TEST: Koch Amps Superlead

 It's unbelievable what a few kilometers and a national border can do when it comes to popularity. While in our neighboring country, the Netherlands, the Koch Amps company is almost a permanent institution in the blues and rock scene, despite excellent products such as the Battleship Supernova or the Studiotone Combo series, the company is still somewhat of an insider tip in Germany latitudes. It can't be because of football; in fact, we Germans have a very strong affinity with the Anglo-American forefathers when it comes to our personal feeling of happiness when it comes to amplifier technology.

However, the whole thing only lasts until you accidentally stumble across a Koch product in a music store, a rehearsal room or at a music fair and lend it an ear. Then the wow and aha factor is immediately exposed like a logarithm and you ask yourself why you haven't had this company on your personal radar until now. This can be remedied, especially since Koch has a very hot iron in the fire with the Koch Superlead Preamp, which is once again preparing to expand one's personal horizons with a manufacturer name.


construction

Anyone who knows a little about the company's history around mastermind Dolf Koch knows that the Koch Superlead concept wasn't just whipped up overnight. Almost a decade ago, the company caused a powerful response in the musical forest with the Pedaltone, a 4-channel preamp in a stompbox design. The product sounded great, was very flexible to use, but struggled a bit with the dimensions and weight. This is where the Koch Superlead Preamp comes in, which is preparing to take on the flexibility of the Pedaltone, but as a kind of Swiss army knife preamp that can provide the necessary connections and sounds in almost every performance situation. The personal tube amp for the gig bag, so to speak.

Conceptually we are dealing with a 2-channel preamp, whereby the second channel can be boosted again, which ultimately results in 3 different sounds. A 12AX7 or ECC83 tube is used as the sound generator, which, in conjunction with a triple tone control, forms the basis of the pedal. Like the clean channel, the overdrive channel has its own volume control, paired with a gain control for the level of distortion. The intensity of the boost factor is fixed and cannot be changed. The sounds can be switched silently using two buttons plus their own LEDs.

In terms of dimensions, the preamp is comparatively moderate with dimensions (WxDxH) 13.2 cm x 20.5 cm x 6.4 cm and, with a weight of only 1.2 kilograms, can also be transported in a gig bag if necessary. The Koch Superlead gets its operating voltage from the included 12V power supply. In terms of processing technology, the product manufactured in Europe is once again way ahead, like all other Koch products. A solid steel housing, the best components inside the product, jack sockets screwed to the housing and smoothly running potentiometers speak for themselves. I also personally really like the purple used as the casing color.

Now let’s get to the connection options for the pedal. Anyone who thought they were looking at a classic tube booster will immediately notice when looking at the socket arrangement that this is a much broader concept. On the right edge of the housing, next to the input socket, there is a balanced XLR output for recording or P.A. Purposes to which a speaker simulation was switched and which has an additional ground lift. Next to it is the main output, which is optimized in terms of output level via a mini switch depending on the application in front of a clean amp, a power amplifier, or the FX loop return of an amp.

On the left of the housing there is an unbuffered, upstream pre-FX loop for connecting an external preamp, a buffered post-FX loop for connecting classic modulation or room effects, a remote control connection for external management, the input for the Included power supply and an additional 200mA output to supply other stompboxes with sufficient operating voltage. A very intelligent and sophisticated signal panel.

Practice

In order to enjoy the full range of the Koch Superlead, you should briefly take a look at the different areas of application. Mind you, this is a preamp, not a classic overdrive pedal.


Example 1.) – the Koch Superlead as an upstream pedal

Do you have a simple transistor amp that has enough volume, but an insignificant clean sound and a typical “chainsaw massacre overdrive” sound? In this case, the Koch Superlead is connected between the guitar and the clean channel of the amp, which is equivalent to a three-channel tube amp.


Example 2.) – the Koch Superlead as a preliminary stage

Do you have a power amplifier on hand, in case of doubt also a 19" car that was swapped for the lighter and louder Class D power amplifier when the P.A. was last cleaned out? Use the Koch Superlead as a preamp, connect one or more cabinets behind the 19" power amplifier and the guitar system is ready!


Example 3.) – the Koch Superlead as an amp extension

Do you have an amp with a good-sounding power amp and an FX loop, but are disappointed in terms of distortion in the overdrive channel and warmth in the clean channel before the associated preamplifier? Put the pedal tone in the return of the loop and you have combined the pedal tone as a preamp and your power amp. This function often proves to be very helpful at festivals. Marshall Heads from the TSL or DSL series are usually borrowed as the standard backline for the guitarist, which are then used by all local bands. With the Superlead in the FX loop you get your typical sound without having to transport your own top parts.


Example 4.) – the chef superleads directly into the P.A.

Do you play in a band that needs to sound good even at low volume? Maybe in a dance or cover band, where after the first bars of the first number, the “Guitar quieter” signs are held up in the back rows? With the Superlead via the speaker simulation directly into the mixer and listen to your sound via the monitor system.


Anyone who has ever played a Koch amp knows that Koch amplifiers all have an excellent, clean sound with a high level of warmth and character. Many musicians actually only use the clean channel of the amps to create the various overdrive areas with their favorite stompboxes. Aware of this, the clean channel of the Koch Superlead is also characterized by a high level of detail and a warm basic sound. The sound control intervenes tastefully, sometimes subtly, in the action. Alternatively, the channel can also be used as a booster to continuously increase the output level of the instrument.

If you switch to the Overdrive channel, you quickly notice how well the Dutch company is at home in blues and rock. The sound is smooth, creamy and has just the right amount of saturation to compress the tone without feeling like a limiter. The dynamics are retained even at high gain settings, and the pedal also hangs very well on the guitar's volume control and takes over the musician's personal style of playing.


Conclusion

With the Koch Superlead, the Dutch company once again has an excellent product that will attract attention. As the little sister of the Pedaltone, the product scores points in all areas due to its intelligent circuitry and excellent sound and should definitely be tested in view of its great flexibility.

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Additional Informations:

In the vast landscape of guitar effects pedals, few innovations have captured the imagination of musicians quite like tube-based effects pedals. These pedals, which incorporate vacuum tubes (or valves) into their circuitry, offer a unique warmth, richness, and dynamic response that is highly sought after by guitarists seeking to capture the elusive magic of vintage tube amplifiers. The story of tube-based effects pedals is a fascinating journey through the realms of technology, craftsmanship, and musical innovation.

**The Early Days: The Birth of Tube Technology**

To understand the origins of tube-based effects pedals, we must first delve into the history of vacuum tube technology. Vacuum tubes, which were the primary amplification devices used in electronic equipment prior to the advent of transistors, were first developed in the late 19th century by inventors such as Thomas Edison and John Ambrose Fleming. These early tubes laid the groundwork for a revolution in electronics, enabling the development of everything from radios and televisions to amplifiers and effects pedals.

**The Emergence of Guitar Effects Pedals**

The use of vacuum tubes in guitar amplifiers dates back to the early 20th century when pioneering inventors like Les Paul and Leo Fender began experimenting with ways to amplify and shape the sound of the electric guitar. The introduction of effects pedals, which allowed guitarists to alter their tone and create new sonic textures, soon followed.

The earliest guitar effects pedals, such as the Maestro Fuzz-Tone and the Electro-Harmonix Big Muff Pi, relied on vacuum tube technology to achieve their distinctive sound. These pedals utilized simple circuits consisting of one or more tubes, capacitors, resistors, and potentiometers to generate and manipulate audio signals, resulting in effects like distortion, overdrive, and fuzz.

**The Golden Age of Tube-Based Effects**

The 1960s and 1970s marked a golden age for tube-based effects pedals, with numerous manufacturers releasing innovative and influential designs that would shape the sound of rock and roll for decades to come. Brands like Vox, Marshall, and Electro-Harmonix introduced iconic pedals such as the Vox Wah-Wah, the Marshall Supa Fuzz, and the Electro-Harmonix Electric Mistress flanger, each of which utilized vacuum tubes to achieve its signature sound.

One of the most notable tube-based effects pedals of this era was the Electro-Harmonix Big Muff Pi, which became synonymous with the fuzz-laden tones of artists like Jimi Hendrix, David Gilmour, and Billy Corgan. Featuring a circuit design based around four cascading transistor stages, the Big Muff Pi offered guitarists a thick, saturated distortion with a unique harmonic character that set it apart from other pedals of its time.

**The Decline and Resurgence of Tube-Based Effects**

By the 1980s, advances in semiconductor technology had led to the widespread adoption of solid-state components in guitar effects pedals, relegating vacuum tubes to the realm of vintage and boutique equipment. However, as digital modeling technology began to dominate the market in the late 20th century, a resurgence of interest in analog and tube-based effects pedals began to take hold among guitarists seeking a more organic and responsive sound.

In recent years, several manufacturers have capitalized on this renewed interest in tube-based effects pedals by introducing modern interpretations of classic designs, as well as entirely new innovations that combine vintage tube technology with modern features and functionality. Pedals like the Catalinbread Belle Epoch Deluxe and the JHS Pedals Bonsai Overdrive pay homage to iconic tube-based effects of the past while incorporating modern conveniences like tap tempo, expression pedal inputs, and preset storage.

**Conclusion: The Legacy of Tube-Based Effects Pedals**

In conclusion, the evolution of tube-based effects pedals is a testament to the enduring appeal of vacuum tube technology in the world of guitar amplification and effects. From their humble beginnings in the early 20th century to their continued relevance and influence in the 21st century, tube-based effects pedals have left an indelible mark on the history of music, shaping the sound of countless recordings and performances across a wide range of genres.

As guitarists continue to seek out new ways to express themselves and push the boundaries of sonic exploration, tube-based effects pedals remain a cherished tool for those who value the warmth, richness, and dynamic response that only vacuum tubes can provide. Whether recreating the iconic tones of the past or forging new sonic frontiers, tube-based effects pedals continue to inspire and captivate musicians around the world, ensuring their legacy will endure for generations to come.