TEST: Koch Amps Supernova

 If you look up “supernova” in the dictionary, you will generally find an explanation along the lines of “the extremely bright flash of a star at the end of its life.”

I'm absolutely sure that when naming their new flagship, the Koch-Amps company wasn't thinking about the torching of the head at the end of a live show, but rather about the record 5(!) individual channels in a full-tube head .

People may prove me wrong, but as far as I know, this is the current pole position among amplifier manufacturers when it comes to channel diversity.

Although the company around Ober-Schrauber and mastermind Dolf Koch has earned an excellent reputation in the professional world with various amplifiers, such as the traditional Studiotone or the Powertone, which is very popular in the heavy sector (it is rumored that Paul Reed Smith wanted the company several times to have a kind of PRS amp manufactured there), the company's international breakthrough in popularity has so far failed to materialize, even though Carlos Santana, for example, left his Mesa Boogie behind after testing a Koch amp and took part in the show that same evening played this amp.



construction

A long history precedes the release of the Supernova Head. At the Musikmesse in 2006, Dolf Koch showed me a prototype that boasted the key points of the current model.

However, the incredibly high level of choice in terms of sound design gave me worry lines at the time, along the lines of “whether he can really handle it?”. When there was still no production model within reach at the 2007 trade fair, I saw my predictions of doom confirmed until the finished model with a bulwark of features finally saw the light of day in 2008.

The Supernova is available in a 120 watt mono version or in the 2x60 watt stereo version that I have. Both variants are identical in terms of the preamplifier and tone control, only the power amplifier concept and the associated FX loop configuration varies.

Total 8 pieces. 12AX7 in the preamp and 4 pieces. EL 34 in the power amplifier manage the complex sound design of the head,

Of course, the first thing that catches the eye is the high number of channels, of which 4 of the 5 channels actually have their own tone control (channels 1+2 bass, middle, treble - channels 3+5 bass, middle, treble, presence, channels 4+5 share a sound control). All channels can be varied in their final volume via two switchable master volumes.

But the real nitty-gritty begins on the control panel on the right, or on the back of the amplifier. A total of 14 mini switches, of which 9 are. Designed to be programmable, give an idea of what the user will face when needed.

The Supernova has 4 voicing switching options, specifically a bass boost (Low), a mid selector switch (Mid Shift), a treble boost (Bright) and a treble attenuation (HiCut).

The head also has switchable speaker attenuation, which emulates a more compressed (H), moderate (M) or open (L) speaker deflection at low volumes.

As an absolute special feature, the amplifier has an “OTS” (Output Tube Saturation) circuit that can be adjusted in drive and volume. This is a 0.5 watt power amplifier, which, however, is not designed to operate the speakers, but rather only adds the distortion behavior of a power amplifier, which is harmoniously designed to be diametrically opposed to a preamplifier, to the sound.

As we all (hopefully) know, a power amplifier distorts completely differently in terms of dynamics (interactive) and compression (velocity-dependent) than a strongly compressing and dynamically “flat-compressing” preamplifier. The OTS circuit now makes it possible to generate the above-mentioned sound parameters at room volume without having to use the “English setting” (death to the neighbors).

On the back you are almost overwhelmed by jack sockets. A total of 10 speaker outs (stereo power amplifiers!) allow any connection of individual speakers or their combinations.

And as if all of this wasn't enough equipment, Koch also adds a total of four (!) FX loops on top, two serial and two parallel ones with adjustable levels, three of them in stereo, of course, making a total of 15 sockets alone the FX loops! Ugh.....

In order to manage this variety of sounds, in the best case scenario you need a MIDI switcher or the optionally available Koch foot switch FS6 SN, which, however, costs a lot with an RRP of just under €260. The corresponding connection sockets are located on the left side of the back panel.


Practice

When you turn the amp on, you immediately notice the non-existent noise level of the amplifier, no hiss, no hum, nothing, even at high master levels.

As expected, let's start with channel 1. First of all, we have the option of choosing a “normal” or more high-pitched (bright clean) sound via the input jack. However, this socket only affects channel 1; the remaining channels are not affected.

And there it is, the very soft and very pleasing clean sound that you know from all Koch amps, always a highlight. I know musicians who only use this channel and do everything else with FX pedals. The sound stays clean until around 3 o'clock, then turns into the first harmonic distortions.

Channel 2 goes in the classic vintage rock direction, greetings from Australia's number one export hit. Wonderful crunches, very dynamic. But now, the secret weapon, I'm adding the OTS circuit.

Oh my goodness, what a sound! It's absolutely fantastic how soft and warm the power amplifier saturation suddenly colors the overall sound. AC/DC at room volume so that I can still experience that ;-)

Channel 3 now moves into the powerful hard rock corner. It's getting very British here, the old school of "New Wave of British Heavy Metal" in the style of the Iron Maidens or Birmingham's (former) Finest send greetings with controlled heavy crunch. Here, too, the OTS circuit helps to darken the sound significantly, even at a comparatively low final volume.

Channel 4 is already real high gain. Even with low preamp control, the sensitivity is very high and leads to distortion very early on. Hard dominant noise, often below the standard tuning, finds its customers here, without wanting to reduce the channel to this area of application.

Yes, and channel 5? Well, if you don't find the ultimate high gain here, you probably accidentally have an acoustic guitar hanging around your neck. Even single-winders elicit massive gain from this channel, with a corresponding increase in background noise, of course.

Now played with the voicing switches and the damping switch and the variety of sounds is almost too much. At some point you can no longer decide which sound you want to choose, especially since every sound you choose is in the range from very good to absolutely top class.

Even the highest gain levels never lack transparency, even the lightest crunch values have pressure and sound density. I am completely thrilled! EVERYONE can find a sound they like here, provided they have a minimum level of technical skills.

If there is anything about this head that is not absolutely top class, it is the somewhat poor instruction manual, which provides information about the functions of the amplifier, but does not present it in the form it deserves .

A few meaningful sound examples with an appropriate visual layout would work wonders here, in contrast to the usual stapled leaf look. But that's how it's always been with Koch, always a bit understatement, in the hope that the artist would recognize the qualities even without glossy marketing...


Conclusion

Anyone who knows me knows that I am generally not a fan of superlatives. On every corner you can find “the biggest”, “the best”, “the longest”, which in 99% of all cases turns out to be a pathetic marketing measure at RTL2 level or a hopelessly exaggerated self-assessment that is appearing more and more frequently. Just disgusting!

However, the quality, flexibility, sound and workmanship presented to me with the Supernova Head can only be considered with a maximum accumulation of rating points.

Detached from the exuberant number of “real” channels, the Supernova has an almost unmissable selection of sound options without losing sight of its own basic sound. The outstanding OTS circuit alone, coupled with a sonically convincing voicing circuit, would be worth its own review.

Objectively speaking, the Supernova is indeed one of the best amplifiers currently available on the planet due to its fantastic sound. Subjectively speaking, I'll go one better and say that it's THE best-sounding amplifier I've heard so far in my life!

It is completely clear to me that with such a, albeit subjective, assertion I am offering the greatest surface for attack that one can open up in the sometimes archaic blinkered camp of the guitarist faction, but hey, if you spend so much time and intensively dealing with amplifiers, you can you can give it a good smack every few years!

Today is the day. Supernova, it couldn't be better!

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Additional Informations:

Introduction:
Tube amplifier heads, also known as tube amp heads or full tube amp heads, have long been revered in the realm of audio amplification for their rich, warm tones and iconic sonic character. Their journey from humble beginnings to becoming staples in studios and stages worldwide is a tale steeped in innovation, engineering prowess, and the relentless pursuit of sonic excellence. In this comprehensive exploration, we delve into the fascinating evolution of tube amplifier heads, tracing their origins, key milestones, and enduring legacy.

Origins:
The story of tube amplifier heads traces back to the early 20th century when researchers and inventors were experimenting with vacuum tubes, also known as electron tubes or thermionic valves. These rudimentary electronic components served as the building blocks for early amplification technology. The first practical vacuum tube, the Fleming valve, was invented by John Ambrose Fleming in 1904, laying the groundwork for subsequent advancements in audio amplification.

The Birth of the Tube Amplifier:
The seminal moment in the evolution of tube amplifier heads came with the invention of the triode vacuum tube by Lee De Forest in 1906. The triode, with its ability to amplify electrical signals, revolutionized the field of electronics and paved the way for the development of audio amplifiers. Early tube amplifiers, often referred to as "valve amps" in some regions, were large, cumbersome devices primarily used in radio broadcasting and public address systems.

The Rise of Guitar Amplifiers:
The integration of tube amplification technology into musical instruments, particularly guitars, marked a significant turning point in the evolution of tube amplifier heads. In the 1930s and 1940s, pioneering companies such as Gibson, Fender, and Ampeg began producing guitar amplifiers powered by vacuum tubes. These early guitar amplifiers, though primitive by today's standards, introduced guitarists to the distinctive warmth and overdriven saturation that would become synonymous with tube amps.

The Golden Age of Tube Amplifiers:
The post-World War II era witnessed a surge in technological innovation and consumer demand for audio equipment, leading to what many enthusiasts consider the "golden age" of tube amplifiers. Companies like Marshall, Vox, and Fender emerged as titans in the industry, producing iconic amplifier models that would define the sound of rock 'n' roll and popular music for decades to come.

Key Technological Advancements:
Throughout the 1950s, 1960s, and 1970s, tube amplifier technology underwent significant advancements, driven by the quest for higher fidelity, increased power output, and enhanced reliability. Innovations such as push-pull amplifier designs, cathode biasing, and the development of more efficient tube configurations contributed to the refinement of tube amplifier heads, making them more versatile and reliable in professional audio applications.

The Influence of Guitar Legends:
The enduring popularity of tube amplifier heads owes much to the endorsement and use of these amplifiers by legendary guitarists. Icons such as Jimi Hendrix, Eric Clapton, Jimmy Page, and Eddie Van Halen played pivotal roles in popularizing the sound of tube amplifiers through their electrifying performances and recordings. Their sonic innovations and relentless pursuit of tone inspired countless musicians to embrace tube amplification as the gold standard in guitar tone.

Modern Innovations and Revival:
While the advent of solid-state and digital amplification technologies posed significant competition to tube amplifiers in the late 20th century, the allure of tube-driven tone remained undiminished. In recent years, a resurgence of interest in vintage gear and analog sound has fueled a revival of tube amplifier heads. Moreover, advancements in manufacturing techniques, component quality, and circuit design have enabled modern tube amplifiers to offer enhanced reliability, consistency, and performance, catering to the demands of contemporary musicians and audio professionals.

Conclusion:
From their humble beginnings as experimental devices to their status as enduring icons of musical amplification, tube amplifier heads have traversed a remarkable journey marked by innovation, craftsmanship, and sonic excellence. Despite the ever-evolving landscape of audio technology, tube amplifiers continue to captivate musicians and audiophiles with their timeless sound and unmistakable character. As they continue to shape the sonic landscape of the future, tube amplifier heads stand as a testament to the enduring legacy of analog craftsmanship and the power of innovation to inspire generations of music makers.