Anyone who starts today with the personal ambition of developing a new guitar shape can be prepared for a few sleepless nights, especially if it is not an extreme shape from the metal genre or a new collection for ZZTOP. Pretty much every visually appealing shape has been offered in many variations over the last 70 years, so that a real realignment seems almost impossible. The initiative of the Framus company must be valued all the more, as it has a comparatively independent form in its portfolio with the Idolmaker model and does not come across as a mixture of a battle axe, morning star or cigar box. With the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin, we have an instrument from the Masterbuild series to test, which, with a retail price of just under €8,300, is also right at the top of the price range.
The concept of the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin
The American guitarist Stevie Salas, who, among other things, is known to the public for his work as a sideman for Rod Stewart, Mick Jagger and Justin Timberlake, and is considered to be the godfather of the idol maker form. According to rumors, other people contributed significantly more input to the body shape, but hey, someone has to be the driving force in front of the cart, or someone who gives the name to the outside world. Ultimately, the bottom line is a very unique double-cutaway shape, which has a touch of “Firebird with curves”. However, what is particularly noticeable in the more exclusive models from Framus is the 3-D look/haptics, which is also used on the Panthera model, for example. The body, which in this case is made of alder, is flanked by a 2 cm thick AAAA maple top, which was partly milled continuously and partly offset depending on the shape of the wave. A very complex process, which in the Masterbuild variant means that only one Luthier takes complete responsibility for the instrument and that the instrument is manufactured entirely in Germany.
The entire body has a slightly curved shape on both the front and back, which is vaguely reminiscent of violin shaping. In order to maintain the visually strong presence of wood throughout the entire instrument, the lid of the electrical compartment is also made in a matching wood grain.
The construction of the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin
The Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin has a glued-in, one-piece neck made of maple, which is equipped with a fingerboard made of light rosewood. The fingerboard has very small inlays made of abalone ovals and is equipped with fluorescent side dots on the side, which start to glow even in light darkness. The Idolmaker is available with two different scale lengths. The long scale length of 25.5" (648 mm) was installed on this instrument. The popular 12" (305 mm) radius was used as the fretboard radius. 22 Medium Jumbo Frets made of Nickel Silver (Width: 2.3 mm / 0.091" Height: 1.3 mm / 0.05") with rounded corners ensure that the neck pickup can be placed under the vibration-rich 24 frets and not like on instruments with 24 frets in what I think is the less favorable area (subjective opinion!) towards the bridge. Like all instruments of the upper class at Framus, this instrument was processed using Plek Fretwork Technology to ensure optimal alignment of the frets.
In terms of hardware, the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin works with Graph Tech Ratio Locking Machine Heads tuners, which are equipped with wooden knobs. The saddle, which comes from the Tusq low friction series, is also from Graph Tech. In order to keep the number of moving elements as low as possible, a Graph Tech Wraparound Resomax was used for the bridge system. Only the belt holders come from our own production and are sold under the name Warwick Security Locks.
The American company Nordstrand Pickups, which was still unknown to me, is responsible for the pickups. On the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin, they have a “Shush Puppy” on the neck and in the middle, and a “NDC” in the bridge position have installed. According to Nordstrand Audio, the “Shush Puppy” is no longer in the manufacturer’s portfolio, so anyone who is lucky enough to catch another “quiet puppy” could potentially have come across a collector’s item. Despite the single coil dimensions, this pickup is a humbucker, which is intended to preserve the liveliness of the single coil as much as possible without foregoing the advantages of a humbucker's noise suppression. Incidentally, according to the company information, the same applies to the NDC, which also wants to adopt the single-reeler's claim in terms of sound characteristics without sharing its background noise problems. However, in order to give the user freedom of choice, Framus decided to install a push/pull pot on the master tone control in addition to the classic 5-way switch in order to enable humbucker splitting, which directly expands the sound possibilities many times over .
When it comes to the final design, many special options are possible, such as a left-handed option, as the instrument is manufactured directly for the buyer. Therefore, depending on the company's workload, the delivery time can sometimes be a little longer than usual.
The Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin in practice
All interested parties will probably be clear about one thing: at this retail price you cannot afford any weaknesses, i.e. even the smallest defects cannot be tolerated. But here I can give the all-clear straight away, the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin is really perfect in terms of workmanship, I couldn't find any defects even after intensive searching. Of course the solid natural wood look will polarize the crowd of musicians, but as you know, this is all purely a matter of taste.
In dry mode, the first thing you notice is the very flattering body shape, which creates a comfortable forearm rest both when sitting and standing. A similar effect is also known from Firebird or Explorer shapes, although these are more difficult to handle, especially when sitting, due to the significantly larger body shapes. With a weight of only approx. 3.2 kg, the instrument is also very easy to handle, which is particularly beneficial for musicians with back problems.
On the amp, the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin turns out to be something completely different tonally than what I would have expected. I was expecting a typical HSS style sound, but I was proven wrong. What sounded to me was clearly more in the Strat style, but with a very unique note. The Nordstrand pickups in particular play a large part in this, as they leave a very good impression across the entire range. The pickups sound fresh without biting, have a very open sound character and offer the outstanding sounds you want, especially in the clean and crunch areas. In particular, the Slush Puppy in the neck and middle position, which has been removed from the range, impresses, as described by the manufacturer, with a single coil requirement and at the same time suppresses the background noise of a humbucker. Really great cinema.
However, the pickups all only have a very low output level, so stronger lead or even high gain sounds are only possible with massive pedal support. However, you should ask yourself whether you would actually want such sounds from such an instrument, whose moderate distortion levels alone are in the absolute top segment. All other parameters such as sustain, playability and response are also in the top range and enable handling as desired in this price range.
In summary, the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin has to be described as a top instrument that is convincing across the board. If you're looking for high-end clean and crunch, you've come to the right place.
Conclusion
With the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin, the German manufacturer has a top instrument in its portfolio. The instrument is convincing across the board, with its strengths clearly being in the clean and crunch areas.
If you are looking for a very unique instrument with a very special flair, you should definitely give the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin a try.
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Additional Informations:
Framus, a renowned German guitar manufacturer, has been crafting high-quality instruments since its inception in the early 20th century. Over the years, Framus has garnered a reputation for producing instruments with exceptional craftsmanship, innovative designs, and versatile tonal capabilities. In this comprehensive article, we delve into the diverse range of guitar models offered by Framus, exploring their unique features, tonal characteristics, and historical significance.
**1. Framus Legacy Series**
The Framus Legacy Series pays homage to the brand's rich heritage while incorporating modern design elements and construction techniques. These guitars feature premium tonewoods, such as mahogany, maple, and ebony, ensuring rich resonance and sustain. Models like the Framus Legacy Dreadnought and Grand Auditorium are popular choices among acoustic players, offering a balanced tone suitable for various playing styles.
**2. Framus Panthera Series**
The Panthera series embodies the essence of high-performance electric guitars, catering to the needs of discerning players across different genres. These guitars feature sleek, ergonomic designs with contoured bodies for maximum comfort during extended playing sessions. Equipped with high-output pickups and versatile electronics, models like the Framus Panthera II Studio and Supreme deliver a wide range of tones, from crisp cleans to searing leads.
**3. Framus Idolmaker Series**
The Idolmaker series showcases Framus's commitment to innovation and modern design aesthetics. These guitars boast distinctive body shapes, including the iconic double-cutaway design, which provides easy access to the upper frets. With options for both passive and active electronics, such as the Fishman Fluence pickups, the Framus Idolmaker series offers unparalleled versatility and tonal flexibility for today's demanding players.
**4. Framus Artist Series**
The Artist series celebrates collaboration with some of the world's most renowned guitarists, resulting in signature models tailored to their specific preferences and playing styles. From the expressive blues-rock tones of the Framus Devin Townsend Stormbender to the high-gain fury of the Framus D-Series Troy McLawhorn, these guitars are designed to inspire creativity and push sonic boundaries.
**5. Framus Custom Shop**
For players seeking a truly personalized instrument, the Framus Custom Shop offers bespoke guitars crafted to their exact specifications. From selecting premium tonewoods to choosing pickups, hardware, and finishes, customers have complete control over every aspect of their instrument's design. Each Custom Shop guitar is handcrafted by master luthiers, ensuring impeccable build quality and attention to detail.
**6. Framus Acoustic Series**
Framus's dedication to acoustic craftsmanship is evident in its Acoustic series, which comprises a diverse lineup of steel-string and nylon-string guitars. Whether you prefer the warmth and depth of a dreadnought or the clarity and articulation of a concert-style instrument, Framus offers a range of acoustic models to suit every player's preference. From intimate solo performances to lively ensemble settings, these guitars excel in a variety of musical contexts.
**7. Framus Basses**
In addition to guitars, Framus also produces a wide range of bass instruments tailored to the needs of professional bassists. From the thunderous low-end of the Framus Panthera Bass to the sleek, modern design of the Framus Triumph Series, these instruments deliver the power, playability, and tonal versatility required for any musical situation. With options for both traditional passive pickups and active electronics, Framus basses provide ample sonic flexibility to suit a wide range of musical styles.
**Conclusion**
From its humble beginnings in the early 20th century to its status as a leading manufacturer of high-performance instruments, Framus has remained at the forefront of guitar innovation and craftsmanship. Whether you're a seasoned professional or an aspiring musician, there's a Framus guitar model to suit your needs and inspire your creativity. With a commitment to quality, precision, and sonic excellence, Framus continues to set the standard for what a premium guitar should be.
Donnerstag, 18. April 2024
TEST: Framus Idolmaker
Mittwoch, 17. April 2024
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.
TEST: Framus AZ-10
Full resonance electric guitar...jazz guitar......Archtop.....”big Berta”......whatever the description for one of the visually and acoustically most outstanding subgroups of the E guitar, almost everyone has seen it, many have heard it but only very few have held it in their hands, an interesting parallel to a super model by the way...;-)
The soft, warm, sometimes bass-heavy “glove sound” is the rule, if not mandatory, in jazz or jazz-rock. The Hungarian guitarist Attila Zoller is one of the protagonists of this genre. The artist, who died in 1998 and whose folkloristic Hungarian approach was always evident in his playing, can be described as one of the original endorsers of the Framus company.
With the AZ-10, Framus is reflecting on old virtues and re-introducing a classic from the company's early history in a modernized form. The model I have in the single pickup version is based on the AZ-10 model from 1970 and is part of the instrument series of the same name, which was built in the 1960s for the jazz legend Attila Zoller and was played by him for a long time is.
Construction:
The AZ-10 is available in Almond Sunburst, Vintage and Blonde, all of which, as is usual with Framus and Warwick, are also available as a left-handed version at no extra charge. For an additional charge you can also get the shellac version in Vintage Violin and Natural, the Blonde as a natural high gloss with matching headstock and elaborate mother-of-pearl inlays or with the special woods Markassar Koa or Pomele Bubinga. The instrument has a solid, arched spruce top, which has two expansive F-holes. The pickguard, which is made of ebony, was very tastefully provided with a visually identical recess in the shape of the front part of the lower F-hole recess. The volume and tone controls were also integrated into the same pickguard. The connecting cables to the pickup are therefore routed through the upper part of the lower F-hole.
The sides of the instrument and the two-part back are made of solid AA flamed maple, as is the one-piece, lacquered neck. The neck profile is of average width but unusually flat, so that a fairly flat “D” profile can be certified. The neck is unusually easy to play for an archtop; the usual “archtop fight” with the mass of wood is completely ignored here.
The fingerboard, equipped with mother-of-pearl custom inlays, is made of Tigerstripe ebony and has medium-thick jumbo frets. All frets were cleanly dressed and give no cause for complaint. When it comes to the scale length, the Gibson size was 24.75" (628 mm), which is a touch higher than the standard short scale length of 625 mm. The truss rod hole is covered with a small metal plate that has the Framus logo decorates.
The body was framed in a three-part celluloid binding; the one-piece version was chosen for the F-holes. The color of the binding, which is now still beautifully white, will probably be the first to turn into the beautifully “shabby” vintage yellow due to environmental influences. All you need is a little patience (from around 10 years old and up...:-)).
For adequate tone pickup, a specially tuned MEC humbucker is used in the neck position, which is mounted in a free-floating manner together with the carved pickguard. A mirrored cap completely covers the two coils.
The well-known Framus locking mechanisms are used as tuning mechanisms, which leave an excellent impression. As is usual with upper-class archtops, the bridge is not made of metal but of wood for reasons of sound and, in particular, vibration. So Framus opted for a solution with an adjustable, length-compensated bridge made of ebony that both provides the relevant adjustment options and allows for the woody sound. The trapeze tailpiece is elaborately decorated and has an "AZ-10" engraving.
The guitar is equipped with befitting 012 flatwound strings including a wrapped G string and weighs 2.8 kg. The instrument is delivered in a deluxe line rock case.
Sound:
Ask an electric bass player what it feels like to hold a double bass in your hand. He will probably say that the two instruments have nothing in common with each other, leaving aside the tuning of the instruments. Most guitarists who have only ever held solid bodies in their hands will probably feel the same way. Apart from the fact that these are 6-string instruments, you can really speak of a completely different instrument. Sound quality features of a solid body, such as extensive sustain or playability in high registers, are as relevant to an archtop as personality is to a DSDS participant, they are not only not necessary, they are even annoying.
For this type of instrument, a 012 movement is considered a “light gauge”, string bending is considered nonsensical and distorted sounds are even considered a perversion of the tone. An archtop, especially if it is in the AZ-10 league, must have a basic level of “grace”, it must be a respectful playmate for the artist who you first have to convince to do what you want from her . (Yes, I know, there are parallels here too...;-) The AZ-10 offers all of this in abundance, a stately appearance and high-quality workmanship allows the artist to take a step backwards to get a better picture to be able to.
If you take the lady in your hand, no one dares to serve at least a minor 7, let alone a “power chord” (...ugh...!) to your ear. Here the instrument dictates where to go, not the artist! It is all the more surprising that the AZ-10 is actually quite easy to handle. The flat neck and an unusually low action put no obstacles in the artist's way. Up to the 12th fret the playability is excellent, from the 13th fret onwards we encounter the standard huge neck foot which, as expected, limits handling somewhat, but let's be honest, which jazzer voluntarily stops above the 14th fret?
In terms of sound, the AZ-10 offers the expected sound at a high level. The wood-heavy orientation is warm, soft and has a high-quality sound. You can see the tradition that Framus has had in the archtop sector for several decades now. From the basic volume, the instrument offers a moderate spectrum when not amplified, which is quite sufficient for solo playing, but this is not enough to assert itself in a band structure.
Here you rely on the help of the pickup in combination with the right amplifier. Did someone shout “Marshall…”? Let him go into the corner and be ashamed, unworthy one! Polytone, Fender or similar boutique clean specialists are in demand here. If you have the same protagonist at hand, nothing stands in the way of jazz sound at the highest level. Using the tone control you can “muffle” the very lively basic sound again according to your personal taste in order to achieve an extremely high-pitched sound.
Conclusion:
With the AZ-10, Framus has a top-class genre-technical instrument in its range. If the artist still has the ability to combine harmonically ambitious craftsmanship with rhythmic taste, he will find in the AZ-10 an outstanding tool for his creativity, perhaps even a little more…….
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Additional Informations:
Framus jazz guitars stand as shining examples of German craftsmanship, meticulous design, and sonic sophistication. Rooted in a rich tradition of luthiery and innovation, these instruments have played an integral role in shaping the landscape of jazz music. This article embarks on a comprehensive journey through the history, design principles, notable models, and enduring legacy of Framus jazz guitars.
**Origins and Early Innovations:**
The story of Framus jazz guitars traces back to the post-war era when Fred Wilfer founded Framus in Erlangen, Germany, in 1946. Initially focusing on crafting stringed instruments such as violins, cellos, and guitars, Framus quickly gained recognition for its commitment to quality and innovation. In the 1950s, as jazz music surged in popularity, Framus introduced its first jazz guitar models, blending traditional craftsmanship with contemporary design elements to create instruments tailored for the unique demands of jazz musicians.
**Design Principles and Construction Techniques:**
Framus jazz guitars are renowned for their impeccable construction, attention to detail, and tonal versatility. Drawing inspiration from classic archtop designs, Framus guitars feature meticulously carved spruce or maple tops, solid or laminated bodies, and elegant f-shaped soundholes, all meticulously crafted to optimize resonance, sustain, and projection. The use of high-quality tonewoods such as mahogany, maple, and rosewood further enhances the instrument's tonal richness and depth.
**Notable Models and Signature Features:**
Over the years, Framus has produced a diverse array of jazz guitar models, each offering its own unique blend of tone, playability, and aesthetics. From the majestic Strato de Luxe to the sleek Hollywood, Framus jazz guitars have graced the hands of legendary musicians and discerning players alike. Signature features such as floating pickups, adjustable bridges, and ornate inlay work have become hallmarks of Framus jazz guitars, setting them apart as instruments of unparalleled elegance and sonic excellence.
**Endorsements and Collaborations:**
Framus jazz guitars have earned the admiration of countless jazz luminaries, with many artists endorsing and collaborating with the brand to develop custom instruments tailored to their specific needs and preferences. From the smooth jazz stylings of George Benson to the virtuosic improvisations of Joe Pass, Framus guitars have been trusted companions on stages and in studios around the world, earning praise for their impeccable craftsmanship and exceptional tone.
**Technological Advancements and Modern Innovations:**
While rooted in tradition, Framus jazz guitars have embraced technological advancements to meet the evolving demands of contemporary players. Recent innovations such as carbon fiber reinforcement, proprietary pickup designs, and ergonomic neck profiles demonstrate Framus's commitment to pushing the boundaries of guitar design while preserving the essence of its heritage. These advancements ensure that Framus jazz guitars remain at the forefront of innovation and continue to inspire players of all generations.
**Cultural Impact and Enduring Legacy:**
Beyond their technical prowess, Framus jazz guitars have left an indelible mark on the cultural landscape of jazz music. From smoky jazz clubs to prestigious concert halls, these instruments have provided the sonic foundation for countless performances, recordings, and artistic expressions. Their enduring legacy speaks to the craftsmanship, passion, and dedication of the artisans who have crafted them and the musicians who have breathed life into them.
**Exploring the Legacy of Framus Jazz Guitars: An In-Depth Exploration (Continued)**
**The Evolution of Sound:**
Framus jazz guitars have not only shaped the music of their time but have also evolved with it. From the warm, mellow tones of traditional jazz to the fusion experiments of the modern era, these guitars have adapted to a diverse range of musical styles and genres. Whether played with a delicate fingerstyle technique or a fiery bebop solo, Framus jazz guitars deliver a dynamic range of expression, articulation, and tonal nuance, making them indispensable tools for the contemporary guitarist.
**Craftsmanship and Artistry:**
At the heart of every Framus jazz guitar lies a dedication to craftsmanship and artistry that transcends mere instrument-making. Each guitar is meticulously handcrafted by skilled artisans who imbue it with a sense of character, personality, and soul. From the precision fretwork to the flawless finish, every aspect of a Framus jazz guitar reflects a commitment to excellence and a passion for the craft. It is this attention to detail that elevates Framus guitars from mere instruments to works of art worthy of admiration and reverence.
**Global Influence and Recognition:**
While rooted in German tradition, Framus jazz guitars have enjoyed global recognition and acclaim, earning the admiration of musicians and collectors from all corners of the world. Their presence on stages, in recording studios, and in the hands of celebrated artists has helped spread the legacy of Framus to every corner of the globe. From the jazz clubs of New York City to the concert halls of Tokyo, Framus guitars have become synonymous with quality, innovation, and sonic excellence, cementing their status as icons of the guitar world.
**The Pursuit of Perfection:**
Throughout its history, Framus has remained steadfast in its pursuit of perfection, constantly striving to innovate, refine, and improve its instruments. From the selection of premium tonewoods to the development of proprietary hardware and electronics, Framus leaves no stone unturned in its quest to create the ultimate jazz guitar. This relentless pursuit of excellence ensures that every Framus guitar meets the highest standards of quality, playability, and tone, inspiring confidence and creativity in the hands of its players.
**Community and Connection:**
Beyond their role as musical instruments, Framus jazz guitars foster a sense of community and connection among musicians and enthusiasts alike. Whether discussing tone woods on online forums, swapping stories at guitar conventions, or jamming with fellow players in local jazz clubs, Framus guitars serve as catalysts for shared experiences, friendships, and collaborations. It is this sense of camaraderie and mutual appreciation that imbues Framus guitars with a special significance and endears them to players of all backgrounds and skill levels.
**Conclusion:**
In conclusion, the legacy of Framus jazz guitars is a testament to the enduring power of craftsmanship, innovation, and artistic expression. From their humble beginnings in post-war Germany to their global recognition as premier instruments of the jazz world, Framus guitars have left an indelible mark on the history of music. As they continue to inspire and delight players around the world, Framus guitars stand as symbols of excellence, creativity, and the timeless pursuit of sonic perfection.
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.
TEST: Framus Cobra Head
There really aren't that many anymore. We are talking about German amplifier manufacturers who do not have their products manufactured under license in the Far East, but instead outsource the jobs locally and consciously accept the higher wage and ancillary wage costs.
One of these representatives is the Framus company, whose Cobra Head, which I have for testing, is manufactured in Markneukirchen.
Construction:
The Cobra Head is a head that 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 without protruding unattractively at the back or on the side. At 18.3 kg, it is in the middle class in terms of weight and can be lifted onto a full stack by a strong pair of men's arms with a little momentum.
Visually in classic black, the Cobra Head has a decorative metal front grille, which both protects the technical interior and significantly enhances the look of the device. Corner protectors and a strong carrying handle made of transparent plastic do the rest.
The amp is based on all-tube technology, in which a total of 5 ECC83 (3x selected for the different distortion stages, 2x standard for phase inversion stage and effects path buffer) in the preamp and a selected EL34 quartet in the power amp ensure an output power of 100 watts.
The Cobra has a three-channel structure, whereby the basic sound characteristics can vary greatly within the individual channels using mini switches. With a little imagination, you could talk about almost 6 different sounds, although “only” three sounds can be accessed via foot switch or MIDI control.
The three channels Clean, Crunch and Lead 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. There is the mini switch mentioned at the beginning for each channel, which increases the highs in the clean range (bright) and slightly thins out the midrange, and activates a low-mid boost in the crunch and lead channel (notch).
In the master area there is a “Deep” control, which thickens the overall sound in the lower midrange, the mixing control for the parallel FX loop and two independent master volume controls so that the volume can only be briefly increased during a solo passage without changing the sound. Kudos to everything that makes us more independent from the FOH ;-) No offense, guys.
On the back, on the left side, we are greeted by the cold appliance power plug and an easily accessible main fuse. A little tip on the side: I've never had a main fuse blown without one of the output tubes ultimately being blown. Therefore, you can replace the fuse, but always have a calibrated replacement duo / quartet of power tubes ready in an emergency, you will need them.
The three channels of the Cobra, as well as the two master volume controls, can be switched via a foot switch or via a MIDI interface, which is why the head has a MIDi In or MIDI Thru for looping through the switching signal. In order to be able to operate the three channels and the master volumes using the foot switch, you have to use a button with a Y-connector and 2 stereo jacks, or you can use the in-house switch (button) of the type FR S4 M, which is not included in the scope of delivery .
The integration of MIDI control of the channels plus the two master volume controls via a corresponding floorboard is a welcome expansion in terms of flexibility within a more or less complex routing of floor pedals or 19" rack components, as you can set up several switching processes with one switching process Run it once and generate your personal setup with 128 storage spaces.
In addition to the FX loop, the head also has a line out and two speaker outs, which can each be switched to 4, 8 or 16 ohms. (By the way, the correct calculation of the total resistance seems to be one of the eternal mysteries for stage managers at festivals. No matter where I have played so far, whether in front of 300 people in the Odenwald or in front of 30,000 in Korea, not once where the full stack wasn't would have incorrectly said 16 ohms....)
Practice:
After switching on the amplifier, an LED chain inside the head floods the mirrored interior with a red light. Pretty... Just like the chrome-plated pot knobs, which look great. However, with their raised appearance, the buttons sacrifice much of their visual functionality. Unfortunately, after about 3 meters you can no longer tell what value the pots are at. Function follows form.
What is immediately noticeable from the first tones on the clean channel is the extremely neutral basic sound of the amplifier. Despite the EL34 equipment, the nasal midrange, which tends to play forward with these power tubes, remains very balanced and subtle. The channel proves to be very clipping resistant; even with the gain control fully opened, only very subtle crunches come out.
Activating the Bright Switch not only increases the treble but also lowers the midrange, which also makes humbucker-equipped guitars sound more “single-coiled” (forgive me for this incontrovertible comparison). The channel does its job quite pleasantly, almost inconspicuously, but without adding any excessive softening to the sound.
When it comes to input sensitivity, channel 2 continues where channel 1 left off. Even at low gain settings, clear distortions can be heard, which can be continuously increased to a strong lead. Here too, the neutral sound of the head is noticeable. Although you can undoubtedly recognize the characteristic “EL34 mid-knödel”, it is nowhere near as prominent as, for example, the British protagonist heads from Marshall and VOX.
But anyone who now believes that they will find a German counter-offensive to the American soft-focus faction is mistaken. In a kind of middle ground, the Cobra Head stays exactly between the bone-hard Brit corner on the one hand and the sometimes cottony American soft-clipping department.
This impression is reinforced in the third channel, where, despite additional distortion, the amp never runs the risk of suffocating in the half-wave cut sludge and indefinable basic mud in the middle of high gain.
The notch switches prove to be very effective and also give the amp a very high degree of flexibility. When boost is activated, channels 2 and 3 get a powerful mid-range boost, which makes the amp sound significantly more powerful and voluminous. This effect can be further enhanced with the Deep control, so that even downtunings in the major second plus category have a very powerful effect on the speakers.
Conclusion:
The Framus Cobra Head is a top that falls between all the stools in terms of sound and that is precisely why it fills a gap that is little or not occupied in this form. With an unusually neutral basic alignment plus the highly effective notch and deep switcher, the amp manages to reproduce all the sounds that are needed in a rock and metal-oriented band.
A successful fusion between flexibility and practicality plus a strong touch of exotic bonus, well done!
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Additional Informations:
German vacuum tube amplifiers, also known as Vollröhrenverstärker, represent a rich tapestry of engineering innovation, craftsmanship, and sonic excellence. Their journey traces back to the early 20th century, intertwining with the developments in radio technology, electronic amplification, and the rise of the hi-fi culture. This article aims to delve deep into the origins, key milestones, and technological advancements that shaped the landscape of German vacuum tube amplifiers.
**Early Beginnings:**
The story of German vacuum tube amplifiers begins in the late 19th century with the pioneering work of figures like Ferdinand Braun, who laid the groundwork for vacuum tube technology. However, it was the post-World War I era that witnessed the rapid evolution of electronic amplification, driven by the demands of burgeoning radio broadcasting and telecommunications industries. German companies like Telefunken, Siemens, and AEG played pivotal roles in advancing vacuum tube technology, setting the stage for the development of audio amplifiers.
**The Birth of Vollröhrenverstärker:**
The term "Vollröhrenverstärker" translates to "full tube amplifier," emphasizing the exclusive use of vacuum tubes in the amplification circuitry. In the 1930s and 1940s, German engineers began experimenting with vacuum tube designs optimized for audio amplification, leading to the emergence of the first Vollröhrenverstärker models. These amplifiers were characterized by their robust construction, meticulous craftsmanship, and a commitment to sonic purity.
**Post-World War II Renaissance:**
The aftermath of World War II saw a resurgence of interest in high-fidelity audio equipment, fueled by the desire for cultural rejuvenation and technological progress. German manufacturers such as Telefunken, Grundig, and Siemens capitalized on this trend by producing a new generation of vacuum tube amplifiers designed for the burgeoning home audio market. These amplifiers featured innovative circuit topologies, premium components, and meticulous attention to detail, reflecting Germany's reputation for engineering excellence.
**The Golden Age of German Hi-Fi:**
The 1950s and 1960s marked the golden age of German hi-fi, characterized by a proliferation of vacuum tube amplifiers renowned for their exceptional sound quality and craftsmanship. Brands like Dynaco, Dual, and Braun gained international acclaim for their innovative designs, pushing the boundaries of performance and aesthetics. German engineers pioneered novel circuit topologies such as push-pull, class-A, and ultralinear configurations, enhancing amplifier efficiency and fidelity.
**Technological Advancements:**
The relentless pursuit of audio perfection drove continuous innovation in German vacuum tube amplifier technology. Engineers explored new materials for transformer construction, refined circuit layouts to minimize signal distortion, and experimented with novel tube configurations to optimize amplifier performance. Advancements in tube manufacturing processes, such as improved vacuum sealing techniques and cathode coating materials, further elevated the reliability and longevity of vacuum tube amplifiers.
**Cultural Impact and Iconic Designs:**
German vacuum tube amplifiers not only excelled in technical prowess but also made significant cultural contributions. Iconic designs such as the Telefunken V72 and Siemens Telewatt V300 became emblematic of an era characterized by meticulous craftsmanship and timeless elegance. These amplifiers transcended their utilitarian function, becoming objects of desire for audiophiles and collectors alike.
**Enduring Legacy and Contemporary Revival:**
While the advent of solid-state technology in the 1970s heralded the decline of vacuum tube amplifiers in mainstream audio, the legacy of German Vollröhrenverstärker endured among enthusiasts and connoisseurs. In recent years, there has been a resurgence of interest in vacuum tube amplifiers, driven by a renewed appreciation for their warm, euphonic sound signature and nostalgic appeal. Modern manufacturers such as Leben, Octave, and AudioValve continue to uphold the tradition of German vacuum tube craftsmanship, combining heritage-inspired designs with state-of-the-art engineering.
**Conclusion:**
The evolution of German vacuum tube amplifiers is a testament to the ingenuity, craftsmanship, and passion of generations of engineers and artisans. From humble beginnings to global recognition, Vollröhrenverstärker have left an indelible mark on the world of audio reproduction, embodying the pursuit of sonic perfection and the enduring allure of analog craftsmanship in a digital age. As technology marches forward, the legacy of German vacuum tube amplifiers remains a timeless symbol of excellence in audio engineering.
Montag, 15. April 2024
TEST: Fostex TH616
The area of application of the Fostex TH616
You should always keep two points in mind regarding the area of application. Should the headphones be used in the HiFi area or should they be used in the Pro area? The hi-fi area should primarily ensure a feel-good character and offer the listener a balanced, powerful and pleasant sound. Similar to your personal stereo system, you can assume different priorities or tastes and you must primarily ensure that the ambient sound matches the sound of the headphones according to your personal priorities.
The main thing with pro headphones is to reproduce a neutral sound so that irregularities in the frequency response, phase problems or other things that could disrupt the mix can be identified and corrected as quickly as possible. So you could clumsily claim that hi-fi headphones are, if anything, more likely to be a little more personal than studio headphones, although this statement should be viewed with caution.
With regard to the basic sound, however, this classification reveals a slight tonal orientation in advance, depending on the company philosophy. The Fostex TH616 headphones were classified by the manufacturer in the HiFi range, which suggests that the priorities, similar to a loudness switch, are to be found in the bass and treble range and the mids should be reproduced as tastefully as possible without them biting or even biting in the corresponding range hurt.
The construction of the Fostex TH616
The Fostex TH616 is a limited edition of dynamic, semi-open over-ear headphones made in Japan. Unfortunately, I couldn't find out how big the limitation is. The visually striking ear capsules are made of black walnut wood and, according to the manufacturer, are intended to reflect a subtle Asian influence. Personally, I really like this layout, especially if the room in which the Fostex TH616 is used also has a high proportion of wood. I know that wood tends to splinter a bit in the cutting area depending on the degree of hardness and which tools you use, but with headphones in this price category I would have liked the corresponding milling to be deburred a little more. If you take a closer look, you will notice several small splinters of wood, the edges of which have been left untreated and somewhat diminish the exquisite appearance.
A 50 mm neodymium driver with BIODYNA membrane was installed, which offers a frequency range of 5 - 45,000 Hz with an impedance of 25 ohms and a sensitivity of 96 dB (@1kHz, 1mW). The 25 ohm design allows the listener to be used on almost any device, even without an external headphone amplifier. However, for the consumer sector it is necessary to purchase an additional mini-jack connector, as the receiver only has a 6.3 mm stereo jack plug from the factory.
The headphones are delivered in a visually elaborate cardboard box and, in addition to a transport bag and a manual, include an approx. 3 meter long attachable headphone cable as accessories. The plugs click into place with a strong click and can only be removed from the headphone cups with great effort. Very good. However, opinions will probably differ when it comes to the textile cable used. There are plenty of fans who will enjoy the same vintage feel. For my part, with this type of textile version, I suffer a bit from the fact that the cable immediately gets twisted with every small movement. There are textile cables, for example from Cordial, which are almost impossible to twist. The Fostex TH616 requires this. a little more sensitivity.
The comfort of the Fostex TH616
With regard to the recesses for the ear cups, the slightly asymmetrical attachments made of low-resilience urethane padding (artificial leather) can be discreetly rotated in both directions and the fit of the respective ear cup can be optimally adjusted in terms of vertical alignment. So far so good. Nevertheless, at least given the shape of my skull, the headphones sit a little wobbly on my ears and slide a little forward on one side and a little backwards on the other side when I turn my head a little faster, although this should actually be much less the case due to the elongated recess . Everyone should check in advance whether the factory cutout in the over-ear headphones fits well.
In my opinion, a little more cushioning could have been applied to the padding of the bracket. At the top, the headband is only covered with a layer of artificial leather, which has no effect on comfort, but at the bottom there is a relatively thin, soft foam-like mass behind the artificial leather, which makes the headphones rest a little softer on the skull. The comparatively light headphones, which only weigh around 370 grams without the cable, seem significantly heavier than they actually are.
What has been solved very nicely is the latching of the carrying handle in the longitudinal axis of the receiver. There are two push bars on both sides, with which the upper bracket can be adjusted in a total of eight locking levels in its longitudinal axis and can therefore also be reached by users with a comparatively large head circumference.
The sound of the Fostex TH616
Regarding the sound, I would like to remind you in advance of the area of application of the Fostex. Since the listener is in the hi-fi area, it is only partially his job to provide a completely neutral reproduction. In general, most people who use hi-fi headphones have a certain loudness preference when it comes to bass and treble. It can therefore be assumed that this listener will also have a certain level of boost in this area. However, it is important that the listener does not sound “boomy” or sharp, as this quickly puts the intention of the mix in an unfavorable light.
The first listening impression in the bass area paints a good impression of the Fostex TH616. The sub-bass range in the double-digit Hertz segment is captured well without booming, while the typical bass range from around 100 Hz feels slightly boosted, but without losing the necessary definition. The low-mid/mid range is also well reproduced acoustically, without being too drowned out in the scoop or, on the other hand, “biting” too much into the human frequency response.
What causes me a bit of problems personally, however, is the high-mid range around 2K, i.e. the area where a de-esser does its job for good reason. Here the Fostex TH616 has a clear peak, which, for example, acoustically reproduces almost all sibilants in singing in a disproportionate manner. I checked the listener with several reference mixes and some of my own productions where I knew the mix from the monitors and came to the same conclusion everywhere. Even in the higher frequency ranges, the Fostex TH616 offers a very pronounced treble reproduction, which on the one hand suggests a disproportionately “fine” reproduction in the treble range, but on the other hand, the sound is very different from the original mix.
Each user must decide for themselves to what extent this corresponds to their personal taste; I do not want to make a general statement regarding the practical area. Anyone who likes strong treble reproduction up to 12k will definitely feel very comfortable with this product in terms of sound reproduction.
Conclusion
With the Fostex TH616, the Asian manufacturer has a visually attractive headphone in its portfolio. At just under €1,000, the listener designed for the hi-fi sector is in the manufacturer's high-price segment and in return offers a balanced sound in the bass and midrange with a strong high-midrange and presence emphasis from around 2K upwards.
Each user must decide for themselves to what extent this comparatively non-linear reproduction suits their personal taste. I can well imagine that the result will polarize the buyer group.
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Additional Informations:
Fostex, a name synonymous with high-quality audio equipment, boasts a rich and remarkable history spanning over seven decades. From its humble beginnings as a manufacturer of OEM speakers to its current status as a pioneer in digital recording technology, Fostex has consistently pushed the boundaries of audio innovation, leaving an indelible mark on the music industry.
**The Birth of Fostex: A Subsidiary of Foster Electric**
The story of Fostex begins in 1948 with the establishment of Foster Electric Co., Ltd. in Tokyo, Japan. Foster Electric quickly established itself as a leading manufacturer of OEM speakers and transducer products, supplying components to numerous audio equipment brands worldwide. Recognizing the growing demand for high-quality audio components, Foster Electric decided to venture into its own consumer electronics brand, giving birth to Fostex in 1973.
**Early Success and the A-8 Multitrack Recorder**
Fostex's early years were marked by a series of groundbreaking products that cemented its reputation for innovation. In 1978, the company introduced the 8024, a 4-channel reel-to-reel tape recorder that revolutionized home recording. This was followed by the release of the A-8 multitrack recorder in 1983, which further expanded the creative possibilities for musicians and audio engineers. The A-8's compact size, affordable price, and versatile features made it a popular choice for both professional and home recording studios, establishing Fostex as a frontrunner in the multitrack recorder market.
**Digital Revolution and the V Series Recorders**
The 1980s saw Fostex embrace the digital revolution, introducing a range of innovative digital audio products. In 1985, the company launched the D-80, the world's first affordable digital multitrack recorder, marking a significant turning point in the industry. The D-80's groundbreaking technology and user-friendly interface made it a favorite among musicians and producers, paving the way for a new era of digital recording.
Fostex continued to push the boundaries of digital audio with the introduction of the V Series recorders in the early 1990s. The V-8, V-16, and V-24 recorders offered exceptional sound quality, flexible recording options, and a host of advanced features, making them the go-to choice for professional recording studios worldwide. The V Series recorders solidified Fostex's reputation as a leader in digital recording technology.
**Beyond Recording: Expanding into Audio Equipment**
While Fostex was initially known primarily for its recording equipment, the company gradually expanded its product line to encompass a wider range of audio products. In the 1990s, Fostex introduced a series of high-quality studio monitors, headphones, and microphones, quickly gaining recognition for their exceptional performance and durability. These products further established Fostex as a comprehensive provider of professional audio solutions.
**Fostex Today: A Legacy of Innovation**
Today, Fostex remains a leading innovator in the audio industry, continuing to develop cutting-edge products that meet the evolving needs of musicians, producers, and audio professionals. The company's product portfolio now includes a wide range of digital recorders, studio monitors, headphones, microphones, and software, all designed to deliver exceptional sound quality and versatile performance.
Fostex's commitment to innovation is evident in its ongoing development of new technologies, such as the R8 multitrack recorder and the VR Series recorders. These products showcase Fostex's dedication to pushing the boundaries of audio technology and providing users with the tools they need to create exceptional music.
**Conclusion: A Pioneer in Audio Excellence**
Throughout its rich history, Fostex has consistently demonstrated its commitment to innovation and excellence in audio products. From its early days as a manufacturer of OEM speakers to its current status as a pioneer in digital recording technology, Fostex has left an indelible mark on the music industry. With a legacy of groundbreaking products and a continued dedication to pushing the boundaries of audio, Fostex is poised to remain a leader in the field for generations to come.
TEST: Fostex PX-5
With the Fostex PX-5, the company, which was founded in 1949, is bringing a product onto the market alongside its sister model PX-6, which, with a street price of just under €500 for a pair of speakers, should be particularly interesting for narrow budgets. You can't complain about a lack of competition in this price range, which also has years of know-how and a corresponding reputation.
However, the product manufactured in China comes with a number of interesting detailed solutions, which are not the norm in this price range. In particular, the rules on the back of the case arouse the curiosity of the ambitious user.
construction
A single Fostex PX-5 box weighs a manageable 5 kilograms and has dimensions of 280 (H) x 180 (W) x 210 (D) mm, which can be easily handled in regular operation. In the case of wall mounting, commercially available support structures are sufficient; more robust solutions, such as those required by 8-inch bass loudspeaker structures, are not required here.
When it comes to housing shape, Fostex also follows the general current trend, which eschews rigid, cubic shapes and focuses more on rounded corners and edges. In the case of the Fostex PX-5, the housing has a front panel made of solid, yet non-slip plastic, which accommodates the tweeter and woofer and forms the slot for the two bass reflex openings. The side edges were also designed to flow; the classic edge guidance was only used on the back of the case.
The fact that this is not just a stylish trend in the area of near-field monitors can be seen from the fact that so-called edge reflections, which increasingly occur in the high-frequency range, are minimized by this housing guide. However, in the case of the Fostex PX-5, additional support for general phase fidelity in the form of an asymmetrical housing shape was omitted.
Due to its comparatively small dimensions, the Fostex PX-5 is of course ideal for sound reinforcement at a computer workstation, at a desk or a comparable work surface. In addition, due to the forward-emitting bass reflex openings, the speakers can be placed much closer to a rear wall than is the case with a rear-emitting variant. However, care should also be taken here to ensure that the bass frequencies are not exaggerated due to unfavorable room acoustics or placement in a corner. The system also comes with an intelligent protection circuit for the speakers by slowly increasing the volume level to protect the speakers from peak overload.
Regarding the speakers, Fostex uses the 2-way system that is common in this performance class, which takes the form of a 5.2 inch aramid woofer and a 1 inch urethane film tweeter. According to the factory information, the tweeter has a load of 18 watts and the woofer has a load of 35 watts, all with a frequency response of 50 - 20 kHz, although the frequency diagram only shows a consistent frequency response from 80 hertz upwards. In order to protect the woofer from excessive sub-bass loading, a subsonic filter pushes everything below 50 Hertz through a high pass. The inputs available are XLR symmetrical together with TSR symmetrical in a combination socket and RCA as a separate input.
Fostex has come up with a special feature when it comes to tuning the individual speakers. While most competitors use sliders to switch between 2 to 3 lowering or raising presets, the PX-5 has a total of 44 levels in the volume/trim area plus +/- 3 dB in 0 using an endless control and a 3-stage slider. 3 dB steps in the high frequency range and +/- 20 steps in the low frequency range. This ensures extremely fine adjustment in the frequency range.
By pressing the endless control you can also put the system into standby mode, which only requires a power consumption of 0.5 watts or less. The power consumption in regular mode is 50 watts.
Practice
Most readers will know the Fostex company, which belongs to the Japanese Foster Group, from the field of multitrack recording. In the mid-eighties, the consumer sector in particular was conquered almost single-handedly by Tascam together with its competitors and, with the compact cassette as a carrier medium, opened up possibilities for the first time that were otherwise only available in professional recording studios. The fact that the company has had a mainstay in the nearfield monitor sector for many years may be new to some people, especially since the competition in this price range is immense and many recording studios opt for a different brand for cost or reputation reasons. Therefore, Fostex has to carve out a niche in order to assert itself on the market, which they succeed in doing with their sophisticated tone control.
When you first use it, the Fostex PX-5 pair stands out with its balanced but unspectacular basic sound. The spatial imaging is good and allows the listener to enjoy the stereo triangle relatively generously without falling out of the depth range. The midrange is pleasantly unpretentious and successfully avoids the infamous crossover hole that often occurs in a 2-way system. The high frequency range is reproduced softly via the dome tweeter with appropriate fine detail.
In the bass range, the system scores well above 80 Hertz, but below this frequency you have to accept slight compromises for a speaker of this size for structural reasons. However, the real highlight comes when you look at the rear sound control, or input sensitivity and volume control. Thanks to the very finely tuned gradations, not only can all input sources for the catch-up amplifier be optimally adjusted using the trim function, but also the personal sound tuning can be adjusted as best as possible.
You have to listen to the matter with a keen ear, as the individual steps of the endless controls sometimes work very discreetly with the sound material supplied. It is advisable to keep the green LEDs in focus so as not to color the sound image one-sidedly in the heat of battle. However, the work is worth it, especially since the system doesn't drift into the infamous loudness trough even when the sound sections are fully boosted. You can therefore enjoy experimenting externally without being punished by the sound source with piercing highs and booming bass.
Conclusion
With the Fostex PX-5, the Japanese manufacturer makes an impressive statement in the highly competitive 5 inch range. Through good workmanship, neutral sound, tasteful appearance and, in particular, sophisticated sound control, the manufacturer sets a fragrance brand that stands out from its competitors.
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Additional Informations:
In the rich tapestry of audio technology, Fostex stands as a testament to innovation, perseverance, and a relentless pursuit of sonic excellence. The journey of Fostex traces back to its humble beginnings, woven into the fabric of post-war Japan's industrial renaissance. From crafting quality tape recorders to revolutionizing the world of headphones and speakers, Fostex's evolution is a story of ingenuity and dedication.
**Founding Years:**
Fostex's roots dig deep into the year 1973, when a visionary named Foster Electric Company, Ltd. laid the cornerstone in Tokyo, Japan. Founded by Foster Electric's chairman, Fujio Foster, Fostex emerged as a subsidiary with a distinct focus on high-fidelity audio equipment. The company's name, a fusion of "Foster" and "Technology," encapsulated its mission to marry cutting-edge innovation with precision craftsmanship.
**Tape Recorders and Beyond:**
In its nascent years, Fostex carved a niche for itself in the realm of reel-to-reel tape recorders. With meticulous attention to detail and a commitment to quality, Fostex quickly garnered acclaim for its reliable and high-performance recording devices. These tape recorders became staples in professional studios and broadcasting stations, laying the groundwork for Fostex's ascent in the audio industry.
**Innovations and Breakthroughs:**
The 1980s marked a pivotal period for Fostex, characterized by a flurry of groundbreaking innovations. One of the company's crowning achievements during this era was the introduction of the world's first multitrack cassette recorder, the Fostex Model 80. This revolutionary device democratized music production, empowering musicians and producers with affordable yet powerful recording capabilities.
Moreover, Fostex's foray into the realm of headphones and loudspeakers further solidified its reputation as a trailblazer in audio technology. The company's commitment to research and development bore fruit in the form of proprietary driver technologies and acoustic designs that set new benchmarks for fidelity and performance.
**Global Expansion and Recognition:**
As Fostex continued to push the boundaries of audio engineering, its influence transcended national borders, cementing its status as a global player in the industry. The company's products found resonance among audio enthusiasts, professionals, and discerning consumers worldwide, earning accolades for their sonic purity and craftsmanship.
**Diversification and Adaptation:**
In response to evolving market dynamics and technological advancements, Fostex diversified its product portfolio to encompass a broader spectrum of audio solutions. From compact studio monitors to portable digital recorders, the company demonstrated its versatility and adaptability, staying ahead of the curve in an ever-changing landscape.
**Partnerships and Collaborations:**
Fostex's journey of innovation was further catalyzed by strategic partnerships and collaborations with industry leaders and visionaries. By pooling expertise and resources, Fostex forged alliances that propelled it to new heights of excellence, while also fostering knowledge exchange and technological synergies.
**Legacy and Future Prospects:**
As Fostex celebrates over four decades of pioneering excellence, its legacy endures as a beacon of inspiration for future generations of audio enthusiasts and professionals. With a steadfast commitment to innovation, quality, and customer satisfaction, Fostex remains poised to continue shaping the future of audio technology, one breakthrough at a time.
In conclusion, the genesis of Fostex is a saga of passion, perseverance, and a relentless pursuit of sonic perfection. From its humble origins in post-war Japan to its stature as a global leader in audio innovation, Fostex's journey exemplifies the transformative power of vision and dedication in shaping the world of sound. As the company continues to push the boundaries of possibility, its legacy will echo through the annals of audio history, inspiring generations to come.