TEST: Framus Dragon Head

 Yes, it's not that easy to keep track anymore. Who would have thought that all-tube heads would not only survive, but that at the beginning of the millennium there would be an immensely rich selection of top products that would leave musicians spoiled for choice.

When I started my professional career, you could only choose between four official manufacturers and the fact that transistor technology had become affordable was prophesied in all magazines about the demise of the oh-so Stone Age tube machines. Everything was screwed, soldered, combined and eroded as much as possible, but although every effort was made to surpass the anachronistic technology of vacuum tubes and their associated sound behavior, even the best representatives of the semiconductor level can still achieve their best today Decorate with getting “close” to the tube sound, nothing more!

A representative from the German Bundesliga of Alltube Heads is the Framus Dragon Head, which I have for testing. Interestingly, this was also the first Framus amplifier that I first noticed in 1999 with a band I was friends with during one of my tours in Germany. “Framus, are they now building amplifiers too...?” And how!


Construction:

The Dragon Head is a head that, like almost all protagonists in this genre, has the typical “briquette” shape. With dimensions of 72.5 cm x 28.5 cm x 26.5 cm (W x H x D), it fits on any standard 4x12" cabinet, although its appearance is a little more "powerful" than, for example, due to the greater depth still very slim Marshall tops. Its 18.3 kg weight is a bit overwhelming, but can still be handled easily.

Visually, the Dragon tries to bridge the gap between vintage and modern. While the Framus logo on brown covering material, combined with the 22 chickenhead controls, could have adorned a combo 40 years ago, the mirrored panel and, last but not least, the product name look more like they come from a historically different era. The clash of diametrically epochal trademarks has its charm, but ultimately, as always, personal taste in terms of appearance decides.

In terms of workmanship, the Dragon Head is at the highest level; I couldn't see any impurities either inside or outside. On the outside, the wooden construction of the top is protected by a durable artificial leather cover against moisture (although putting beer on a top requires at least 2 years of solitary confinement with bread and water!) and minor mechanical influences. Eight corner protectors and a strong carrying handle do the rest.

The amp rests on 4 strong plastic feet, which in my opinion are a bit too hard in their chemical mixture. On the one hand, the head slips a little on very smooth surfaces and “sticks” less due to its weight and, on the other hand, the vibrations that the sensitive power tubes have to suffer during operation on a vibrating 4x12 cabinet are only slightly dampened. On the other hand, a mix that is too soft would cause the feet to bulge and crack over time, a problem I experienced with another of my amplifiers.

In terms of tube technology, the Dragon uses a total of 5 ECC83 (3x selected for the various distortion stages, 2x standard for phase inversion stage and effects path buffer) in the preamp and a selected EL34 quartet in the power amp, which provide an output power of 100 watts.

The Dragon has a three-channel structure, with the classic clean, crunch and lead division. The three channels each have 6 individual controls, which control the gain, presence and volume range in addition to the classic three-band tone control treble, middle and bass.

In the master area, in addition to a “Deep” control, which thickens the overall sound in the lower mid to upper bass range, there is a mix control for the parallel FX loop and two independent master volume controls, for example during a solo passage or to emphasize one to be able to only briefly increase the volume of a short phrase without changing the sound.

The three channels of the Dragon as well as the two master volume controls can be switched via foot switch, but also via MIDI interface (128 memory locations), so the head has a MIDi In or MIDI Thru for looping through the switching signal.

On the back there are the connections for the MIDI control, two speaker outputs (4, 8, 16 ohms), a line out, the FX loop and the connections for the MIDI control, respectively the footswitch connections.




Practice:

Green! Finally! Who would have thought that I would again come across an operating LED that wasn't in the trendy blue or classic red. Green is also my favorite color ;-) 10 points! ;-)

And as always, we start with the clean sound of the amplifier. What we hear from the connected cabinet with the neutral setting (all controls at 12 o'clock) must be described as very balanced, especially when you consider the well-known sound behavior of the EL34 bottles. EL34 and soft, sometimes pearly, undistorted sounds usually cancel each other out, so the sometimes beautifully coloring, unobtrusive sound of the first channel can be described as very successful.

Also worth mentioning is the very high headroom with which the channel works. Even with the gain turned up to full capacity and the volume control set to the same setting, only slight distortions come out of the speakers, which is not pleasing and makes it unmistakably clear to the artist that he should please use one of the other channels for such experiments.

However, a fairway that is too small does not do the canal justice either; here it falls short of its dynamic potential. It is therefore very important to experiment a lot with the gain and volume controls to find the optimal setting for your guitar. Personally, I liked the maximum possible level without the preamps clipping best; here the channel was able to show off its full dynamics and shines with good assertiveness and a tight response.

In the second channel (Crunch) the visual appearance of the head (vintage meets modern) meets its tonal implementation. While the preamplifier clearly indulges in modernity with its high gain reserves and its comparatively soft design, the power amplifier tubes increasingly rely on the more “dirty, boney” vintage approach. The result is a very flexible crunch channel, which can handle a wide range from light distortion to very strong hard rock with AC/DC leads.

The frequency-technical starting point of the all-important mid control is also very nice, as it gives the amp a significantly softer tone by slightly reducing the same frequencies. Mind you, we still have the EL34 Brit Mid board on our backs, so...

Where channel two left off in terms of solo activities in the broad area of hard rock, channel three continues seamlessly. With additional gain reserves and a softer basic orientation, all forms of distorted solo sounds and rhythm attacks that can be attributed to metal can be reproduced here.

I'm also particularly impressed by the mid control on channel three, which gives the sound a decisive tonal change with just a few range changes. Convincing!



Conclusion:

Yes, the Dragon Head is an all-round successful all-rounder with a clear peak in the rock area. In terms of sound, it can impress in all areas, and thanks to its MIDI connection it is also very flexible in terms of channel control in conjunction with your personal FX setup.

If you are looking for “Made-In-Germany” that deserves its name, you should definitely give the Dragon Head a try

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Additional Informations:

Framus amplifiers stand as iconic symbols of German craftsmanship, innovation, and sonic excellence. Their journey spans over seven decades, intertwining with the evolution of music culture, technological advancements, and the enduring legacy of the Framus brand. This article embarks on a detailed exploration of the origins, pivotal moments, and technological innovations that have shaped the narrative of Framus amplifiers.

**Founding Years and Early Innovations:**
The story of Framus amplifiers begins in the aftermath of World War II when Fred Wilfer founded Framus in Erlangen, Germany, in 1946. Initially focusing on manufacturing stringed instruments, Wilfer soon recognized the burgeoning demand for amplification solutions as electric guitars gained popularity. In the early 1950s, Framus introduced its first amplifiers, leveraging innovative circuit designs and quality components to deliver powerful and responsive amplification for musicians.

**Rise to Prominence:**
Throughout the 1950s and 1960s, Framus amplifiers gained widespread acclaim among musicians for their reliability, versatility, and distinctive tone. From the compact and portable Ruby to the powerhouse Cobra, Framus offered a diverse range of amplifiers catering to various musical styles and performance needs. The endorsement of renowned artists like Bill Wyman of The Rolling Stones further bolstered Framus's reputation as a premier amplifier manufacturer.

**Technological Advancements:**
Framus was at the forefront of technological innovation in amplifier design, continually pushing the boundaries of performance and functionality. In the 1960s, Framus introduced transistor-based amplifiers alongside their tube counterparts, showcasing their adaptability to emerging trends in electronic components. Additionally, Framus pioneered advancements in amplifier circuitry, including the development of versatile EQ controls, built-in reverb units, and effects loops, empowering musicians with greater control over their sound.

**Collaborations and Endorsements:**
Framus's commitment to excellence in amplification attracted collaborations with influential musicians seeking to shape their signature sound. Artists such as John Entwistle of The Who and Billy Lorento of The Rattles collaborated with Framus to design custom amplifiers tailored to their unique preferences and playing styles. These collaborations not only propelled Framus amplifiers into the spotlight but also contributed to the evolution of amplifier technology through real-world feedback and experimentation.

**Expansion and Diversification:**
As the demand for Framus amplifiers grew, the company expanded its product lineup to encompass a broader range of amplification solutions. From guitar and bass amplifiers to PA systems and studio monitors, Framus diversified its offerings while maintaining a steadfast commitment to quality and innovation. The expansion into new markets and product categories cemented Framus's position as a leading authority in the world of amplification.

**Challenges and Revival:**
Like many legacy brands, Framus faced challenges in the face of evolving market dynamics and industry trends. In the late 1970s, the company experienced financial difficulties, eventually leading to its acquisition by Warwick GmbH & Co. Music Equipment KG in 1995. Under Warwick's stewardship, Framus experienced a revitalization, with a renewed focus on quality, craftsmanship, and innovation. The relaunch of classic amplifier models alongside new designs reaffirmed Framus's commitment to honoring its heritage while embracing the demands of the modern music industry.

**Legacy and Influence:**
Today, Framus amplifiers continue to inspire musicians around the world, embodying a legacy of innovation, craftsmanship, and sonic excellence. Whether in the hands of professional artists on stage or aspiring musicians in home studios, Framus amplifiers remain synonymous with superior tone, reliability, and performance. As the music landscape evolves, Framus stands as a timeless testament to the enduring allure of German engineering and the pursuit of sonic perfection.

**Conclusion:**
The history of Framus amplifiers is a saga of innovation, perseverance, and musical ingenuity. From humble beginnings in post-war Germany to global recognition as a premier amplifier manufacturer, Framus has left an indelible mark on the world of music. As the journey continues into the future, Framus remains committed to its founding principles of quality, craftsmanship, and passion for amplification, ensuring that its amplifiers continue to shape the sound of generations to come.