![]() In volume controls like this, the signal still must pass through one or more switch contacts and, like the wiper, all need to maintain their integrity over a long duty cycle. ![]() The most common way to deal with this in high-quality audio is to use a stepped attenuator that replaces the potentiometer with an array of discrete resistors and the spring- loaded wiper with a rotary switch. The second concern, specific to stereo potentiometers, is how to maintain identical inputs/outputs for two potentiometers on a single shaft often with potentiometer volume controls, the channel balance varies with the volume setting. The first is the reliability of the electrical connection between the wiper and the stationary element: Any compromise in contact integrity could result in distortion and/or nonlinear signal attenuation as the control is operated. The traditional audio volume control is a potentiometer in which a spring contact (wiper) is rotated along a curved, stationary resistive element, changing the amount of resistance in the signal path. There is also a pair of bidirectional 12V trigger jacks and an IEC power inlet.īut inside the LA4 lurks more interesting stuff, most notably that stepped volume control, which is based on arrays of precision resistors and sealed relays. Nevertheless, I was wrong, especially as this construction contributes to some of the virtues I observed later.Īll the other relevant external features are on the back: two pairs of balanced inputs (XLR), two pairs of unbalanced inputs (RCA), one pair each of balanced (XLR) and unbalanced (RCA) outputs, and a single mono balanced output that sums the stereo pair. I am accustomed, as perhaps many are, to smooth, silent operation, and I hastily concluded that the clicking would be intolerable. The action of the large knob is stepped, and an audible relay click accompanies each 0.5dB step change. At the bottom left are a small on/off button and the IR sensor. ![]() A large touchscreen, an engraved Benchmark logo, and a single large volume-control knob dominate the front. The LA4 is housed in a shoeboxy, half-rack chassis that stands apart from the contemporary hi-fi wide-and-flat norm. No such association was intended, however: the "4" merely designates change from previous Benchmark designs (footnote 1). Upon hearing about this new product from Benchmark Media, the LA4, my mind turned to Laurindo Almeida, Bud Shank, Ray Brown, and Shelly Mannethe original L.A. ![]()
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