TEST: Framus Diablo

 It's interesting to see how the various instrument manufacturers approach their product policies. While the stylistic forefathers of the electric guitar such as Gibson, Fender and Gretsch have already manifested their product line for decades for image reasons and only change them marginally, the string world of the newer guild allows a healthy expansion of traditions. In recent years, a guild of manufacturers has been formed that combines tried-and-tested concepts of classic electric guitar building with contemporary innovations. The Framus company can also be counted among this group, whose models, depending on the version, sip on the edge of the classic plate and then improve on the forefathers with high-quality detailed solutions.



Construction:

The dark blue appearance that emerges from the high-quality gig bag cannot deny its relationship to the Strat, at least at first glance. Even a second look reveals tons of differences, so that you would be doing the Diablo an injustice if you didn't let it stand as an independent model.

The strong blue, referred to internally as “Blue Stain”, allows the beautiful grain of the 20 mm thick “bookmatched” maple top to shine through on the front and the strong line drawing of the one-piece swamp ash body to shine through on the back. The maple top is used in so-called “violin shaping”, i.e. the outer edges of the body are still quite flat relative to the top, which then rises suddenly towards the middle with a curvature similar to a violin. Personally, I am a big fan of this shaping, as it always has something elegant and noble, especially in connection with the reflections of the incident light. The body is painted with a high gloss, and all staining, coloring and varnishing work is carried out flawlessly and with perfect craftsmanship. The master volume and master tone controls as well as the PU selector switch are slightly recessed into the maple top.

Strong differences to the Strat can also be noted in terms of body shaping. The popular “waist” milling on the back of the body is only marginally done; the shaping at the level of the armrest has been completely omitted. What has remained, however, is the generous reduction in wood at the base of the neck, which guarantees optimal playability up to the highest registers.


The neck of the Diablo Custom is made from Ovangkol wood, which is very popular within Framus. The African hardwood is characterized by its high strength and rich treble reproduction. The neck is unpainted and is attached to the body using the patented bolt-in process, a process that anchors the neck firmly in the body using just 2 screws. As we know, tastes are different, so it shouldn't be up for debate that the heavily grained Ovangkol wood always reminds me a little of a railway sleeper ;-) East Indian ebony is used as the fingerboard, which is characterized by a not-so-black color and high height structuring. The fingerboard inlays are made up of 2 opposing triangles with a, well, let's say cross, and the frets use a strong design, which is not yet in the range of jumbo frets. The tuning mechanisms, which are arranged in the usual Framus arrangement of 3 left, 3 right, use chrome-plated locking machines; the truss rod disappears under a solid metal plate on which the model name and company logo are applied. The saddle is once again made from self-lubricating carbon, which, as far as I know, Framus uses on all models. The scope of delivery also includes a set of security locks for attaching the belt.

The Diablo is factory equipped with a triple Seymour Duncan pickup, the SHR in the neck, a reverse wound SL1 in the middle and an SH4 in the bridge position. A push/pull switch in the volume control can be used to deactivate a coil in the neck or bridge pickup. The pickups are switched via a high-quality 5-way switch. Using this wiring, the neck / middle neck / neck bridge / middle bridge and bridge constellations can be accessed in conjunction with the push/pull controller, meaning all important PU configurations can be accessed in a matter of seconds. What is interesting is the fact that the middle PU can only be used in combination with the neck or bridge PU and cannot be activated alone. Here, preference was given to the Paula-style wiring in the middle position = neck and bridge PU. The wiring in the electrical compartment, which is accessible without additional tools, is clean and clear, the compartment is painted with shielding paint and properly connected to ground.

The Diablo comes with a Wilkinson VIBRATO!!! (woe betide you, tell me another tremolo here!), which has long since overtaken the Floyd-Rose system thanks to its small dimensions, its sustain-friendly construction and its high tuning stability. The vibrato lever is plugged in and its movement can be adjusted with a small Allen screw on the side.

Practice:
The entire basic focus of the Diablo is aimed at satisfying both the Strat and the Paula types. However, any reasonably accomplished guitarist knows that this is not possible due to the conflicting concepts. However, Diablo shows how close you can get to both concepts. Even though the shaping, vibrato system and choice of wood tend to be much more Fender-esque, the humbucker-influenced Gibson type will also enjoy the instrument.

Let's start with the pickup assembly. The SH4, also known to some as the Jeff Beck PU, used in the bridge position delivers a very powerful sound that is ideal for distorted sounds. A healthy proportion of mids, coupled with high output power, also provides resistant preamplifiers with enough power to generate the first distortions. Fortunately, the sound doesn't get bogged down in the midrange mud like you get with other high-winding pickups. There are slight parallels to a Powerstrat a la Schecter or the earlier Charvel, if it weren't for the Ovangkol neck, which gives the sound its own touch with lively highs.

One switch position further and you're definitely entering Strat territory, provided you switch off one of the SH4's coils using the push/pull pot. In typical double-single-coil style, the Diablo comes with a classic, pearly sound, which is always an experience in every funk number. Due to the reversed design of the SL1, there is also very little background noise.

In position 3 you can choose between 2x single coil or 2x humbuckers on the neck or bridge pickup. It's amazing how strongly this constellation tends towards Paula in humbucker operation. Despite the mini humbucker on the neck and ash body, the Diablo comes across as very low-mid-heavy, actually a typical mahogany feature. Be that as it may, this voluminous yet warm sound is particularly convincing in the clean range. The neck/middle PU combination is again a typical phase-thinned Strat reference, while in switch position 1 you can operate Seymour Duncan's Hot Rail as a single-winder or double-winder.


The Hotrail seemed a bit strange to me in the humbucker position. In the bridge position of one of the most popular replacement pickups for musicians who want to give their Strat more steam without having to put the pry bar on the body, I sometimes had to struggle with a fairly high bass content, especially in the distorted area. Maybe they meant a little too well here when it came to the output; in my opinion, I would have preferred the not-so-hot version, the Cool Rail. Particularly when the level of distortion is high, one or the other amp may struggle a bit with the low frequency content, but ultimately this aspect remains purely a matter of taste and must be determined personally from artist to artist.

The Wilkinson vibrato once again turns out to be one of the highlights. In my opinion, it is currently smooth-running, ergonomic, stable in tuning and has a neutral sound. one of the best systems when it comes to adding pitch modulations to individual tones or chords. Even the intensive use of dive bombs, the extreme relaxation of the strings up to the limp sagging on the fingerboard, could not bring the guitar out of a well-tempered tuning, even though the instrument is equipped without a clamp on the saddle. Here you can see the excellent effect of the locking tuners in combination with the self-lubricating saddle.

Along with the sonic possibilities, the playability is also great. A strong “D” in the neck profile combined with perfectly trained frets ensure that the instrument can be handled very well. Chord and solo playing are equally easy and once again support the flexibility of the guitar.

Conclusion:
If you need a high-quality “workhorse” for a wide musical range, the Diablo is absolutely the right choice. High-quality components meet the best manufacturing standards, a basis on which nothing can go wrong in terms of craftsmanship. Anything beyond that, such as coloring and wood structuring, is subject to personal taste and cannot be evaluated. In my opinion, the Diablo represents a real alternative to the boutique productions from overseas. Sound, workmanship and attention to detail do not need to hide behind the USA protagonists.

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Additional Informations:

The Wilfer family stands as a beacon of innovation, entrepreneurship, and musical passion, leaving an indelible mark on the world of instrument craftsmanship. From the humble beginnings of a small workshop in post-war Germany to the global recognition of the Framus brand, the story of the Wilfer family is one of resilience, creativity, and unwavering dedication to the craft. This article delves into the rich history, key figures, notable achievements, and enduring legacy of the Wilfer family.

**Founding Years and Early Endeavors:**
The roots of the Wilfer family's involvement in the music industry can be traced back to the aftermath of World War II when Fred Wilfer founded Framus in Erlangen, Germany, in 1946. Initially focusing on the manufacture of stringed instruments such as violins, cellos, and guitars, Fred Wilfer demonstrated a keen understanding of craftsmanship and a passion for innovation that would become hallmarks of the family's legacy. Together with his wife Gertrude, Fred Wilfer laid the foundation for what would eventually evolve into one of the most respected names in the world of musical instrument manufacturing.

**Expansion and Diversification:**
Under the leadership of Fred Wilfer, Framus experienced rapid growth and expansion, diversifying its product offerings to meet the evolving needs of musicians worldwide. From traditional acoustic instruments to electric guitars, basses, amplifiers, and beyond, Framus became synonymous with quality, reliability, and innovation. Fred Wilfer's visionary leadership and entrepreneurial spirit paved the way for Framus to become a global leader in the musical instrument industry, earning the admiration and respect of musicians, collectors, and enthusiasts alike.

**The Next Generation:**
As Framus continued to flourish, the next generation of the Wilfer family stepped into leadership roles, carrying forward the legacy established by their parents. Hans-Peter Wilfer, son of Fred and Gertrude, played a pivotal role in expanding Framus's global presence, forging strategic partnerships, and embracing emerging technologies to drive innovation and growth. Under his guidance, Framus continued to push the boundaries of instrument design, introducing groundbreaking features and pioneering new manufacturing techniques.

**Innovation and Excellence:**
Throughout its history, the Wilfer family has remained committed to the principles of innovation, excellence, and craftsmanship that have defined the Framus brand. From the development of proprietary pickup designs to the implementation of advanced CNC machining technology, Framus instruments have consistently pushed the envelope in terms of quality, playability, and sonic performance. The Wilfer family's unwavering dedication to innovation has ensured that Framus remains at the forefront of the musical instrument industry, setting the standard for excellence in design and construction.

**Cultural Impact and Legacy:**
Beyond their contributions to the musical instrument industry, the Wilfer family's legacy extends to the cultural impact of Framus instruments on the world of music. From the hands of legendary artists to aspiring musicians in every corner of the globe, Framus instruments have provided the tools for creativity, expression, and inspiration. The Wilfer family's commitment to craftsmanship and innovation has left an indelible mark on the history of music, shaping the sound of generations and influencing the evolution of musical genres.

**Continued Influence and Future Directions:**
As the musical landscape continues to evolve, the Wilfer family remains dedicated to upholding the values and traditions that have guided Framus for over seven decades. With a focus on sustainability, technology-driven innovation, and expanding access to music education, the Wilfer family seeks to ensure that Framus instruments continue to inspire and empower musicians for generations to come. Through their continued leadership and vision, the Wilfer family will undoubtedly leave an enduring legacy that transcends time and resonates with music lovers around the world.

**Conclusion:**
In conclusion, the Wilfer family's contributions to the world of musical instrument craftsmanship are nothing short of remarkable. From their humble beginnings to their status as global leaders in the industry, the Wilfer family's legacy is a testament to the power of passion, perseverance, and innovation. As Framus instruments continue to inspire musicians and enthusiasts around the world, the Wilfer family's influence will undoubtedly endure, shaping the future of music for years to come.