TEST: HEDD Type 20 MKII

When it comes to high-quality studio monitors Made In Germany, Berlin is always a good address. In addition to Eve Audio, the company HEDD (Heinz Electrodynamic Designs) around the former ADAM chief developer Klaus Heinz has its headquarters in the capital. HEDD consistently relies on German manufacturing, which not only builds up a corresponding expectation, but also comes with a corresponding retail price. Well then, we are curious about the inner and outer values of the HEDD Type 20 MK2.

Concept and construction of the HEDD Type 20 MK2

Already during the unpacking of the HEDD Type 20 MK2 several points reveal themselves, which arouse my curiosity, but let's devote ourselves first to the standard analysis. At first glance, the HEDD Type 20 MK2 monitors remind me a bit of the recently tested Eve Audio 3070 midfield speakers, which both visually and conceptually address the same target group. Both prefer a 3-way design with DSP control and turn in terms of performance data already clearly towards midfield, although the dimensions are still quite compact.

With 15.4 kg per monitor box and the dimensions HxWxD 280 mm x 358 mm x 338 mm, the HEDD Type 20 MK2 still proves to be quite compact, but can no longer be operated as a typical nearfield monitor with a placement on the desk. In any case, this requires appropriate stands and, if possible, control room dimensions, which should cover at least 30 square meters. However, anyone who is willing to spend just under €2,000 per monitor box will probably also have professional rooms with the appropriate dimensions and acoustic optimization. Why is this important?

Well, similar to a powerful tube amplifier, which also ignites its sweet spot only at a certain volume, it also requires a slightly higher listening volume for midfield speakers to be able to optimally examine the dynamics and the frequency interaction of the individual components. The opulent and unusual distribution of the power reserves of the HEDD Type 20 MK2 already shows that it is possible to draw from the full range. An even distribution of 300 watts each among the components 7" woofer, 4" midrange and 2" AMT tweeter provide a comparatively huge headroom, especially in the midrange and treble, which allows relaxed listening even at higher volumes.

Visually, the HEDD Type 20 MK2 leaves an extremely tasteful impression. The rounded corners of the housing and the very clean transitions of the individual components are of the highest quality and convey a very valuable impression. What surprises me, however, is the complete lack of any form of rubber or foam feet in the scope of delivery. Sure, almost all monitor stands have a padded support, but put the box only twice on the floor and you can see the first haptic effects on very tasteful, but highly scratch-prone surface. Three small LEDs on the front inform about the regular operating status, (green), overload (red) and standby (white).

The back

On the back of the HEDD Type 20 MK2 is an extensive armada of a total of nine controls, divided into 3 levels a 3 knobs to implement the personalized sound. Starting with a volume control, which varies the applied signal by +/- 12 dB, an On / Off switch of the patented Lineariser, which allows a phase optimization at a response of less than 10 ms and a COP switch, whose function we will come to in a moment. This is followed by the sound processing, which can process the bass and treble ranges by +/- 4 dB each, as well as a separate Bass Range control, which allows either a neutral function, an extension of the bass range (while reducing the SPL), or a high pass at 80 Hz for subwoofer operation. The last row offers input selection, system input sensitivity, and three different desk filters that can compensate for a console's dispersion range. Below that are XLR analog In, AES In and AES Through for daisy chaining.


We plug a hole ...

Now we come to the COP switch, which distinguishes between the positions Ported and Closed and whose function I have actually never encountered before in my entire career. Already during the unpacking I noticed a plastic block wrapped with soft rubber, which also has a screwable "puller" and which I initially mistook for a pad. The approach, however, is as simple as it is ingenious!

Perhaps one or the other will know the tonally different alignment of a guitar cabinet, depending on whether it is a closed, or an open variant. Especially with smaller housings, one tends to keep the back of the speaker open in order to create a more voluminous bass response in the interaction with the room acoustics, while closed cabinets are more compressed and generate a more mid-focused sound. In the near-field monitor range, a similar sound behavior could be noticed with the legendary NS-10, which sounded horrible overall, but had a well-defined midrange due to the lack of a bass reflex port.

A similar approach is taken by the HEDD Type 20 MK2 with its "stopper". Within seconds attached, one changes the sound of the monitor radically. Attention, do not forget to activate the DSP accordingly. So much is already revealed in advance to the practical part, the sound changes so strongly that one is close to perceiving a second pair of speakers.

The HEDD Type 20 MK2 in practice

First of all, you have to realize that the HEDD Type 20 MK2 is a real powerhouse. The total of 900 watts of output power indeed easily manage to fulfill its midfield mission. To experience the optimal sound, you should sit at least 1.50 meters away from the speakers, better twice that and then drive the system a bit higher in volume if necessary. In return, you get a brilliant sound performance, which is located in the high-end range. Ale Standatds such as depth, spatial resolution and signal separation are at the highest level.

It should be known by now that AMT tweeters have nothing left of the sharp basic alignment of the first generations. However, the fact that a tweeter is driven with 300 watts, with which even the midrange driver is already very potent, is very unusual. The result is an extremely relaxed basic sound that doesn't cause any hearing fatigue even at high volumes. The fact that a three-way system can trump especially in the midrange, where most 2-way systems have their crossover hole, is self-explanatory, which also significantly shapes the basic sound of the HEDD Type 20 MK2. At first sound impression, the system seems "harder" than many competitors, but after a short listening, you do not want to give up the newly acquired control, especially in the guitar and vocal range.

The highlight of the system, however, is the ability to close the bass reflex port. Many will be familiar with the effect that with an effective bass reflex port, one is happy about the additional bass power on the one hand, but in the same breath also perceives a reduction in bass definition. It's nice when it still pushes below 80 Hz, but the physicality can also be accompanied by a loss of control under certain circumstances. If you now make use of the "tamper", the bass operating point shifts a bit higher into the low-mids and increases massively in compression there, which is especially beneficial for stringed instruments. All kinds of guitars, bass and various keyboards virtually experience a booster effect in terms of perception and basic character, without the bass range suffering. In my opinion, a real enrichment of the sound experience with a resolution that no DSP can calculate. Outstanding!

The only thing that is a bit annoying is a kind of noisegate, which opens with a soft click before the signal is played and closes with the same click after playback. At higher listening volumes this is not a problem, but at lower volumes it reduces the listening pleasure.

Conclusion

With the HEDD Type 20 MK2, the German company carries a top-class product in its portfolio. The midfield monitor convinces with excellent standard values in the area of phase fidelity, depth gradation and spatial resolution. What lifts the product far above many competitors, however, is the very high power reserve and the COP circuit, which, although at first glance seems quite simple, represents a gamechanger in the field of flexibility.

Definitely test it once, a highly recommendable product!

TEST: Harley Benton AW-5

Is it my imagination, or is yellow the new fashion color of the year for anything that can be housed in small, rectangular metal cases? Now that the third cabinet with this color falls into my hands within a few weeks, one may believe in this thesis. With the Harley Benton AW-5 I also have an effect for testing, which is still a little insider tip on the pedalboards of this world. We're talking about the so-called Auto Wah, an effect that was used very often in the seventies and immediately creates a pleasant vintage feeling.

Well, what does an Auto Wah do? In contrast to a classic wah wah pedal, where an edge-splitting bandpass filter is controlled by the angle of attack of a pedal, the bandpass filter of an Auto Wah is based on the envelope of the incoming guitar signal, or in simpler terms, hard attack equals strong shift of the bandpass filter into the treble range, soft attack equals weak shift into the bass range. This means a direct conversion of the touch technique into a sonic effect, which again massively emphasizes the personal aspect of the playing style. Its primary field of application is a crunchy rhythm guitar, clean or slightly crunchy, with which you can get the maximum effect in a funky touch technique.


Concept

As the house brand of the music house Thomann, the label Harley Benton is known in the effect pedal field as a provider of ultra-cheap pedals, which rarely exceed the 30, - Euro retail price mark. With the Custom Line series, however, Harley Benton has made a step in the direction of "Boutique Pedals - Made In China", in order to be able to supply the musician with inexpensive effects even in the high-quality pedal range. This claim refers to all components of an effect pedal such as processing, design and of course sound. Well then, let's take a look at the eye-catcher, which is located with the dimensions (W x H x D): 120 mm x 56 mm x 95 mm at our feet and with its four soft rubber feet also finds good grip on smooth surfaces.

In terms of workmanship, the Harley Benton AW-5 gives itself a very good report card. No stray lugs, clean transitions and a tidy interior, although the mounting solution of the included 9V battery makes you wonder. It is only clamped between the circuit board of the true bypass switch and the outer wall, so that the entire pressure load is on the circuit board. Could have been solved more nicely. Alternatively, the product can also be operated with a 9V power supply.

In terms of control options, three chickenhead controls are available, which are labeled with the words Mode, Drive and Q, whereby the mode switch defines three fixed control ranges with the letters hp, bp and lp. All the designations should not be internalized too much, as they may cause confusion. Drive has nothing to do with overdrive, but controls how low the frequency range of the signal to be processed is selected. Q has nothing to do with the slope of a fully parametric equalizer, but controls how far up the effect opens. And the letter abbreviations hp, bp and lp do not stand for highpass, bandpass and lowpass, but contain a two-stage lowering of the bass range.


Practice

Yes, this is a real joy when you first activate the effect. I recommend lp to capture the full frequency range of the guitar, a Q value of 3 o'clock and a Drive value of 9 o'clock. Now add the most dynamic playing possible with the strumming hand and the sun comes up. Unlike modulation effects like chorus or phaser, in which a fixed effect can be turned on or off, the Harley Benton AW-5 is an interactive effect that forms a symbiosis with your playing. You just have to be careful not to use it on every number, as such a flashy effect will naturally wear on your ear quickly.


Conclusion

The Harley Benton AW-5 brings an unjustly disdained vintage effect to new life. The merging of the personal envelope in the form of the velocity hand with an interactive, edge-splitting bandpass filter makes the effect a highlight of the pedalboard. Only the restriction to clean and crunchy sounds limits the range of application of the pedal, otherwise the effect brings new life to almost any musical style. Note, in no case switch a distortion before the pedal, which robs the signal of any dynamics and leads the auto wah effect ad absurdum.

Additional Informations:

- Harley Benton is a German musical instrument brand that has gained popularity for its affordable yet high-quality products. The company was founded in 1998 and has since become a go-to brand for guitarists and bassists worldwide.

Harley Benton's mission is to provide musicians with instruments that are both affordable and high-quality. They achieve this by partnering with manufacturers in China and other countries, utilizing their economies of scale to keep prices low while ensuring that their products meet their quality standards.

Harley Benton offers a wide range of products, including electric and acoustic guitars, basses, ukuleles, and various accessories. Their most popular products are their electric guitars, which range from classic Stratocaster-style models to modern seven-string guitars.

One of the reasons for the popularity of Harley Benton guitars is their exceptional value for money. For example, their HB-35 guitar, which is a semi-hollow body electric guitar that is modeled after the Gibson ES-335, has a price point of around €200, which is significantly lower than the cost of the Gibson original. Yet, the HB-35 is still considered to be a high-quality instrument with excellent sound and playability.

In addition to their affordability, Harley Benton instruments are also known for their quality. Many musicians have praised the brand for their consistency in delivering high-quality instruments at affordable prices. This is possible due to the company's rigorous quality control processes, which ensure that each instrument meets their standards before it is released to the market.

Another aspect that sets Harley Benton apart from other brands is their customer service. The company is known for their excellent after-sales service, with a dedicated customer support team that is available to assist customers with any issues they may encounter with their products. This has helped to build a loyal customer base for the brand, with many musicians returning to purchase more instruments from Harley Benton over the years.

Harley Benton has also been successful in utilizing social media to engage with their customers and build a community around their brand. They have a strong presence on platforms such as YouTube and Instagram, where they showcase their products and provide tutorials and other educational content for musicians. This has helped to create a sense of connection between the brand and their customers, and has also helped to increase brand awareness.

In recent years, Harley Benton has expanded their product line to include other musical instruments such as ukuleles and basses. They have also launched a range of accessories, including guitar pedals, strings, and cables. This has allowed the brand to cater to a wider range of musicians and has helped to further establish their reputation as a reliable and affordable brand in the musical instrument industry.

Overall, Harley Benton has achieved a remarkable feat by providing high-quality instruments at affordable prices. Their commitment to quality and customer service has helped to build a loyal customer base, and their expansion into new product lines has further strengthened their position in the market. With their continued focus on innovation and quality, it is likely that Harley Benton will continue to grow and succeed in the years to come.

- The Auto Wah is a type of guitar effect pedal that is designed to mimic the sound of a wah-wah pedal, but with an automated sweep instead of being controlled by a foot pedal. The effect is achieved by using a filter that responds to the dynamics of the guitar's signal, producing a sweeping effect that mimics the sound of a wah-wah pedal.

Auto Wah pedals have been around since the 1970s, with some of the earliest models being produced by brands such as Mu-Tron and Boss. The effect was popularized by guitarists such as Frank Zappa and Jerry Garcia, who used it to create unique sounds and add texture to their playing.

The Auto Wah effect is achieved by using a filter circuit that is triggered by the dynamics of the guitar's signal. As the volume or intensity of the guitar's signal increases, the filter circuit opens up, producing a sweeping effect that mimics the sound of a wah-wah pedal. The effect can be adjusted using various controls on the pedal, such as the sensitivity and resonance knobs, which allow the user to fine-tune the sound to their liking.

One of the advantages of using an Auto Wah pedal over a traditional wah-wah pedal is that it allows for more precise control over the effect. With a traditional wah pedal, the sweep is controlled by the user's foot, which can be imprecise and inconsistent. With an Auto Wah pedal, the effect is automated, allowing for a more consistent and precise sweep.

Another advantage of using an Auto Wah pedal is that it can be used in a wider range of musical contexts. While a traditional wah-wah pedal is often associated with blues and rock music, the Auto Wah can be used in a variety of genres, including funk, jazz, and even electronic music.

There are a variety of different Auto Wah pedals available on the market, with different features and price points. Some popular models include the Electro-Harmonix Q-Tron, the Boss AW-3, and the MXR Auto Q.

The Electro-Harmonix Q-Tron is a classic Auto Wah pedal that has been used by guitarists such as Trey Anastasio of Phish and John Frusciante of the Red Hot Chili Peppers. It features a range of controls, including sensitivity, decay, and resonance, allowing for a wide range of sounds.
The Boss AW-3 is another popular Auto Wah pedal that is known for its versatility. It features multiple modes, including a classic Auto Wah mode, a dynamic filter mode, and a humanizer mode, which adds a vocal-like quality to the sound.

The MXR Auto Q is a compact and affordable Auto Wah pedal that is popular among guitarists who want a simple and easy-to-use effect. It features a single control knob that adjusts the intensity of the effect, making it easy to dial in the perfect sound.

In conclusion, the Auto Wah is a versatile and unique effect pedal that has been used by guitarists for decades. It allows for precise control over the sweeping effect, and can be used in a variety of musical contexts. Whether you're looking for a classic sound or something more experimental, there is an Auto Wah pedal out there that can help you achieve the perfect sound for your playing style.

- Musikhaus Thomann is a German-based company that specializes in the sale of musical instruments and equipment. Founded in 1954 by Hans Thomann Sr., the company has grown to become one of the largest music retailers in Europe, with a wide range of products and services that cater to musicians of all levels.

With a strong online presence and a vast selection of products, Musikhaus Thomann has become a go-to destination for musicians around the world. The company offers a range of products, including guitars, basses, drums, keyboards, and DJ equipment, as well as a range of accessories such as cables, stands, and cases.

One of the reasons for the company's success is its commitment to customer service. The company offers a 30-day money-back guarantee on all products, as well as a three-year warranty on all Thomann-branded products. Additionally, the company offers free shipping on most orders over a certain amount, making it easy and affordable for customers to purchase the products they need.

Musikhaus Thomann also offers a range of services for musicians, including instrument repairs, music lessons, and a recording studio. The company's instrument repair service is staffed by trained technicians who can repair and service a wide range of instruments, including guitars, drums, and brass and woodwind instruments.

The company's music lesson program is led by a team of experienced teachers who offer lessons in a range of instruments and styles. The lessons are available both in-person and online, making it easy for musicians to learn from the comfort of their own home.

Musikhaus Thomann's recording studio, Thomann Recording Studio, is a state-of-the-art facility that is equipped with the latest technology and equipment. The studio is staffed by experienced engineers who can help musicians with all aspects of the recording process, from pre-production to mastering.

In addition to its online store and range of services, Musikhaus Thomann also has a physical store in Treppendorf, Germany. The store, which is located on a 4-acre campus, is a destination for musicians from around the world, with a vast selection of products on display and a range of interactive exhibits that allow visitors to try out instruments and equipment.

Musikhaus Thomann has also been recognized for its commitment to sustainability. The company has implemented a range of environmentally-friendly practices, including the use of renewable energy sources and the reduction of packaging waste. Additionally, the company has partnered with a number of environmental organizations to support conservation efforts.

In conclusion, Musikhaus Thomann is a leading music retailer that offers a wide range of products and services for musicians of all levels. With a commitment to customer service, a range of environmentally-friendly practices, and a physical store that is a destination for musicians around the world, Musikhaus Thomann has established itself as a trusted and respected brand in the music industry.

TEST: Framus Blue Strings

Who would have thought that electric guitar strings and their specific compositions would one day become so hip? From a mere vicarious agent for woods, pickups and amplifiers to an important component of the personal sound. It was about time. Rarely has a direct sound generator been so long criminally reduced almost only to the pure listing of the string strength, without once looking beyond the edge of the plate, which has changed in recent times, however, properly. Hardly a magazine, whether physical or online nature, which in recent months with an extensive special about the wires that mean the sound, swaggering. Good stuff!

However, what all strings must inevitably name as a shortcoming is, analogous to the car in the form of tires, brake pads or piston rings, wear. Even if all kinds of high-priced coatings postpone the decay, as a guitarist you can friendly shake hands with your colleague from the drums, because he knows the same problem with his sticks. It is in the nature of man, detached from his personal relationship to a piece of musical inventory, to keep the price of wear parts as low as possible without significant loss of quality.

This is where a very successful name from the instrument sector now comes in, but for whom the production of strings means new territory. We are talking about "Markneukirchen's Finest" Framus, which with its Framus Blue Label Strings is preparing to sell high-quality strings for a very low retail price. In addition, the company specifically focuses on downtuning, over 7-string to the Djent faction, where the 8-string surfboard fingerboards have become a commercial standard.

How much, where?

If you study the online offers of the music store Thomann, you can roughly summarize the offers of a standard 010 set in 3 categories. On the one hand, there are the high-priced coated strings, all of which break the €10 mark and sometimes climb up to the €15 segment. The second segment is dominated by the big brands like D'Addario, SIT, GHS and many others, which range between about 6 and 9 euros. The third segment is in the lower range below 4 euros and was dominated until recently by the German manufacturer Pyramid, until Thomann with its house brand Harley Benton Value Strings called an almost unfathomable fighting price of under 1.50 euros for a complete set.

To what extent the VK called up stands for a(n) accompanying sound / quality / durability is not to be debated here, especially since the tastes are in no relation to the retail price, it remains to be noted, however, that the Framus Blue Label Strings with a retail price of just over 3 euros for a standard 010 set take second place in terms of dispensing price. It should be clear to everyone that such a price can no longer be achieved with a European or American production with corresponding ancillary wage costs, so the production in China will not surprise anyone. However, the fact that "Made in China" in the instrument sector has long since shed the 2nd choice character of earlier times is likewise.


What?

The Framus Blue Label Strings belong to the popular group of Nickel Plated Steel strings, i.e. the steel core, which is mainly responsible for the magnetic field, is wound with nickel wire to protect it against corrosion. In order to better fix the nickel wire to the steel core, the steel is hexagonal, i.e. it has a hexagonal shape in which the nickel wire can better "bite". Nickel Plated Steel strings belong to the tonal all-rounders and, in contrast to e.g. Stainless Steel strings (often used in the Hard'n'Heavy area) or Pure Nickel strings (Vintage), find their fans in almost every music style.

And the sound?

When you take the Framus Blue Label Strings out of their packaging, the first thing you notice is their even tension over the entire length of the strings. The strings hang down softly and resonate evenly, which is the prerequisite for a balanced sound. Strung up and put under tension, the first impression thickens. The strings sound pleasantly soft, without frequency peaks or holes, coupled with a balanced sound pattern that covers almost all musical styles. Details can be seen very nicely from the attached sound files, which were made with 2 different amps over 6 different speakers. The respective constellation can be seen in the name of the sound file.

Conclusion

With the Framus Blue Label Strings, Germany's most famous manufacturer of basses and guitars enters the product uncharted territory with great and successful steps. Equipped with a very attractive price and a large selection of 7- and 8-string sets, the inclined user can treat himself to one or the other additional string change without straining the available budget too much.

Additional Informations:

- Framus is a well-known guitar manufacturing company based in Germany, with a long history dating back to 1946. The company was founded by Fred Wilfer, who started building guitars in his home in Erlangen, Germany, after World War II. Today, Framus is known for producing high-quality instruments that are popular with musicians all over the world.

One of the unique things about Framus is that they offer a wide variety of guitar models, each with its own unique design and sound. Whether you're looking for a classic acoustic guitar or a cutting-edge electric guitar, Framus has something to offer. They also produce a range of bass guitars and other instruments, so there's something for every musician.

Framus is particularly well-known for their electric guitars, which are used by many famous musicians. Their models include the Panthera, which is a modern take on the classic Les Paul design, and the Diablo, which is a sleek and stylish guitar with a distinct sound. They also offer a range of signature models, which are designed in collaboration with famous guitarists such as Devin Townsend and Billy Idol.

One of the things that sets Framus apart from other guitar companies is their commitment to using high-quality materials and traditional construction techniques. They use only the finest woods and components in their guitars, and they take great care to ensure that each instrument is crafted to the highest standards. This attention to detail is evident in the sound and playability of their instruments, which are known for their rich tones and excellent feel.

In addition to their standard guitar models, Framus also offers a range of custom options. Customers can choose their own woods, finishes, and other details to create a truly unique instrument. This level of customization is rare in the guitar industry and demonstrates Framus' commitment to meeting the needs of every musician.

Overall, Framus is a highly respected guitar manufacturer with a long history of producing quality instruments. Their commitment to craftsmanship and attention to detail is evident in every guitar they produce, and their wide range of models and custom options ensures that there's something for every musician.

- Warwick Basses is a world-renowned manufacturer of high-quality bass guitars based in Markneukirchen, Germany. Founded in 1982 by Hans-Peter Wilfer, the company has since become a go-to brand for bassists looking for instruments that offer superior sound, build quality, and playability.

One of the key factors that has contributed to Warwick's success is the company's focus on innovation. From the very beginning, Warwick has been committed to pushing the boundaries of bass guitar design and technology. This has resulted in a range of groundbreaking features and designs that have helped to set Warwick basses apart from the competition.
One of the most significant innovations introduced by Warwick is the use of exotic woods in their bass guitar construction. The company is known for its extensive use of high-quality woods such as bubinga, wenge, and ovangkol, which are chosen for their unique tonal characteristics and stunning visual appeal. This commitment to using only the best materials has helped to establish Warwick basses as some of the finest instruments available.

Another key innovation introduced by Warwick is the use of active electronics in their bass guitars. Unlike traditional passive pickups, which rely on the natural magnetic field generated by the guitar strings to produce sound, active pickups require a battery-powered preamp to boost the signal. This allows for greater control over the tone and volume of the instrument, resulting in a more versatile and expressive sound.

Warwick has also introduced a number of other innovative features over the years, such as the Just-A-Nut III adjustable nut system, which allows for precise adjustment of string spacing and height, and the two-piece bridge system, which offers superior sustain and tonal clarity.
In addition to their focus on innovation, Warwick is also known for their commitment to quality craftsmanship. Every Warwick bass is meticulously handcrafted by skilled artisans, using only the finest materials and components. This attention to detail is evident in the sound and feel of each instrument, which are known for their rich, resonant tone and smooth, effortless playability.

Warwick offers a wide range of bass guitar models to suit every player's needs and preferences. The company's signature series includes models designed in collaboration with famous bassists such as Bootsy Collins and Adam Clayton, while their RockBass line offers more affordable options for players on a budget.

Warwick also offers a range of custom options, allowing players to choose their own woods, finishes, and other details to create a truly unique instrument. This level of customization is rare in the bass guitar industry and demonstrates Warwick's commitment to meeting the needs of every player.

Overall, Warwick Basses is a highly respected and innovative bass guitar manufacturer with a long history of producing quality instruments. Their commitment to craftsmanship, innovation, and superior materials has helped to establish them as one of the top brands in the industry, and their wide range of models and custom options ensures that there's a Warwick bass out there for every player.

- Markneukirchen is a picturesque town located in the Vogtland district of the German state of Saxony. Known for its long history of instrument making, Markneukirchen has become a hub for musicians and music enthusiasts from all over the world.

The town's history of instrument making can be traced back to the 17th century, when local craftsmen began producing violins and other stringed instruments. Over the years, the industry has grown and expanded to include a wide range of instruments, from brass and woodwind to guitars and basses.

Today, Markneukirchen is home to a thriving community of instrument makers and musicians. The town's streets are lined with shops and workshops where visitors can see firsthand the process of crafting these beautiful and intricate instruments. The town is also home to a number of museums dedicated to the history of instrument making, including the Musikinstrumenten-Museum Markneukirchen, which features an impressive collection of antique and modern instruments.

One of the most notable aspects of Markneukirchen's instrument making industry is the high level of craftsmanship and attention to detail that goes into each instrument. Many of the town's instrument makers are trained in traditional techniques that have been passed down through generations, ensuring that each instrument is made with the same level of care and expertise as those that came before.

In addition to its musical heritage, Markneukirchen is also a beautiful town with a rich cultural history. The town's picturesque streets and historic buildings make it a popular destination for tourists from around the world. Visitors can explore the town's many shops and restaurants, sample the local cuisine, and take in the stunning scenery of the surrounding countryside.
For music enthusiasts, Markneukirchen is a must-visit destination. The town's annual International Instrumental Competition draws musicians from around the world, while the Markneukirchen International Music Festival features a wide range of concerts and performances showcasing the talents of both local and international musicians.

Overall, Markneukirchen is a town with a rich and vibrant cultural heritage that continues to thrive today. Its history of instrument making has helped to establish it as a hub for musicians and music lovers from all over the world, and its picturesque setting and rich cultural offerings make it a must-visit destination for anyone traveling to the region.

TEST: Gyraf Audio G23-S

There are products that already score a lot of bonus points with me during the packing process. One of those products is the Gyraf Audio G23-S, which is a mastering EQ from a Danish manufacturer and fits exactly into my visual scheme. The latent "submarine feel", which I know with its oversized knobs and switches, for example, also from companies like IGS, has simply done it to me. If you allow yourself the sonic luxury of analog signal processing, the haptic distinction from pixel pushing in the in-the-box mix can't be high enough. However, such a product must also deliver accordingly, because with a retail price of €3,549, the product is priced right up there with manufacturers such as Bettermaker or Tube Tech, for example, all of which are real heavyweights when it comes to sonic equalization.

The concept of the Gyraf Audio G23-S

Of course, the Gyraf Audio G23-S can also be used in the recording process, but the product's focus is on the mixing and mastering segment. Accordingly, the concept of the Gyraf Audio G23-S, which works with a simple stereo layout with parallel control of both channels. The back of the Gyraf Audio G23-S could not be more spartan, 2x In / Out each in XLR, power socket, done! In addition to the very clearly structured, almost spartan layout, the main feature of the product is to be found in the optional solid state or tube mode. A knob on the far right can be used to select solid state (S), tube (IN) or a complete bypass of the electronics by short-circuiting the input and output jacks. For tube operation 2 ECC88 are available, the product runs in Class A mode.

The electronics of the Gyraf Audio G23-S is embedded in a 2 U chassis made of solid sheet metal, which comes with an official installation depth of almost 31 cm. Equipped with two strong handles made of brushed aluminum on the outside, the 6 kg heavy product can be easily maneuvered from the front or from above into a 19 inch rack. For stand-alone operation, however, 4 plastic feet were also attached under the housing, which provide a little more stability. The Gyraf Audio G23-S is delivered with an instruction manual, which really only meets its own standards. I don't know if the manufacturer wants to achieve a trendy look with the layout, but four poorly copied sheets stitched together by hand are in my opinion diametrically opposed to the called retail price. Maybe the people responsible for Gyral should have a look at SPL and their competitors for fun, to see what the competition is offering the user in this price range.

The optical appearance of the front panel is dominated by a stately knob called "Linear Tilting" on the left side of the panel. The buttery smooth running control with 12 o'clock center detent offers a stepless combination control of "Basses in, Treble out" (counterclockwise) and "Basses out, Treble clean" (clockwise). Further to the right are three filters (basses, mids, trebles), also equipped with very high-quality controls, whereby each filter has three different operating frequencies. So that the user is not even tempted to find out the exact frequency, neither on the front panel, nor in the manual the respective frequency is mentioned. If you want to see which frequency you are editing, you have to start your analyzer, otherwise you won't find out the exact frequencies. Since the manufacturer has certainly thought of something, I will not do this on purpose and rely exclusively on my hearing.

After longer research, I managed to find out at least the dB level of the respective bands. Here it is noticeable that the Danes work with a very discreet control range. So the tilting, respectively treble control works with +/- 4dB, the midrange with +/- 2dB and the bass with +/- 6.5dB. Before anyone gets upset about the comparatively small control range, when was the last time you ran a mastering band with a range of +/- 15 dB? If at all, then probably only in an acoustic restoration department or in the FX area, but not in an official, balanced studio production.

The end of the right edge of the housing is implemented by a gain control and an On / Off switch, which was stylistically appropriate also installed as a rotary control and together with a small LED informs about the operating status. Very tasteful!

In practice

The operation of the Linear Tilting control is, although not entirely new, at least an unusual, albeit highly interesting approach to the final mix. Especially when dealing with unbalanced audio material, such as a slightly off-kilter live mix, or an over- or underemphasis of individual frequency groups, the Linear Tilting control can make a slight preselection regarding linearity as the first processing step. Especially in case of boomy material, which has been mixed in a too small control room, for example, and you have once again used too much sub-bass, the control brings a good openness into the source material with a few grips, so that the actual three-band control can be used for further processing steps without having to get the mixing errors under control first.

Regarding its mode of operation, the actual three-band tone control can best be described with the adjective "discreet", in the range of the mid-band even with "very discreet". Even velocity control paths bend the source material comparatively subtly, which has the advantage of causing comparatively little damage in the event of incorrect operation. Jim Marshall, the most famous all-tube amplifier manufacturer in the guitar sector, once answered the reproach why the tone control of his amplifiers was comparatively ineffective with the words: "So that the musician can't set a bad sound on a Marshall amplifier". A similar view already came to my mind when I heard about the +/- 2 dB mid band.

So if you want to bend frequencies properly in mastering, you won't really enjoy the Gyraf Audio G23-S, as its strengths lie in completely different spheres. Speaking of strengths, the subtle signal processing, coupled with a very fine resolution offers a clear frequent improvement, especially for "subtle" music styles. The point of application of the filters is very tastefully chosen and, with the appropriately fine fuse in the ear, allows the decisive 5- 10%, which can push a mix to the highest level in the high-end range.

Just as the general sonic approach of the Gyraf Audio G23-S is kept very fine, the sonic difference between the solid state and tube circuitry is much more subtle than many competing products might be. While other manufacturers like to use the popular saturation in the tube segment a bit more, Gyraf practices a very moderate differentiation of the circuits among themselves, so that the sonic difference is to be sought more in the area of compression and response, rather than in the frequency range.

Similar to a Vari-mu compressor, the tube circuit "glues" the audio material together much more than the solid state variant, while the latter scores with a more transparent sound and faster attack. Depending on the source material, these subtleties can bring great final differences. All in all, the Gyraf Audio G23-S has a very good sound, which covers a very special niche very successfully, especially in the mastering area. The fixation on the personal ear opens up a very individual way of working, which starts where one has been working in the past decades due to a lack of DAW plugins. By the way, it is really interesting to mix the subjective sound impressions once again only via the ear, which can advance to a real challenge depending on the dependence on visual assistance.

To what extent this high-end area is economically worthwhile in a world of decreasing quality in the music production area, everyone must find out for themselves. However, anyone working in the high-end sector should definitely test the Gyraf Audio G23-S once. It is worth it.

Conclusion

With the Gyraf Audio G23-S, the Danish manufacturer introduces a mix and mastering EQ of the high-end range in its ranks. The extremely subtle filter deliberately relies on a very fine mode of operation and explicitly demands the human ear as the final authority on the EQ's point of application. Even the different tube and solid state circuits work comparatively subtle and differ primarily in their overall sound, rather than in circuit-technical standards, as known from other manufacturers.

If you are looking for a very good and discreet analog master EQ, you should definitely try this product.

Additional Informations:

Gyraf Audio is a Danish company that specializes in the design and manufacture of high-quality analog audio equipment. Founded in 1995 by Danish engineer Jakob Erland, Gyraf Audio has become well-known in the audio industry for its innovative designs, attention to detail, and commitment to quality.

The company's product range includes microphone preamplifiers, equalizers, compressors, and other analog audio processors. Gyraf Audio's products are designed with a focus on transparency, clarity, and musicality, and are popular among recording engineers, producers, and musicians who are looking for high-quality, analog sound.

One of Gyraf Audio's most famous products is the Gyratec XIV, an all-tube stereo equalizer that was designed in collaboration with Danish mastering engineer Jan Erik Kongshaug. The Gyratec XIV has become a sought-after piece of equipment in the audio industry, and is known for its transparent sound and ability to bring out the best in recordings.

Another popular product from Gyraf Audio is the GSSL stereo bus compressor. The GSSL is a DIY kit that has become popular among audio enthusiasts who enjoy building and modifying their own equipment. The GSSL is known for its transparent sound and ability to add punch and glue to mixes.

Gyraf Audio's products are designed and manufactured in Denmark using high-quality components and strict quality control standards. The company prides itself on its attention to detail and commitment to customer satisfaction, and has a loyal customer base that includes some of the world's top recording engineers, producers, and musicians.

In addition to its product line, Gyraf Audio also offers DIY kits and schematics for some of its products, allowing audio enthusiasts to build and modify their own equipment. This has helped to establish Gyraf Audio as a respected and influential company in the DIY audio community.
In conclusion, Gyraf Audio is a Danish company that has become well-known in the audio industry for its innovative designs, attention to detail, and commitment to quality. Its product range includes microphone preamplifiers, equalizers, compressors, and other analog audio processors, all designed with a focus on transparency, clarity, and musicality. Gyraf Audio's products are popular among recording engineers, producers, and musicians who are looking for high-quality, analog sound, and the company has a loyal customer base that includes some of the world's top audio professionals.

TEST: Grossmann SG-Box

One man's joy is another man's sorrow. Even if it is objectively more than understandable that not everyone around us can warm up to a properly cranked up amp sound, the combination of volume and sound puts every guitarist in a quandary at some point. While the electro guys with their synthetic sounds can easily work on their sonic collages in any rented apartment at room volume, a good to very good guitar sound is unfortunately inevitably dependent on a minimum volume. At the latest now the hour of an Iso Box strikes, as it is offered for example by the company Grossmann. Can the Grossmann SG Box help us out?

The new woes of young G.

We all know the problem, especially if you live in a rented apartment with several parties in the house. Especially with all-tube amplifiers, even if they have only 1 watt as output power, the feel-good factor about the personal sound in relation to the volume starts far above the limit that the neighbor still considers tollerable. Especially if you want to equip your instrument with a decent sound for a recording.

As is well known, especially all-tube amplifiers act from the point where you drive the output stage razor-thin into saturation with the maximum sound, which at the same time turns out to be much too loud for an intact neighborhood. But even transistor amplifiers need a minimum of speaker activity to produce a decent sound. The quiet chirping in room volume can really not be expected by anyone on a recording. Of course, you can also buy a Kemper or similar, but we do not want to open the barrel about the sonic quality of these products or their robbery of the classic amplifier culture today.

The only other option is a professional recording studio with room-in-room construction or, precisely, an Iso Box. But what exactly can an Iso Box do?

How an Iso (-lations) Box works

The principle of an Iso Box is in principle very simple but in detail more than just clever. How do you get a noise generator to be quiet? Quite simply, one packs as thick and heavy plates as possible over and under him, seals all joints lets the sound in the inside dead run. Then you decouple it as much as possible from the floor and make sure that the surrounding material vibrates as little as possible, because that is the sound that we perceive now.

This means at the same time that our great amplifier / loudspeaker combination outside the box sounds like bowl, only inside the box comes the true sound to bear. So never get the idea to equate an Iso box with a load resistor between amplifier and cabinet in terms of sound, that doesn't work. Of course, this means that a good iso box must have one or more elaborate miking mounts. So let's see how the Grossmann SG Box fares in all these respects.

The construction of the Grossmann SG Box

If you want to dampen sound (please don't confuse this with damping), you need mass. The heavier the better, what is heavy does not resonate so easily. But the whole thing is of no use if the individual components are so heavy that they cannot be lifted. Here, the Grossmann SG box with its weight of 27 kg (without speakers) is exactly at the limit. In order to lift the upper part from the lower part, you should have a strong shoulder/arm combination, otherwise you will quickly get stuck on the microphone mounts. Yes, it's exhausting, no, it can't be done any other way, because see masses!

The Grossmann SG Box comes in three parts, top, bottom and speaker. The speaker port was designed for a 12 inch speaker, a good choice since probably 95% of all guitarists prefer this speaker size over 10 or 15 inches. However, a 10 inch reducer ring also allows the use of a 10 inch speaker. In principle, you can install anything you want here in terms of manufacturer and wattage. I chose one of the most popular and flexible speakers, the Vintage 30 from Celestion. However, you should be careful with the final volume, a 100 watt all-tube behemoth will destroy a single speaker of this power class very quickly. Therefore, either use amps of maximum 20 watts or choose another speaker.

Also included are three mounting arms for three microphones, the appropriate cabling plus all adapters for the different speakers and all the necessary screw fittings to attach the mounting rails and the microphone clamps. Very important also, 4 very soft and highly erected cone feet made of rubber to decouple the construction with regard to resonance from the floor.

Both the upper and lower parts of the Grossmann SG Box are lined to the maximum with foam and mineral mats to prevent any form of reflection. Who likes to work with rooms, please add in the mix using plug-ins or outgear. Regarding the required cables, everything is already prepared, for the microphones three XLR cables are hardwired together with connection sockets on the bottom part, color-coded with white, black and gray. In addition, the speaker input is located below the microphone jacks.

As we all know, every centimeter counts when picking up a guitar, so maximum flexibility of the microphone rails is an extremely important point. Here Grossmann has really done everything right. In the X-axis, the rails with 2, respectively three holes can roughly decide how far the microphone moves towards the dome. The Y-axis has a control range of about 25 cm, so that you can move the microphone right up to the speaker, thanks to the lack of a front cover, or choose a more indirect pickup. Due to the fact that the microphone stands can rotate at their screw connection to the housing, one can also move the microphones in the Z-axis, which allows for more sophisticated miking techniques, such as the Fredman method.

A little attention should be paid to the deflections of the microphones to the side and especially upwards, so that when you put the hood on, you don't move the microphones or worse, push them out of their mount, because in this case they can fall on the speaker and possibly damage it. If you have a microphone clamp that can be screwed on tightly, such as the one supplied with Heil microphones, you are generally on the safe side. In the case of the cheap clamp variant, as supplied with microphones such as the SM 57, it is advisable to secure the microphone with some gaffa tape if necessary.

The Grossmann SG Box in practice

I was truly curious about the sound insulation and the sound of the Grossmann SG Box, especially since the system has to hold its own against an extensive guitar miking system in my studio, which consists of 10 different cabinets and 14 different microphones. Let's start with the soundproofing.

In order not to overload the Celestion Vintage 30 speaker at all, I limited the output power of my H&K Black Spirit 200 to 20 watts. Now various factory sounds, as well as my stage sounds were used, in which the resonance control is used much more strongly and the box in the bass range strongly demanded. The result was impressive!

Up to a master volume of just under 12 o'clock, the Grossmann SG box just spreads room volume. The 22 mm thick MDF panels resonate slightly and spread the sound of a simple portable radio to the outside. This volume can also be used in a rented apartment without any problems. At full load, it could be a bit loud in a rented apartment, but a detached house can easily handle this volume. It's easy to forget how incredibly loud 20 watts can be on a speaker. At regular intervals, you should briefly take off the hood and briefly realize how strong the insulation actually is, you might hardly think it possible.

Due to the very soft and high feet of the speaker, vibrations towards the floor are also very well cushioned, a real gain in terms of damping. In terms of sound, the system can also only be given top marks, although the sound is of course highly dependent on the amplifier used, the microphone and the knowledge of the perfect positioning of the same. Spatial recordings are of course not possible with the Grossmann SG Box, but in my opinion this also has an advantage. It is often forgotten with the vaunted spatial component within the guitar recording that it only makes sense if you actually have a very good sounding, acoustically optimized room whose recording is worth it. In that case, I would always give preference to a very good plug-in or Outgear Reverb to place the guitar in a room.

Conclusion

The Grossmann SG Box is a perfect tool to eliminate the main problem of all guitar recordings, the given combination of good sound with high volume. With disciplined handling, you can also drive your beloved all-tube amp into saturation and still make your recordings very high quality in a rented apartment.

For all guitarists who do not have their own recording studio, but still want to generate maximum sound quality of the old school, an absolute must!


Additional Informations:

- A guitar isolation box, also known as a guitar booth or guitar cabinet isolation box, is a specialized enclosure designed to isolate the sound of a guitar amplifier, speaker cabinet, or combo amplifier. These boxes are commonly used in recording studios, rehearsal spaces, and home studios to achieve a clean, isolated sound while reducing overall volume.

The concept of a guitar isolation box is relatively simple. A guitar amplifier or speaker cabinet is placed inside the box, which is lined with acoustic foam or other sound-absorbing material. This material helps to reduce the amount of sound that escapes from the box, allowing for a lower overall volume level while still maintaining a clear, full-bodied tone.

Guitar isolation boxes come in a variety of shapes and sizes, depending on the needs of the user. Some boxes are large enough to accommodate full-sized amplifiers or speaker cabinets, while others are designed to fit smaller combo amps or even pedals. Many boxes feature removable or adjustable panels to allow for different microphone placements or to change the sound of the isolated guitar signal.

One of the primary benefits of using a guitar isolation box is the ability to record or play at lower volumes without sacrificing tone or clarity. This can be especially beneficial in situations where high volume levels are not practical, such as in apartments, shared living spaces, or late-night recording sessions. Additionally, isolation boxes can help to eliminate unwanted noise and interference from other sources, resulting in a cleaner, more focused sound.

While guitar isolation boxes can be purchased commercially, they can also be built at home using basic materials and construction techniques. There are numerous online tutorials and DIY guides available for those interested in building their own isolation box.

Overall, a guitar isolation box is a valuable tool for any guitarist or recording engineer looking to achieve a clean, isolated sound without sacrificing volume or tone. Whether purchased commercially or built at home, an isolation box can be an effective and cost-efficient solution for a variety of recording and playing situations.

Fredman microphone placement is a recording technique that was popularized in the 1990s by the Swedish metal band, Meshuggah, and their producer, Fredrik Thordendal. This technique involves placing two microphones in front of a guitar amplifier, one slightly off-axis and the other directly on-axis, and mixing the two signals together to achieve a unique, full-bodied tone.

The Fredman microphone technique is named after its creator, Fredrik Thordendal, and is often referred to as the "Fredman mic technique" or simply "Fredman miking". The technique is commonly used in heavy metal and hard rock recordings, but can be used for any genre where a full-bodied guitar tone is desired.

To set up the Fredman microphone technique, two dynamic microphones are placed in front of the guitar amplifier, one slightly off-axis and the other directly on-axis. The off-axis microphone is typically angled at around 45 degrees from the amplifier, while the on-axis microphone is placed directly in front of the amplifier speaker. The two microphones are then mixed together to achieve a balanced tone.

The off-axis microphone is often positioned closer to the center of the speaker cone, where the tone is brighter and more focused. This microphone captures more of the high-frequency content of the guitar tone, resulting in a more detailed and articulate sound. The on-axis microphone, on the other hand, captures more of the low-frequency content of the guitar tone, resulting in a fuller, more rounded sound.

The two microphones are typically mixed together in a 50/50 blend, although the exact mix can vary depending on the desired sound. The resulting tone is typically characterized by a full-bodied, heavy sound with a lot of midrange and low-end punch.

The Fredman microphone technique has become a popular recording technique in heavy metal and hard rock circles, and is often used by producers and engineers to achieve a unique guitar tone. However, it is important to note that the technique may not be suitable for all genres or styles of music, and should be used judiciously to avoid overloading the mix with too much low-end or midrange content.

In conclusion, the Fredman microphone technique is a unique and effective way to capture a full-bodied guitar tone in heavy metal and hard rock recordings. While it may not be suitable for all genres or styles of music, it can be a valuable tool for producers and engineers looking to achieve a distinctive sound.

TEST: Gretsch G2655 Streamliner

OK, a little guessing game at the beginning of the test, what stands for the artificial word "Twäng" and is not a Tele ;-) Have fun and let an experienced guitarist explain the "Twäng" to you. He will throw confused descriptions into the room and at the end probably name two manufacturers, on the one hand the Tele and on the other hand pretty much everything Gretsch has ever brought to the market. I won't talk my head off about "Twäng", but rather present the new Gretsch G2655 Streamliner, with which Gretsch enters new presregions.

The construction of the Gretsch G2655 Streamliner

First introduced at NAMM 2016, the guitar has a mission that reads "Gretsch Sound for Everyone". What do these words want to tell us? Well, anyone who has ever had the pleasure of holding a USA Gretsch Hollow Body in their arms and then risked a glance at the price tag will probably have gasped twice. On the one hand, the immense body of the instruments requires a completely different handling than a slim solid body, and on the other hand, you have to expect at least a three as the first number in the thousands league in this league.

Detached from the value of these instruments, the market of the affluent clientele is relatively quickly frilled and if you do not want to end up primarily on the living room wall of the "dentist league", even a traditional company like Gretsch, which, by the way, is probably the only manufacturer in the world that has brought it to world fame in both guitar and drum building, must find ways and means to bring the legendary "Twäng" (da isser widder ... ) also into the hands of the ambitious, but less solvent young rockers over.

That this cannot be realized with a production "Made in USA, Germany, France ..." or another country with corresponding ancillary wage costs, should be clear to everyone. So it is not surprising that the Gretsch company also has the Gretsch G2655 Streamliner manufactured in Indonesia, a country that has apparently completely displaced China from the instrument sector in the low price range. It will be interesting to see where Gretsch has cut corners to be able to guarantee the very reasonable retail price of only 477,- €, especially since the construction includes some points that the CNC milling machine cannot easily process automatically.

Let's start with the body first. As you can quickly see from the two sound holes, the Gretsch G2655 Streamliner is a hollow body with center block guitar, in Germany also often referred to as a semi-acoustic in the style of a 335. The purpose of this construction is the attempt to merge the highest possible acoustic response of a full resonance guitar with the feedback insensitivity of a solid body. "Jazz with noise" to put it bluntly.

For this, quite unusual woods are used. In addition to the laminated top and back made of maple, the manufacturer surprises with a neck made of Nato and a fingerboard made of Laurel. Both woods originate in South and Central America and are not protected in any way due to the low demand so far. In terms of resonance, however, they are very close to their larger models, which means that it is reasonable to suspect that their use in instrument making will increase in the future and that they will not just make their way across the Pacific to Asia as a few containers have done in the past.

Despite the low retail price, the neck and the body have a cream-colored binding, which was even applied 4-ply on the body. A fact worth mentioning, since this work cannot be done by a router or a robot. For the otherwise at Gretsch gladly used Bigsby vibrato system it has not been enough here, instead of this a hardtail in V-shape is used at the Gretsch G2655 Streamliner together with a tune-o-matic-like bridge construction.

A crucial role in the classic Gretsch sound in the high-priced models take the legendary FiltertRon pickups, but it was not quite enough for this version.   Instead, Gretsch uses BroadTron B-25 pickups on the Gretsch G2655 Streamliner, which are visually based on the great models. Just as classic as legendary is the master volume circuit adopted from the distant past, where not only each pickup has its own volume control, but the guitar as such can be regulated in its overall volume. Anyone who has ever put a passive pickup via a switch directly to the output and in the A / B comparison of the sound degradation even with the best electrics could perceive, may wonder why in times of amp channel change and diverse FX pedal selection, this circuit has been saved to the present.

In practice

When you pick up the guitar for the first time, you notice the incredibly low weight of just under 2.4 kg, which is very low even for semi-acoustic instruments. Accordingly, a concert evening can be easily played with such a weight, if it weren't for the almost mandatory top-heaviness of the instrument, which, however, is still within moderate limits.

The playability is also convincing. The neck has enough mass for a powerful grip and lies with the "slim U" very pleasant in the hand. The tuners also do a good job, nothing that should cause you worry or trouble.

Otherwise, the guitar is very well set up for an inexpensive Asian production, the string action is unusually low and also the 22 comparatively flat medium jumbo frets focus on rhythm and chord-based solo playing. The unamplified basic sound of the Gretsch G2655 Streamliner is pleasantly lively, the response is very fast and the offered volume of the construction invites to practice without amplification. Up to this point, everything is very good so far. But then the disillusionment.

Immediately after I connected the Gretsch G2655 Streamliner to my Hughes & Kettner Triamp MK III, the Gretsch red pen shows itself in ruthless openness in the form of the installed pickups. Not only do the BroadTon pickups have nothing in common with the classic FilterTron in terms of sound, they tear the excellent acoustic impression of the instrument to the ground. The pickups not only sound comparatively dull and characterless in the clean range, they also "screech" unpleasantly without any volume in the crunch and lead range. Even the attempt to create the typical Malcolm-Young-AC/DC rhythm sound, which was famously created with a Gretsch Firebird, just doesn't want to succeed, because no matter with which amp you try, the pickups don't provide the necessary basis.

For a soft, latently muffled jazz sound, the pickups are still good to use, but as soon as it comes to expressiveness, dynamics and character, the BroadTon pickups are completely overwhelmed. Rarely have I experienced such a discrepancy between the acoustic and electric behavior of a guitar as in this case. This is all the more sad because the acoustic impression, along with the very good workmanship of the instrument, was really very good up to this point. Once again it shows how, in addition to the neck construction, the pickups have the decisive part in the overall sound of the instrument.

Gretsch probably also deliberately wants to create a clear distinction from their top-of-the-line instruments, which is absolutely understandable from a company policy point of view, however, they don't do themselves any favors with these pickups. On the other hand, it's a no-brainer to shell out another €150 or so and have high-end pickups put into the guitar, especially since the basic construction of the Gretsch G2655 Streamliner would undoubtedly deserve it.

In summary, the pickup problem is unfortunately massively reflected in the final rating. If the instrument would have received a fat very good from me before the connection to the amp, I unfortunately have to go back to a satisfactory after this sound impression.

Conclusion

With the Gretsch G2655 Streamliner, the big name offers a model from the low price range, which comes up with strengths and weaknesses. While the instrument convinces with a crisp and dynamic basic sound in addition to clean workmanship and good factory settings when unamplified, the extremely mediocre-sounding pickups detract immensely from the overall impression.

Interested parties should therefore additionally plan about 150 € for 2 good pickups in the sales price, the basic construction of the instrument would have deserved it.

Additional Informations:

- Gretsch Guitars is an American guitar manufacturer with a rich history dating back over 130 years. Founded in 1883 by Friedrich Gretsch, the company has been making guitars that are highly prized by musicians around the world. In this article, we will explore the history and legacy of Gretsch Guitars, and how they have become a fixture in the music industry.

Early History Friedrich Gretsch began making banjos, tambourines, and drums in Brooklyn, New York in the late 19th century. His business grew quickly, and by the early 20th century, Gretsch was making guitars as well. The company became known for its high-quality instruments, and its popularity grew among musicians.

In the 1930s, Gretsch introduced its iconic hollow-body electric guitars, including the Electromatic, Synchromatic, and Duo Jet models. These guitars became hugely popular with jazz and country musicians, and they helped establish Gretsch as a major player in the guitar industry.
The Golden Era The 1950s and 1960s are considered the "Golden Era" of Gretsch Guitars. During this time, the company introduced some of its most iconic models, including the Chet Atkins Country Gentleman and the White Falcon. These guitars were known for their striking appearance and unique sound, and they were used by some of the most famous musicians of the time, including Elvis Presley and George Harrison of the Beatles.

However, by the 1970s, Gretsch had fallen on hard times. The company was sold several times and struggled to maintain its reputation for quality and innovation. It wasn't until the 1990s that Gretsch began to make a comeback.

The Gretsch Revival In 1989, Fred Gretsch III, the great-grandson of the company's founder, acquired the Gretsch name and set out to revive the company's fortunes. He worked closely with master luthier Stephen Stern to design and build new guitars that would capture the spirit of Gretsch's golden era.

The company's revival was helped along by endorsements from musicians like Brian Setzer of the Stray Cats, who played a Gretsch guitar on their hit song "Rock This Town." Today, Gretsch Guitars is once again a major player in the guitar industry, known for its high-quality instruments and innovative designs.

Innovation and Quality One of the keys to Gretsch's success has been its commitment to innovation and quality. The company has always been willing to experiment with new designs and materials, and this has led to some of its most successful models.

For example, the Gretsch Duo Jet featured a unique "Filter'Tron" humbucking pickup that provided a distinctive sound not heard on other guitars of the time. The White Falcon, meanwhile, featured a striking appearance with gold hardware and a white finish, and it quickly became a favorite of rockabilly and rock musicians.

Today, Gretsch continues to innovate with new models like the Electromatic Jet and the Streamliner. These guitars combine classic Gretsch design elements with modern features like high-output pickups and streamlined body shapes.

In Conclusion Gretsch Guitars has a long and storied history in the music industry. From its humble beginnings making banjos and drums to its current status as a major guitar manufacturer, Gretsch has always been committed to quality and innovation. Today, Gretsch guitars are used by some of the most famous musicians in the world, and the company continues to be a fixture in the music industry.

- Gretsch Filtertron pickups are a key component of the iconic sound that Gretsch guitars are known for. These pickups were first introduced in the 1950s, and they quickly became a favorite of musicians in the rockabilly and rock-and-roll genres. In this article, we will explore the history and unique sound of Gretsch Filtertron pickups.

History of Filtertron Pickups The Gretsch company first introduced the Filtertron pickup in the mid-1950s as a response to the growing popularity of electric guitars. These pickups were designed to provide a unique sound that was different from the standard single-coil and humbucker pickups that were commonly used at the time.

Filtertron pickups were initially designed for Gretsch's hollow-body electric guitars, and they quickly became a favorite of musicians in the rockabilly and rock-and-roll genres. These pickups provided a distinct, twangy sound that was perfect for the music of the time.
Over the years, Gretsch has continued to refine and improve the design of its Filtertron pickups. Today, these pickups are used in a wide range of Gretsch guitars, from the classic hollow-body models to more modern solid-body designs.

How Filtertron Pickups Work Filtertron pickups are unique in that they use a dual-coil design that is similar to a humbucker pickup, but with a slightly different configuration. The coils are wound in opposite directions and are placed close together, which helps to cancel out unwanted noise and interference.

The result is a clear, bright sound that is full of character and personality. Filtertron pickups have a unique mid-range boost that helps to cut through the mix in a band setting, making them ideal for lead guitar work.

The sound of Filtertron pickups can be described as twangy and bright, with a touch of warmth and clarity that is characteristic of Gretsch guitars. These pickups are particularly well-suited to genres like rockabilly, rock-and-roll, and country music, where their unique sound is an essential part of the music.

Innovation and Quality One of the keys to Gretsch's success has been its commitment to innovation and quality. The company has always been willing to experiment with new designs and materials, and this has led to some of its most successful models.

For example, the Gretsch Duo Jet featured a unique "Filter'Tron" humbucking pickup that provided a distinctive sound not heard on other guitars of the time. The White Falcon, meanwhile, featured a striking appearance with gold hardware and a white finish, and it quickly became a favorite of rockabilly and rock musicians.

Today, Gretsch continues to innovate with new models like the Electromatic Jet and the Streamliner. These guitars combine classic Gretsch design elements with modern features like high-output pickups and streamlined body shapes.

In Conclusion Gretsch Filtertron pickups are a key part of the iconic sound of Gretsch guitars. These pickups provide a unique mid-range boost that helps to cut through the mix in a band setting, making them ideal for lead guitar work. The sound of Filtertron pickups can be described as twangy and bright, with a touch of warmth and clarity that is characteristic of Gretsch guitars. If you are looking for a unique and distinctive sound for your guitar playing, a Gretsch with Filtertron pickups may be just what you need.

TEST: GAP Comp-3A

It is always something special when the Swedish company Golden Age Project launches a product on the market. With the Golden Age Project Comp-3A, the Scandinavians once again strike into the notch cultivated by them, as there are a pleasantly "kautzige" presentation, the ignoring of usual norms in terms of rack or desktop standards and above all, the detail-accurate copy of a legendary Neve original.

The Golden Age Project Comp-3A takes as its model the circa 1970 transistor-based Neve LA-3A, which was further developed from the LA-2A optocompressor, replacing the LA-2A's tube circuitry with Class A transistors. We are once again curious to see if GAP, with the comparatively very reasonable price of just under 549,- Euro, once again manages to capture a touch of the incomparable Neve flair.

Design

A look at the exterior of the Golden Age Project Comp-3A leaves no doubt, with the half 19 inch format of 9.5 and 2 height units, you also get visually a thoroughbred Neve clone, which however shines compared to the original with a significantly expanded equipment. Once again, the manufacturing site of the product cannot be determined, since GAP once again refrains from printing the required information and once again, the use of rubber feet was also waived. Therefore, watch out for sensitive surfaces, the screws on the case's underside aren't completely countersunk!

The case itself makes a good impression, but is still quite a way from the heavy-duty department of the original. Of course, you also have to consider the retail price of only 549 Euros in this context. The clone from Universal Audio, which has been taken out of the program in the meantime, is almost three times as expensive, and we don't even want to talk about a well-maintained original.

Among other things, the refreshingly reduced equipment was taken over in the form of a gain and a peak reduction control, along with a large VU meter. In combination with the properties of the opto-coupler, a very effective compression of the sound can be set in the simplest way. For all those to whom an optocoupler means little. The characteristic sound of the optocoupler results from a luminous foil, which is opposed by two photoelectric resistors. The stronger the input signal, the stronger the foil glows and the brighter the light, the lower the resistance of the photoelectric cells.

Optocouplers generally do not have attack and release controls, but adapt to the applied input signal via their special response behavior. The result is the much appreciated non-linear compression behavior, which allows a touch more musicality than other conceptions. Unlike the original, however, the Golden Age Project Comp-3A has a few more controls on the front of the cabinet, allowing for much more advanced operation.

In addition to a trimpoti, which allows balancing in stereo operation with 2 pieces of Golden Age Project Comp-3A, the device also has a potentiometer for the sidechain filter, a stereo link switch, as well as a selector switch for compressor/limiter operation and a true bypass switch. In addition, the Golden Age Project Comp-3A has a circuit labeled with the words "Clearmountain Modification", which can be used to activate a 20 dB pad if needed. Bob Clearmountain is one of the protagonists of Neve compressors and is not without reason honored with the same circuit, which lowers the noise floor and extends the level reduction.

The sidechain operation is not a simple highpass filter, but the sensitivity of the device is shifted more into the treble range. Thus, the Golden Age Project Comp-3A can also be used very well as a de-esser.

At the rear there is a link output for the operation of 2 Golden Age Project Comp-3A compressors and 2 outputs in TSR and XLR form. As usual, the "board bug style" power supply is supplied separately. Even if this practice saves production costs for foreign distribution, a touch of "cheap" unfortunately always hangs over this design, especially since the mini plugs slip out of their anchorage much faster than a proper IEC plug. Be that as it may, this practice does not change the sound.


Practice

If one has set the goal to copy a legend of audio engineering, one must not only face the sonic challenge, but in the case of the LA-3A also take on the ease of handling. This claim is fulfilled by the Golden Age Project Comp-3A with flying colors. The minimalist principle of the two controls immediately achieves very good results, both in compressor and limiter mode. The unit sounds smooth without muddiness and delivers a direct sound, which does not swallow or discolor any nuances.

Because of the circuitry, the Golden Age Project Comp-3A also sounds very tight yet "relaxed." As expected, it is less suitable as a 0 dB fidget compressor for extremely hard productions, but as a musical partner in dynamic interplay with a rather airy source material it cuts an excellent figure even in limiter mode. The optocoupler can bring its full strength to bear on the signal, especially when the material is decaying.

The circuit intervenes in the material in a typically soft way, which is naturally best realized with dynamic signals such as clean guitar sounds, brass and of course vocals. With complex or already heavily compressed material, the circuit inevitably comes to its limits, here an external release control must provide clarity. To what extent such signals need to be compressed again, however, is another matter.

As expected, the Golden Age Project Comp-3A not only works slower compared to conventional compressors, especially in the release range, but also in direct comparison to other optocouplers one tends to accuse it of a certain "sluggishness". Whether this is a disadvantage depends once again on personal taste and the source material. Personally, I find the vintage character in this envelope processing very well met, which thus also shifts the character of the outgoing signal more into the vintage realm.


Conclusion

With the Golden Age Project Comp-3A, the Swedish cloning machinery convinces once again. The compressor/limiter, which is based on the legendary Neve LA-3A, shines with a very intuitive 2-knob technology, which also delivers excellent results with very little effort.

Even if the outer appearance is in certain points a little owed to the price policy, the inner values of the product convince all along the line. If you want to integrate a large part of the legendary Neve sound into your workflow at a comparatively very reasonable price, you will find a very good optocoupler in the Golden Age Project Comp-3A, which can show its strengths especially in the signal processing of open sound material in the area of bass, guitar and vocals.

An excellent clone, definitely test it!

Additional Informations:

- Audio compressors are one of the most important tools in a sound producer's toolkit. They play a crucial role in shaping and controlling the dynamics of audio signals. In this article, we will explore what audio compressors are, how they work, and how to use them effectively in sound production.

What are Audio Compressors? An audio compressor is an electronic device that reduces the dynamic range of an audio signal. In simpler terms, it reduces the difference between the loudest and quietest parts of the signal. It does this by automatically lowering the volume of the loudest parts of the signal, so they are closer in level to the quieter parts.
How do Audio Compressors Work? Audio compressors work by using a threshold and a ratio. The threshold is the point at which the compressor starts to reduce the volume of the audio signal. The ratio is the amount by which the compressor reduces the volume above the threshold. For example, if the ratio is set to 4:1, then for every 4dB the audio signal goes over the threshold, the compressor will reduce the volume by 1dB.

Types of Audio Compressors There are several types of audio compressors available, each with its unique characteristics. Some of the most common types include:
VCA (Voltage Controlled Amplifier) Compressors: These are the most common type of compressor and are known for their transparency and accuracy.

Optical Compressors: These compressors use a light source and a photocell to control the volume reduction of the audio signal. They are known for their smooth and warm sound.
FET (Field-Effect Transistor) Compressors: These compressors use FETs instead of tubes or transistors to control the volume reduction of the audio signal. They are known for their fast attack times and aggressive sound.

Using Audio Compressors When using audio compressors, it's important to understand the dynamics of the audio signal you are working with. Different types of audio content, such as vocals, drums, and bass, will have different dynamics that will require different settings on the compressor.

Here are some tips for using audio compressors effectively:

Use a gentle ratio setting to avoid over-compression, which can result in a loss of dynamic range and a "squashed" sound.

Adjust the attack and release times of the compressor to match the dynamics of the audio signal.

Use the makeup gain to bring the overall level of the audio signal back up after compression.

In conclusion, audio compressors are an essential tool in sound production. By understanding how they work and how to use them effectively, sound producers can achieve a more polished and professional sound.

- Rupert Neve was a pioneering audio engineer and inventor whose impact on the world of sound recording is immeasurable. He is best known for designing and building high-end audio equipment that has been used on countless hit recordings over the years. In this article, we will explore the life and legacy of Rupert Neve, and his contribution to the audio industry.

Early Life and Career Rupert Neve was born in Newton Abbot, Devon, England in 1926. His father was an electrical engineer, and this sparked his interest in electronics at an early age. After serving in World War II, Neve studied at the Technical College in Redruth, Cornwall. He then worked for a number of companies, including Ferguson Radio, where he developed his skills in audio engineering.

In 1961, Neve founded his own company, Neve Electronics, in Little Shelford, Cambridge. He started designing mixing consoles and other audio equipment for the emerging British music industry. His equipment quickly gained a reputation for its superior sound quality and innovative features.

In the 1970s, Neve moved to the United States and set up a new company, Rupert Neve Designs, in Wimberley, Texas. This company continued to design and manufacture high-end audio equipment, including mixing consoles, preamplifiers, and compressors.

Innovations in Audio Equipment Neve was a true pioneer in the field of audio engineering. He was constantly seeking new ways to improve the sound quality of recordings, and his inventions revolutionized the industry. Here are some of his most notable innovations:
Transformer-coupled designs - Neve was one of the first engineers to use transformer-coupled designs in audio equipment. This allowed him to achieve a warm and rich sound that was highly sought after by recording engineers.

EQ circuits - Neve's EQ circuits were renowned for their precision and musicality. They allowed engineers to shape the sound of recordings with great detail and subtlety.
Dynamic range expansion - Neve's dynamic range expansion circuitry allowed engineers to capture the full dynamic range of musical performances, without the distortion that was typical of older recording techniques.

Modular design - Neve's modular designs made it easy for engineers to swap out individual components, allowing them to customize their equipment to their specific needs.
Legacy and Impact Rupert Neve's impact on the audio industry cannot be overstated. His equipment has been used on countless hit recordings, and his innovations have shaped the sound of modern music. Neve's legacy lives on through his companies, Rupert Neve Designs and AMS Neve, which continue to produce high-end audio equipment that is prized by recording engineers around the world.

In addition to his technical achievements, Neve was also known for his dedication to quality and his passion for music. He was a mentor to many young engineers, and his legacy continues to inspire future generations of audio professionals.
In conclusion, Rupert Neve was a true pioneer in the field of audio engineering. His innovations in audio equipment have had a profound impact on the industry, and his dedication to quality and passion for music continue to inspire generations of engineers and musicians.

TEST: Godin Summit Classic SG Matte Green

There are companies that have somehow always been there, but hardly anyone has really taken note of them. I ask to consider this sentence completely value-free, but when I have heard the name Godin in my meanwhile already quite long career, the instruments, especially in the acoustic range were quite a concept to me, yet I could not have prayed down any type designation or other details. To remind ill-informed noses like me, the Canadian company, which after all was founded by Robert Godin almost 5 decades ago, has launched the Godin Summit Classic SG Matte Green, an instrument that will stay in my memory in more ways than one.

The construction of the Godin Summit Classic SG Matte Green

Despite its gigantic spatial expanse, Canada is a comparatively small light on the international electric guitar market, unlike its loud rumbling neighbor to the south. This means that due to the significantly less pronounced globalization mania, one sometimes draws attention to oneself with very interesting detailed solutions, but sometimes also comes around the corner with unusual woodsman ideas. In the case of the Godin Summit Classic SG Matte Green, both are true in my opinion.

First of all, the standards. Even the layman will easily recognize who was the godfather for the layout of the Godin Summit Classic SG Matte Green. The Les Paul shape is obvious and if the instrument would have 2 P-90 style single coil pickups, the association with the Les Paul Special would be perfect due to the "unadorned" finish. However, there are some points, which are clearly above the LP Special league, from therefore one should put the comparison also immediately again to the files.

The Hardware

First of all, let's start with the big plus points of the Godin Summit Classic SG Matte Green, which is especially reflected in the hardware. Besides two Schaller strap pins (nothing special as far as that goes), the instrument features an extremely massive bridge with the monster name of "one-piece Graphtech Resomax Sonic 1 Nickel Wrap Around Bridge", which plays into the hands of the instrument's sustain. Although you can only move the octave purity as a whole by means of two side-mounted thumbscrews, the lack of moving parts, on the other hand, ensures a minimum of absorption of the strings' vibrational energy. If you play standard string sets, the fixed milled grooves should not be a problem with regard to the octave purity, with special sets, e.g. Light Top Heavy Bottom or similar, you should check in advance to be on the safe side. Likewise, sets with a wound G-string are completely out of the question due to the string offset.

Another highlight are the tuners from our own production, which shine with a detail that I have not come across before. While the bass tuners of the 3:3 headstock run with an 18:1 ratio, the treble tuners have the much finer 26:1 ratio. A very practical design, considering that especially the unwound strings react very sensitively to the well-tempered tuning and allow a very highly graduated implementation with this ratio.

The attachment of the cable socket also offers a special feature. I have never seen a solution where a comparatively small metal plate holds the jack, which is then anchored to the side with 2 small wood screws at an angle of about 45 degrees. The result is a very nice detail solution, which on the one hand does without the failure-prone sleeve bushings and on the other hand eliminates the constantly breaking plastic plates. A very discreet and extremely successful detail solution.

The pickups

As already mentioned, the Godin Summit Classic SG Matte Green has 2 humbuckers, also from our own production, which are not split. To add to the Gibson touch, an optical replica of the Zebra pickups (one black and one white coil each) were made, the coil coloring that was discovered only by accident on the legendary Paulas of 58 - 60, after some musicians removed the chrome caps to minimize the feedback behavior of the pickups. The controls available are one volume and one tone knob per pickup, switched by a three-way switch in the classic LP position.

The wood selection of the Godin Summit Classic SG Matte Green

When it comes to wood selection, Godin once again takes the "support your local dealer" approach by using Canadian Laurentian basswood for the body. Basswood is comparatively rarely used as a tonewood, but this does not represent any kind of valuation. In this context, we refer once again to the wonderfully enlightening article by Walter Kraushaar at this link - https://www.kraushaar-gitarren.de/cms/tonholz.html - which many a "guitar expert" would like to delete from the Internet.

The glued-in neck is once again made of the popular maple and has been fitted with a rosewood fingerboard. The neck was apparently stained and gives a "roasted" look, but I have no documentation regarding a special heat treatment. The short scale length with a slight extension of 629 mm is used, with a fingerboard radius of 305 mm and a nut width of 419 mm. To minimize the frictional resistance in the saddle, a Graphtech saddle was used. The instrument comes with a sturdy upscale gig bag.

Oha ...

Have I forgotten anything? Oh yes, there was something else. After a long list of good to very good points, I have long thought about how best to formulate it, but unfortunately I could not think of a gentle formulation, so out freely. I know, tastes are different and there may be one or the other lone warrior who also likes to white his instruments in the camouflage color of his work tool, but what Godin was thinking with this finish will forever remain a mystery to me.

The Nato-olive, even more so in a matte finish, has the charm of a Leopard 2 on a military training ground, despite the impeccable finish. There may be one or two representatives of the metal camp who would like to add a touch of army romance to their camouflage stage outfit, but in this case the rest of the guitar is visually diametrically opposed. Whoever at Godin headquarters had the idea for this paint job will, in my opinion, have to answer for the expected sales figures. But as I said, it's all a matter of taste.

The Godin Summit Classic SG Matte Green in practice

What immediately jumps acoustically into the ear at the first notes is the incredible sustain of the guitar, which is otherwise reserved only for the representatives of a continuous neck. The solid construction and especially the outstanding hardware of the Godin Summit Classic SG Matte Green have truly paid off. The result is an incredibly stable tone, far from any deadspots or resonance exaggerations. The attack behavior is very good, the overall vibration behavior exemplary.

The combination with the in-house Godin pickups is interesting. Much like the Gibson role model from the late seventies / early eighties, the combination leaves an outstanding impression in the crunch range. Carried rock riffs in the AOR / classic rock area suit the instrument very well and leave a lasting impression. The basic sound is rather treble reduced, of course depending on amp, speaker and pedals, but very tasteful. Classic triad riffing and the sun rises!

Of course, the Godin Summit Classic SG Matte Green is also capable of the other two ends of the scale, i.e. clean and high gain, but I would not necessarily see the high gain range in particular as the instrument's parade discipline. The clean range is convincingly performed, as long as you can dynamically gain something from the one or other saturation in your sound image. The sound is expressive, voluminous and very pleasing.

The high-gain range, on the other hand, quickly runs the risk of drifting into muddiness due to the reduced treble image, but let's be honest, anyone who buys the Godin Summit Classic SG Matte Green for high-gain drop tunings doesn't know what they're doing anyway.

Conclusion

With the Godin Summit Classic SG Matte Green, the Canadian manufacturer has an outstandingly crafted and sonically excellent instrument in its ranks, which attracts attention with excellent detail solutions, voluminous sound and the ugliest finish I have ever seen in my life.

If you have a different opinion about the finish and are looking for an instrument that is outrageously priced for what it offers, you should definitely give it a try.

Additional Informations:

- Godin Guitars is a Canadian company that has been producing high-quality guitars for over three decades. Founded in 1987 by Robert Godin, the company has established a reputation for innovation and craftsmanship, and its guitars are played by musicians around the world.
One of the defining features of Godin Guitars is its commitment to using sustainable and environmentally friendly materials. The company sources its wood from responsibly managed forests, and it uses a variety of alternative materials, such as carbon fiber and composite materials, to reduce its environmental impact.

Godin Guitars offers a wide range of guitar models, each with its own unique features and characteristics. The company's flagship brand, Seagull, is known for its handcrafted guitars, which are made from high-quality woods and feature innovative design elements such as the Integrated Set Neck system, which ensures a stable and responsive playing experience.
Another popular brand under the Godin umbrella is Art & Lutherie, which offers affordable, handcrafted guitars made from locally sourced materials. These guitars feature a rustic aesthetic and a warm, vintage sound that appeals to players of all levels.

Godin Guitars also produces several electric guitar brands, including Godin, which offers a range of innovative models that incorporate features such as MIDI capabilities and multiple pickups for a versatile playing experience. The company's other electric guitar brands include Norman, Simon & Patrick, and La Patrie, each with its own unique design and features.

One of the most innovative features of Godin Guitars is its use of a unique guitar building process called "breathe-through" technology. This process involves carving out chambers inside the guitar body, which helps to reduce the weight of the instrument and improve its resonance and sustain.
In addition to its commitment to craftsmanship and sustainability, Godin Guitars is also known for its support of local musicians and music communities. The company sponsors several music festivals and events throughout Canada, and it has a strong presence in the Canadian music scene.

In conclusion, Godin Guitars is a company that combines innovation and craftsmanship to produce high-quality guitars that are both environmentally friendly and musically versatile. Its commitment to sustainability and community involvement sets it apart from other guitar manufacturers, and its wide range of brands and models ensures that there is a Godin guitar to suit every player's needs and preferences.

- Single Cut Guitars are a classic design that has been around for over 60 years, and they continue to be popular with musicians of all genres. This style of guitar is characterized by its single-cutaway body shape, which is designed to provide easy access to the upper frets while maintaining a traditional look and feel.

The most famous example of a single cut guitar is the Gibson Les Paul, which was first introduced in the early 1950s. The Les Paul's iconic design, with its single-cutaway body and dual humbucking pickups, has become a symbol of rock and roll and is still favored by many guitarists today.

In addition to the Les Paul, there are many other brands and models of single cut guitars available on the market. These guitars come in a range of styles and price points, from affordable beginner models to high-end custom instruments.

One of the advantages of the single cut guitar design is its versatility. The thick, mahogany body of the Les Paul produces a warm, rich tone that is ideal for rock and blues music, while other single cut guitars, such as the PRS Singlecut, offer a more versatile sound that can be used for a variety of musical styles.

Single cut guitars also offer a number of practical benefits for guitar players. The single cutaway design provides easy access to the upper frets, making it easier to play complex chord shapes and lead lines. The thick body of the guitar also provides a solid platform for the bridge and pickups, which helps to reduce unwanted vibrations and improves sustain.

Despite its many advantages, the single cut guitar design is not without its drawbacks. The thick body can make the guitar heavy and uncomfortable to play for extended periods, and the single cutaway can limit access to the highest frets.

In conclusion, Single Cut Guitars are a classic design that continues to be popular with musicians of all genres. Their versatile sound, easy access to the upper frets, and solid construction make them a popular choice for guitar players. Whether you're a beginner or an experienced player, a single cut guitar is a great option that will provide you with years of playing enjoyment.