very useful addition for frequent flyers who may prioritise long-term comfort over the best ANC performance possible. For reference, the level of pressure on the Apple and Sony competitors is similar to the 1st mode and only the Sony’s offer the ability to adjust ANC intensity. However, as aforementioned, it is a pain to cycle through each setting, of which there are 4 – ANC Mode 1, ANC Mode 2, Pass through (aware mode), ANC Off. Most notably, reaching pass through takes a good 5 seconds or so as there is an accompanying voice chime between each setting paired with a second delay, presumably adjusting the dual-driver duties. This means it is essentially useless for catching quick conversation and announcements as it simply takes too long to cycle around to this mode. You can manually select each within the app, however, you’d need to keep it open in the background as there is no quick-setting toggle or slider in the notification shade.

Pass-through Mode

Despite being more inconvenient than most to access, the actual effectiveness here is very good. It doesn’t amplify sounds like the Sennheiser’s but passes ambient noises in a very natural manner akin to the Airpod Pros. They don’t clip on louder ambient sounds and don’t sound thin, sharp or shouty either as some do – for instance, the Sennheiser’s would amplify high-frequencies excessively to the extent that jingling keys would deafen. The 1More’s sounded almost open, not super clear once again, but a natural effect that leaves speech easy to distinguish even with music playing – so long as it is at a reasonable volume. Overall, if you’re looking for an earphone with effective and adjustable ANC and a very sound pass-through when you need spatial awareness, you won’t be disappointed with the 1More’s.

Call Quality

With an extensive microphone setup, call quality is easily good enough for day to day use but still clearly a setup below market leaders. That said, I would only recommend these other models over the 1More if the buyer were using them primarily as a headset as I find the ANC TWS to offer a fairly well-rounded experience with good performance elsewhere. Recipients noted my voice was immediate and discernible in noisy environments with good ambient noise cancellation albeit could be a little clearer. There is no pass through/sidetone during calls and also no ANC during calls as the Huawei Freebuds 3 are able to retain. However, other competitors do not offer this functionality either.

Next Page: Sound, Comparisons & Verdict

The post 1More ANC TWS Review – Slipstream first appeared on The Headphone List.

Original Resource is The Headphone List

Why Do People Keep Their Empty Apple Boxes?

Across the world, people are posting photos of the iPhone, iPod, and MacBook packaging they’ve kept through the years. People collect a lot of things — coins, comic books, vinyl records. Some are even into pretty outlandish things like celebrity hair strands. They’re usually novelties, but …

Original Resource is Vinyl Records

Why Do People Keep Their Empty Apple Boxes?

Across the world, people are posting photos of the iPhone, iPod, and MacBook packaging they’ve kept through the years. People collect a lot of things — coins, comic books, vinyl records. Some are even into pretty outlandish things like celebrity hair strands. They’re usually novelties, but …

Original Resource is Vinyl Records

Pro Sound News’ Top 10 Articles of 2020

Pro Sound News top 10 articles of 2020New York, NY (December 24, 2020)—With the end of 2020 upon us (and not a second too soon), we look back at the year that was, presenting the Top 10 Pro Sound News articles of 2020 that appeared on prosoundnetwork.com, as ranked by the site’s Google Analytics readership statistics. Intriguingly, while the biggest news of the year was the pandemic, virtually none of these articles even mention it. Instead, audio pros like yourself were mostly interested in either looking ahead to when things would get back to normal by checking out the latest gear, or looking back at great moments in audio, whether it was the recording of classic albums or the earliest known stereo recordings. No one knows what 2021 will bring, but for now, enjoy the most popular articles from our site, and we’ll see you in the new year.

10. Discovering—and Preserving—the Earliest Known Stereo Recordings
By Clive Young. In 1901, German anthropologist Berthold Laufer used two wax cylinder recorders simultaneously to record Shanghai musicians, unintentionally creating the earliest-known stereo recordings.

9. Apple Mac Pro Rack: A Real-World Review
By Rich Tozzoli. Producer/composer Rich Tozzoli shelled out $10,000 for an Apple Mac Pro Rack computer; was it worth it?

8. The METAlliance Report: The Recording of Steely Dan’s Aja
By The METAlliance. Widely considered a pinnacle of recording excellence, Steely Dan’s 1977 album Aja had an occasionally tortured gestation—but it won the Grammy for Best Engineered Album. Now METAlliance members Al Schmitt and Elliot Scheiner share the inside scoop on how…

7. Sennheiser Announces Layoffs Amidst Slowing Market
With consumer and live sound sales heavily impacted by COVID-19, Sennheiser will cut 650 jobs worldwide by the end of 2022.

6. Inside the Live Sound of Live Aid, Part 1: London
By Steve Harvey. We look back at the live sound effort that went into the legendary charity concert Live Aid, held simultaneously in London and Philadelphia. With 60+ acts on the bill and 160,000 in attendance—not to mention 1.9 billion watching it…

5. Creative Editing is Key to Conan O’Brien Needs a Friend Podcast
By Jim Beaugez. A variety of audio editing tricks help audio producer Matt Gourley ensure that the Conan O’Brien Needs A Friend podcast keeps the laughs coming.

4. Danny Leake, Legendary Studio/Live Engineer, Dead at 69
By Clive Young. In addition to working as Stevie Wonder’s FOH engineer for three decades, Danny Leake also recorded dozens of top artists in the studio, leading to six Grammy nominations for his efforts.

3. Tool Tours with Intricate, Immersive Sound
By Steve Harvey. Touring the world behind Fear Inoculum, Tool’s first album in 13 years, the prog-metal heroes are filling arenas with a massive audio system that takes a new approach to immersive live sound.

2. Exclusive: Yamaha Launches Rivage PM5, PM3 Desks, DSPs, More
By Clive Young. Take an exclusive sneak peek of Yamaha’s most ambitious expansion for the Rivage series yet, as the company introduces two new consoles—the PM5 and PM3—as well as a pair of new DSP engines—DSP-RX and DSP-RX-EX—and Version 4 firmware.

1. AKM Factory Fire—A Pro-Audio Industry Disaster
By Clive Young. A 82-hour fire in AKM’s semiconductor factory is already hurting numerous top pro-audio manufacturers around the globe.

Original Resource is ProSoundNetwork.com

Apple Mac Pro Rack: A Real-World Review

The Mac Pro Rack dominates the 10 RU rack that houses it in Rich Tozzoli’s workspace.
The Mac Pro Rack computer dominates the 10 RU rack that houses it in Rich Tozzoli’s workspace.

If there’s one thing that we studio people like, it’s consistency in our gear. As the primary brains to most setups, the computer is central to that theme, so when my trusty Mac Pro “cheese grater”—which ran perfectly for 10 years—went down for the count a few months ago, I didn’t take it lightly. It was time to make some big decisions. I weighed the basic questions we should always ask ourselves when upgrading: Do I stay with my current platform (a Mac, in my case)? What’s my budget? What’s the latest hardware on the market to fit my I/O needs? Am I buying for the short term or long?

Over the last few years, I thought about upgrading my old Mac Pro, my primary DAW platform, when I ran into roadblocks with OS upgrades, software and Pro Tools compatibility, but the little “trash can” shape that Apple used for Mac Pros manufactured between 2013 and 2019 just didn’t work for me. I didn’t want to put my Avid HDX card and my UAD Octo card into a chassis. The trash can form factor is now history, however. After working on my laptop for a few months to get me through my “crisis,” I made the move and went big with a new Mac Pro Rack.

Inside the Apple Mac Pro Rack
Inside the Apple Mac Pro Rack Apple

Luckily for me, my friend, producer/drummer extraordinaire Omar Hakim, had recently been through the whole process, so I had a guide. “Right before I got my new Mac, my ‘trash can’ suffered a catastrophic thermal meltdown,” he told me. “I ended up using a laptop for a few months while I was waiting for the release of the new Mac Pro Rack. I settled on a 12-core Mac Pro Rack model with 96 GB of RAM, a 2 TB factory SSD card and a base video card. I added two 2 TB internal Samsung SSD EVO 970 NVMe M.2 cards with two Vantec PCIe adapters—components I purchased, assembled and installed myself. I then loaded up my two Avid HDX cards and Universal Audio Satellite PCI card. My studio has never run smoother!” He noted that he purchased the base amount of RAM from Apple and bought the rest from OWC.

With his feedback in mind, I made the decision to purchase a Mac Pro Rack over an iMac Pro or Mac Mini. I visited Apple.com and went through the process of ordering the components I wanted: a 3.2 GHz 16-core Intel Xeon W processor-based machine with the base 32 GB of 2933 MHz DDR4 RAM to get started.

I also worked with Rob Zenn at Alto Music on this purchase; Zenn convinced me to get the AMD Radeon Pro W5700X 16 GB graphics card, as it includes four additional powered Thunderbolt 3 ports. We made sure the hardware came with macOS Catalina version 10.15.5 installed so as not to get into conflicts with the upcoming Big Sur OS release.

The good news: I had a machine that would rock. The bad news? It came to a whopping $9,900. However, since this is the brains of my setup, which I use every day to compose, mix or create music, I judged it to be a good allocation of funds. Besides, it’s a tax write-off!

The new Mac Pro Rack was quickly teamed up with the brand-new Avid Carbon interface.

When the machine arrived, crated in foam, I couldn’t believe what a monster it was. It’s built like a tank. I was taken aback by its design and downright sturdiness. I’ve had a lot of Macs in my day, but nothing like this. It came with eight PCI Express expansion slots, two of which were filled by my Avid HDX card and the Universal Audio UAD-2 OCTO card.

Engineer Mike Dwyer and I slipped on the heavy-duty rack rails (sent separately from Apple) and slid it into the 10-space rack I purchased for it. We hooked up an HDMI video cable from my Samsung to the Mac, set up the cool black wireless keyboard and mouse, and fired it up. Within a few minutes, it was game on.

Next, we attached a single AVB Ethernet cable from my new Avid Carbon interface (which I reviewed last month) to the Mac Pro, and plugged in a Native Instruments Komplete Kontrol S88 Mk2 keyboard and PreSonus FaderPort 8 into two of the included USB ports. I had made an Apple Time Machine backup of my laptop the night before and saved the data on a portable SSD drive, which I hooked up to the new computer.

REAL-WORLD REVIEW: Avid Pro Tools Carbon Production System

Using Apple Time Machine’s Migration Assistant, I transferred the files from my backup to the new Mac Pro Rack, and while it took almost two hours, everything transferred over to the new Mac: Pro Tools 2020.11, Reason, all of my Vienna Instruments, Omnisphere, Universal Audio Console and all of my plug-ins. I opened Pro Tools and everything simply worked. With just a few software updates, it was the easiest migration I’ve ever experienced.

This week, I’m ordering 32 GB more RAM and a few SSD internal drives to load the chassis up even more. It’s been flawless in its performance so far, and not even my heavy virtual instrument sessions can choke it. For the first time, I’ve found a machine that works faster than I do, which has already helped my creativity. For me, it’s already worth the money.

Apple • www.apple.com


Original Resource is ProSoundNetwork.com

Pro Sound News’ Gear of the Year 2020

Gear of the Year logo 20202020 will be remembered as the year we’d like to forget, but when 2021 is recalled one day as the year everything bounced back, much of that will be due to groundwork laid down in the preceding 12 months. That includes the pro-audio industry—next year, when live events and concerts return, new hits rule the airwaves and the latest must-hear podcasts land in your listening queue, many of them will be created using pro-audio equipment that was introduced over the last 12 months. With that in mind, here’s the Gear of the Year for 2020.

So what was the Gear of the Year? That’s not an easy thing to determine, so rather than weigh a hot new plug-in against an arena-filling P.A. or an audio console years in development, we decided to let our readers show the way.

Product announcements have always been among the most popular stories on prosoundnetwork.com, so we dug through our Google Analytics (readership statistics), sifting through all the “new product” stories we ran 2020 (well into the triple digits!) to determine which ones were the most popular with PSN readers. With that in mind, here’s the Gear of the Year that YOU unknowingly picked—a true Top-20 for 2020.


This dual product launch in May was far and away the most popular product announcement of 2020 with our readers. Yamaha introduced two consoles—the PM5 and PM3—as well as a pair of DSP engines—DSPRX and DSP-RX-EX—and version 4 firmware that provides features to new and legacy Rivage systems.

Both of the new consoles feature large capacitive touchscreens that allow users to use multi-finger gestures, with the PM5 sporting three screens and the PM3 getting one. As with their predecessors, the PM5 and PM3 sport 38 faders—three bays of 12, with two masters—but each of the new control surfaces is laid out with an eye toward increased efficiency.


Solid State Logic unveiled its first personal studio-market products—the USB-powered SSL 2 (2-in/2-out) and SSL 2+ (2-in/4-out) audio interfaces—at the Winter NAMM Show. The 2+ in particular caught our readers’ eyes, with a 4K analog enhancement mode “inspired by classic SSL consoles,” monitoring and an SSL Production Pack software bundle. Offering expanded I/O for musicians collaborating, it includes two analog mic preamps, 24-bit/192 kHz AD/DA AKM converters, multiple headphone outputs with independent monitor mix, MIDI I/O, and additional unbalanced outputs for DJ mixers.


The JBL 4349 studio monitor is a compact, high-performance monitor loudspeaker built around the JBL D2415K dual 1.5-inch compression driver mated to a large format, High-Definition Imaging (HDI) horn, paired with a 12-inch cast-frame and pure-pulp cone woofer. The JBL D2415K compression driver features a pair of lightweight polymer annular diaphragms with reduced diaphragm mass, while the V-shaped geometry of the annular diaphragm reduces breakup modes, eliminates time smear and reduces distortion, according to JBL.


Apple updated Logic Pro X with a “professional” version of Live Loops, new sampling features and new and revamped beatmaking tools. Live Loops lets users arrange loops, samples and recordings on a grid to build musical ideas, which can then be further developed on Logic’s timeline. Remix FX brings effects to Live Loops that can be used in real time, while the updated Sampler augments the EXS24 plug-in with new sound shaping controls. Other new tools include Quick Sampler, Step Sequencer, Drum Synth and Drum Machine Designer.


The AMS Neve 8424 is a small-format desk based on the 80-series console range. Intended for hybrid studios, the desk provides a center point between analog outboard gear, synths and the like, and the digital world of DAW workflows, software plug-ins and session recall. As an analog mixing platform, the 8424 offers 24 DAW returns across 24 channel faders or, for larger DAW sessions, a 48-Mix mode that allows a total of 48 mono inputs with individual level and pan controls to be mixed through the stereo mix bus.


Millennia Media bowed its fully remote-controllable microphone preamplifier, the HV-316. Offering 12V battery operation, the HV-316 is housed in a 10-pound, 1U aluminum chassis housing 16 channels of Millennia HV-3 microphone preamplifiers with simultaneous analog and Dante 32-bit/192 kHz Ethernet outputs. Other digital audio output options are planned, including USB and MADI. The unit is designed for high-temperature continuous operation (up to 150° F), is powered by both 12V DC and worldwide 80–264V AC, and features “pi filter” shielding on audio and digital feeds to prevent interference.


The Shure SLX-D, offered in single- and dual-channel models, provides operation of up to 32 channels per frequency band. Transmitters run on standard AA batteries or an optional lithium-ion rechargeable battery solution with a dual-docking charging station. For less technically inclined users, it offers Guided Frequency Setup and a Group Scan feature that sets up multiple channels by assigning frequencies to all receivers automatically via Ethernet connections, allowing a 30-plus channel system can be set up via Group Scan within a few seconds.


The Meyer Sound Spacemap Go is a free Apple iPad app for spatial sound design and mixing. Working with the company’s Galaxy Network Platform, Spacemap Go can control Galaxy processors using a single or multiple iPads as long as the units have current firmware and Compass control software. Spacemap Go is compatible with various sound design/show control programs such as QLab, so designs assembled using them can be implemented into a multichannel spatial mix using Spacemap Go’s templates for common multichannel configurations.


Housed in a flush-mountable cabinet, the d&b audiotechnik 44S is a two-way passive, point source installation loudspeaker with 2 x 4.5-inch neodymium LF drivers and 2 x 1.25-inch HF dome tweeters, delivering a frequency response of 90 Hz–17 kHz. The 44S features a waveguide and baffle design intended to provide horizontal dispersion down to the lower frequencies while being focused vertically, providing a 90° x 30° dispersion pattern to direct sound to specific spaces.


Beyerdynamic made two additions to its Touring Gear (TG) series. The second-generation TG D70 dynamic kickdrum mic is meant for capturing the impact of bass drums and similar low-frequency-intensive instruments, while the TG 151 instrument mic is a lean microphone with a short shaft that can be used on everything from snares and toms to brass instruments and guitar amplifiers.


New Studio Microphone Wrap-Up : Fall 2020


QSC’s Q-SYS Core 8 Flex and Nano audio, video and control processors provide scalable DSP processing, video routing and bridging for web conferencing, as well as third-party endpoint integration without the need for separate dedicated control processors. The 8 Flex includes onboard analog audio I/O and GPIO plus network I/O, while Nano offers network-only audio I/O processing and control.


Telefunken‘s TF11 is the company’s first phantom-powered large-diaphragm condenser mic. The CK12-style edge-terminated capsule is a single-membrane version of the capsule featured in the TF51, and the amplifier is a proprietary take on the FET mic amplifier similar to the M60, coupled with a custom large-format nickel-iron core transformer.


K3 is a compact loudspeaker from L-Acoustics that is intended as a main system to cover up to 10,000 people, or for use as outfills or delays for K1 or K2 systems. Designed as a full-range line source, K3 integrates 12-inch transducers for large-format system performance in the form factor of a 10-inch design.


Clear-Com has sanitization kits for its CC-300, CC-400, CC-110, CC-220 and CC-26K headsets. They include replacement ear pads, pop filters, sanitizing wipes, ear sock covers and temple pads in a cloth bag. Items for each kit vary depending on the headset, and can also be purchased separately.


The Zoom PodTrak P8 provides recording, editing and mixing capabilities all in one unit. Six mics, a smartphone and PC can be recorded simultaneously, each with its own fader and preamp with 70 dB of gain. A touchscreen controls monitoring, adjusting, onboard editing and more.


Pro Sound News‘ Gear of the Year, 2019


Waves’ Kaleidoscopes plug-in creates classic analog studio effects such as 1960s phasing and tape flanging, 1970s stadium tremolo-guitar vibes and 1980s chorus sounds.


The Outline Stadia 28 is a medium-throw system intended for use in permanent outdoor installations. A single enclosure weighs 46.2 pounds and can reportedly reach 139 dB SPL.


Lab.gruppen‘s FA Series Energy Star-certified amplifiers are intended for commercial and industrial applications, and are offered in 2 x 60W, 2 x 120W and 2 x 240W.


The updated D.W. Fearn VT-2 Dual-Channel Vacuum Tube Microphone Preamplifier now features an integrated, switchable 43 dB pad, aiding patching into a master bus.


Our Gear of the Year list concludes with the LS50, featuring KEF’s Metamaterial Absorption Technology driver array, a cone neck decoupler, offset flexible bass port, low-diffraction curved baffle and more.

Original Resource is ProSoundNetwork.com

StreamS Unveils IOdigi2X / IOdigi8X Audio Interfaces

StreamS IOdigi2X / IOdigi8X Audio Interfaces
StreamS IOdigi2X / IOdigi8X Audio Interfaces

Diamond Bar, CA (October 21, 2020) — StreamS has introduced its new IOdigi2X / IOdigi8X audio interfaces. Currently available, the AES Digital In/Out USB interfaces can provide a XMOS-based AES digital audio interface to Apple, Linux, MSFT and all mobile operating systems.

They are USB Audio Class 2 compliant devices that use system drivers, eliminating driver installs. A free, custom Windows Driver with advanced features is available as well.

This is the easiest way to get pristine digital audio in and out of Windows, MacOS, iOS, iPad OS, Linux and Android computers.

JBL Launches IRX115S Subwoofer

StreamS IOdigi2X is a stereo synchronous device and can use either an internal or external clock. Sample rates from 44.1 kHz to 192 kHz are supported. It can be used for any audio record/play application, and for test applications. This includes digital audio workstations, streaming audio encoders, SIP applications, AES FM MPX radio applications and audio analyzers.

Meanwhile, the StreamS IOdigi8X is a multichannel asynchronous device allowing more flexibility with sample rate converters on all four inputs. It can be used as a four stereo input and output device for stereo 2.0, or as a single multichannel input and output device for surround 5.1/7.1. Input sample rate convertors allow it to interface to any digital audio source from 44.1 kHz to 192 kHz.

StreamS IOdigi2X/8X uses a XMOS xCORE audio engine, and is thought to be suitable for pro-audio, broadcast, netcast and consumer applications.

StreamS-Modulation Index, LLC • www.streamindex.com

Original Resource is ProSoundNetwork.com

Peek Inside the Private Studio of Herman’s Hermits’ Keith Hopwood

England (October 15, 2020)—Like many former rock stars from the 1960s, Keith Hopwood of Herman’s Hermits has a bit of a home studio at his house in Tiverton near Tarporley, England. Unlike many former rock stars, however, you’ve probably heard music created there. After his rock n’ roll days were over, Hopwood founded Pluto Music, which has composed and recorded music for shows like Bob the Builder and Roald Dahl’s the BFG in his barn. Now the sprawling estate—and studio—are for sale.

The control room inside Pluto Music.

Hulgrave Hall is a sizable house dating back to the 18th century, equipped with five bedrooms, library, wine cellar, dining room, drawing room, big kitchen and more across three floors. Helping fill out the three acres of land are an additional separate cottage, various outbuildings and sheds, a workshop, stables, an orchard, a paddock, ornamental gardens, and another seven acres that are separately up for sale.

Herman's Hermits
Herman’s Hermits in 1968. Keith Hopwood (far left) would go on to found Pluto Music. Public Domain

But for many, it’s the attached two-floor barn that will be the big draw, as it’s where Pluto Music has been based for decades. The first floor features an office/reception area, cloakroom with bathroom, and a storage/filing area. On the second floor, however, resides an ample control room and further live room that reportedly at points provided studio services to The Smiths and The Clash.

Peek Inside the Private Studio of The Matrix’s Scott Spock
Peek Inside Green Day’s Old Home Studio

The well-appointed control room is outfitted with a Mac, pair of 27” Apple screens, a Mackie 24:8 console, and a variety of studio monitors including sE Electronics Munro Sonic Egg 150s and classic Yamaha NS-10Ms, among other goodies. No word as to whether the gear comes with the house.

Set in the middle of open countryside against the backdrop of Beeston and Peckforton Castles, the house is roughly 33 miles from both Manchester and Liverpool. It is listed with Jackson-Stops, and at press time, is on the market with an asking price of £1,750,000 ($2,257,000).

Original Resource is ProSoundNetwork.com

Apple: smarte Kugel für 96,50 Euro

Jedes Jahr im Herbst stellt Apple seine Neuheiten rund um iPhone & Co. vor. Das neue iPhone 12 wird’s gleich in vier Varianten geben: als „mini“, als „Pro“, „Pro max“ und schlicht als „iPhone“. Alle Versionen haben den neuen Mobilfunkstandard 5G an Bord, bieten verbesserte Displays, Kameras, etc. An der Lightning-Schnittstelle hält Apple fest. Die Preise beginnen bei knapp 780 Euro. Neu ist auch der kleinere Bruder des Smartspeaker „HomePod“. Er ist kugelförmig mit rund 10 cm Durchmesser, mit einem Breitbandchassis und zwei Passivmembranen ausgestattet und kostet nur noch knapp 100 Euro. Wie beim großen Bruder passt sich der Klang des HomePod mini automatisch an den Aufstellungsort an. Zwei Exemplare können zu einem Stereo-Paar gruppiert werden, und Multiroom-tauglich sind die neuen Smartspeaker auch. Überraschend: In Zukunft soll der HomePod mini nicht nur auf den hauseigenen Streaming-Dienst Apple Music per Sprachbefehl zugreifen können, sondern auch auf Amazon Music. Apple betont, dass die Seltenen Erden im neuen Lautsprecher, darunter der Neodym-Magnet, fast vollständig aus recyceltem Material bestehen. In Deutschland soll der HomePod mini im November erhältlich sein.

Mehr zu Apple

Original Resource is STEREO-Newsticker RSS-Feed

Bowers and Wilkins Formation Duo Loudspeakers | Review

The availability of streaming devices is endless, offering convenience and friction-free listening. We have become accustomed to a quick tap or voice command and the tunes start flowing. Although I am blessed with an incredible reference listening setup, it’s complicated. A mass of components, platforms, and cables working together to create a symphony. I’ve been on the hunt to find something simpler. Something that I could recommend to friends and family who are looking to build a small engaging setup that is available at a fraction of the cost of my reference room.  When Bowers & Wilkins announced the Formation Duo Bookshelf system (website) taking cues from the 705 D2 and 805 D3 series, it got my attention. B&W Formation Duo Series The Formation Series was the first major project after B&W was purchased by Eva Automation in 2016. As they embarked on the B&W Formation series, the Eva team focused on the wireless voodoo and the B&W crew in the UK focused on the speaker design. Crushing Wireless Latency The Formation Series products are completely wireless. No cables required outside of a power cable. When Eva got started on the development, the best wireless technology they could find was hindered by [...]

Original Resource is Part-Time Audiophile