TEST: EAW MW12

Yes, our beloved wedges. The wedges, which are usually placed on the stage floor, have to endure a lot. Loveless pushing and kicking, if the placement is not right, water or beer fountains if the singer has swallowed in his greed again and last but not least wild hopping around and "one leg on box" posturing of the heavy metal guild.

Then one should be still possible invisible, generate no feedback and work forever and three days. Floormonitors are really the poorest sows under the speaker sun, they are usually only noticed when the tweeter was shot through again or quote: "the sound is shit...", "I can't hear myself...", "make vocals louder...", "like, I have to share the way with the bass player..." and so on and so on....

In addition, the entry-level price of in-ear systems has been dropping consistently in recent years, which has once again brought additional competition to the wedge department. So nowadays you have to come up with a few fine tricks to stand out from the crowd, or to place yourself on the market sustainably.

And then a company like EAW comes along and brings with the MW12 a relatively small floor monitor on the market at a retail price of over 3,000 euros (!) and prepares to clean up the field from behind with everything that the high-end sector has to offer. We are curious about that!


Construction

What immediately catches the eye, or rather is noticeable in the arms, is the rather unusual shape of the Chinese-made product and the relatively high weight of almost 24 kilograms.

The latter results from the extremely stable multiplex construction of the monitor, which comes along very space-saving with the dimensions 334 mm x 439 mm x 580 mm (H x W x D). The MW12 is covered with a very resistant textured varnish, which also knows how to compensate for hard road use.

In contrast to many floor wedges, which can be tilted at 45 degrees or 65 degrees to the artist, the EAW has a fixed angle, which, according to the manufacturer, should have an exceptionally good coverage angle due to complex acoustic calculations.

On the underside, the MW12 rests on four stable hard rubber surfaces, and there is also a transverse mounting rail for flown operation.

The acoustic feature of the product is a coaxially driven combination of a 12-inch woofer and a 1.4-inch driver, which has a total load of 600 watts (!) at 8 ohms. The system can be operated both in the sum passive and 2-way active.

The entire internal wiring of the construction was very cleanly executed and has only very good components.

The speaker construction is protected by a solid steel grille, which can easily withstand even intensive climbing actions of the very hard kind.

In addition, the monitor has a bass reflex port on the foot side, which provides a high reflection surface, especially on smooth stage floors, and increases the dispersion area even more.

Very nicely solved in terms of practicality was the problem of the connector panels. The two Speakon sockets are placed opposite each other in the reflection channel. As a result, the cables are routed out of the front of the case and tightly to the side of the case.

Consequently, the danger of cable kinking is zero and the small, nasty grabby hands of cheeky fans, who like to finger the wedges on stage from the auditorium and pull on the cable strands, can also not cause any damage.

In the reflection channel is also the toggle switch, which decides on the active / passive operation.

Due to its shape, the MW12 can be driven in a row, as well as in a closed semicircle, whereby one can seamlessly join the individual elements due to the cable routing.





Practice

Who knows me, knows that I am a man of practice. The most beautiful measurement diagrams and the most benevolent hymns of praise in the product info honestly don't interest me one bit, if the use in practice speaks a different language.

Without a doubt, the measurement curves look impressive, an almost linear reproduction over the entire frequency range from 68 Hz up to 19 KHz with a small resonance at 500 Hz, also a very moderate distortion behavior.

And the sound? Yes, that's where the sun rises! But whoops! Both at low volumes and at almost full load, the MW12 has a very detailed reproduction of the input signal. There is little coloration here, very little compression with increasing volume, and very vivid delineation over the entire frequency range.

The absolute highlight for me, however, is the radiation behavior of the design. Due to its bass channel, which also transmits a fair amount of midrange, you can hear the signal at the base very well even at a distance of several meters, so even a remote placement of the construction is possible.

That's not all, the construction also has a significantly higher lateral radiation behavior than all other wedges, which I have experienced live so far. Even if at large open airs around the frontman sometimes up to 5 floor monitors are arranged in a semicircle and just the above-mentioned cable routing would make the same very well possible, it is actually no longer necessary.

The MW12 radiates so evenly even to the sides that one is inclined to place only one of this construction in the center of the stage between two artists and the same actually still hear each other sufficiently. In addition, the drummer at the front of the stage also gets an acoustic share due to the refection channel if the speaker is aligned correctly.



Conclusion

The EAW MW12 is a floomonitor of the absolute top class! Frequency response, linearity, processing, radiation behavior and unfortunately also the price are sovereign in the high-end range.

In addition, the volume of the product is pleasantly small, the power handling quite high and its flexibility in terms of flown small PA also very large.

I would like to see this product more often on the stages of this world due to its excellent sound characteristics, but I fear that the high price will deter many rental companies. Please prove me wrong.

Rating-wise clearly 5 points, but a deduction because of the price.


Additional informations:

- EAW Audio, founded in 1978, is a leading manufacturer of high-quality sound systems for various applications, including live events, touring, corporate events, sports venues, and theaters. The company has been delivering cutting-edge technology and innovative designs for over four decades, and its products are renowned for their exceptional sound quality, reliability, and durability.

EAW Audio's product portfolio includes a range of loudspeakers, subwoofers, line arrays, stage monitors, digital processors, and amplifiers. The company's engineering team works closely with its clients to design and deliver customized solutions that meet their unique needs and specifications. EAW Audio's commitment to excellence and its focus on innovation have earned the company a loyal customer base and a reputation for being one of the industry's most trusted and respected brands.

History and Evolution of EAW Audio

EAW Audio was founded by Kenton Forsythe and Ken Berger, two audio engineers with a passion for developing high-quality sound systems. Their goal was to create a company that would focus on providing innovative designs and cutting-edge technology that would deliver exceptional sound quality to its customers.

In its early years, EAW Audio focused on developing products for the touring and live events markets. The company quickly gained a reputation for delivering loudspeakers and subwoofers that were among the best in the industry. In the 1980s, EAW Audio expanded its product line to include line arrays and stage monitors, which helped to establish the company as a leader in the sound reinforcement market.

Throughout the 1990s, EAW Audio continued to innovate, developing new products and technologies that set the standard for the industry. The company introduced digital signal processing (DSP) technology, which allowed for greater control over the sound quality and helped to reduce the weight and size of its products. EAW Audio also introduced the KF850 and KF750 series of loudspeakers, which became popular choices for touring and live events.

In 2000, EAW Audio was acquired by Mackie Designs, a leading manufacturer of audio equipment. Mackie's investment in EAW Audio allowed the company to expand its product line and reach new markets. EAW Audio continued to innovate, introducing new products such as the AX and KF series of loudspeakers, which were designed for large-scale touring and events.

In 2006, EAW Audio was acquired by LOUD Technologies, a company that specializes in audio equipment and professional audio solutions. The acquisition allowed EAW Audio to expand its global reach and continue to develop new and innovative products for its customers.

EAW Audio's Product Portfolio

EAW Audio's product portfolio includes a range of loudspeakers, subwoofers, line arrays, stage monitors, digital processors, and amplifiers. The company's products are designed to deliver exceptional sound quality, reliability, and durability, making them ideal for a range of applications, including live events, touring, corporate events, sports venues, and theaters.

Loudspeakers: EAW Audio's loudspeakers are designed to deliver high-quality sound in a range of environments. The company's product line includes point source, line array, and column array loudspeakers, as well as weather-resistant and installation loudspeakers.

Subwoofers: EAW Audio's subwoofers are designed to deliver deep, powerful bass in a range of applications. The company's product line includes compact and portable subwoofers, as well as large-scale touring and installation subwoofers.

Line Arrays: EAW Audio's line arrays are designed to provide even coverage and consistent sound quality in large venues. The company's product line includes compact, mid-size, and large-scale line arrays.

- Floor monitors are essential pieces of equipment for any live music performance or event. These speakers, which are designed to sit on the floor and face the performers, allow musicians to hear themselves and their fellow band members clearly on stage. In this guide, we'll take a closer look at floor monitors, including how they work, the different types available, and how to choose the right ones for your needs.

How Floor Monitors Work

Floor monitors work by amplifying and projecting sound directly towards the performers on stage. Unlike traditional PA (public address) systems, which are designed to project sound to the audience, floor monitors are intended to help performers hear themselves and their fellow musicians more clearly. They accomplish this by picking up sound signals from microphones or other instruments and amplifying them through a speaker that is placed on the floor and pointed towards the performers.

Floor monitors are typically placed at the front of the stage, facing the performers. This allows them to hear themselves and their bandmates without having to rely solely on the main PA system. Depending on the size of the performance space and the number of performers, multiple floor monitors may be used to ensure that everyone can hear clearly.

Types of Floor Monitors

There are several different types of floor monitors available, each with its own unique features and advantages. Let's take a closer look at some of the most common types of floor monitors:

Passive Floor Monitors: Passive floor monitors are the simplest type of floor monitor. They do not have their own power source and must be connected to an external amplifier or powered mixer in order to function. Passive monitors are often less expensive than active monitors, but they require more equipment to set up.

Active Floor Monitors: Active floor monitors are self-contained speakers that have their own built-in amplifier. They do not require an external amplifier or powered mixer to function, which makes them easier to set up and use. Active monitors tend to be more expensive than passive monitors, but they offer greater convenience and flexibility.

Coaxial Floor Monitors: Coaxial floor monitors feature a single speaker driver that combines both the high-frequency and low-frequency elements of the sound spectrum. This allows for greater accuracy and clarity in sound reproduction. Coaxial monitors are often more expensive than traditional monitors, but they offer superior sound quality and performance.

Stage Wedges: Stage wedges are a type of floor monitor that is designed to sit at an angle on the floor, with the speaker pointing up towards the performer. This allows for greater flexibility in terms of placement, and can help to reduce feedback and other sound issues that can occur with traditional flat floor monitors.

Choosing the Right Floor Monitors

When choosing floor monitors, there are several factors to consider, including:
Size of the Performance Space: The size of the performance space will have a major impact on the type and number of floor monitors required. A larger space will require more powerful monitors with greater projection capabilities, while a smaller space may only require a few smaller monitors.

Number of Performers: The number of performers will also impact the number and type of monitors required. A larger band or group may require multiple monitors to ensure that everyone can hear themselves and their fellow musicians clearly.

Type of Music: The type of music being performed can also impact the type of monitors required. For example, rock or heavy metal music may require more powerful monitors with greater projection capabilities, while acoustic or classical music may require more precise and accurate sound reproduction.

Budget: Finally, budget is always a consideration when choosing floor monitors. Passive monitors are generally less expensive than active monitors, while coaxial monitors are typically the most expensive. Consider your budget carefully and choose the best monitors that you can afford.

TEST: EarthQuaker Devices Ghost Echo V3 Reverb LTD

 There is hardly a product that has increased so unbelievably strongly in recent years as the area of stompboxes, which are also often referred to as pedals in German. What initially only covered the areas of overdrive, distortion and fuzz due to the comparatively simple basic circuitry, then spilled over into the area of modulation and room effects. In order to stand out in the almost confusing jungle not only acoustically, but also visually, the respective marketing departments of the pedal manufacturers increasingly strive to collaborate with popular artists to make their pedals also visually stand out from the competition, as happened with the EarthQuaker Devices Ghost Echo V3 Reverb LTD, which is a limited edition of 1,500 units and which was created with the collaboration of the artist pool Brain Dead.

The concept of the EarthQuaker Devices Ghost Echo V3 Reverb LTD

Even if some readers will ask themselves, why one should bring out an already existing pedal with another optical interpretation again, one may simply look around once in the motor vehicle range and look, which prices are called in this segment for "special lacquer finishes". I myself was recently able to see that Tesla, for example, for a simple "red" or "blue" instead of the standard white like to call up to 2,000 € more, mind you, without the surcharge includes any other additional equipment. Makes a surcharge of a little more than 3%.

Seen in this light, the price premium of the EarthQuaker Devices Ghost Echo V3 Reverb LTD of just under 16% compared to the regular Ghost Echo is already a sporty statement. In return, however, you also get a visually much more interesting edition of the pedal, although the changed appearance in practice reveals a small disadvantage. In fact, the optics of the regular EarthQuaker Devices Ghost Echo is a little, I do not want to sound impertinent, let's say their scwarz-hellblauen Kringeloptik a little trivial. Here, the strong grass green with a high blue content of the Brain Dead team can clearly score more points, although the yellow-black imprints remind me a bit of the motifs of the film series "the fantastic film", which in the seventies provided goose bumps moments on ZDF. What exactly the printed mushrooms (magic mushrooms?) on the upper edge of the case are supposed to allude to, however, remains a mystery to me. Anyway, it's art.

A disadvantage compared to the original Ghost Echo, however, are the three transparent knobs, which look funky, but make their setting difficult to see. Especially in low stage lighting, the black, thinly applied strokes are almost impossible to see, so you have to rely on your hearing as soon as you activate the effect. In terms of readability, the large black knobs with white lines of the original can score points here, which ensure good visibility even in low stage lighting.

The Sound

What kind of effect does the EarthQuaker Devices Ghost Echo V3 Reverb LTD actually produce? According to the name it should be a delay, right? Yes and no one would like to say, since it is a special reverb pedal. But since a reverb effect is ultimately just a high number of echoes, you can get over the somewhat confusing type designation, especially since the term "reverb" appears in the portfolio additional. Only on the pedal is listed only the designation "Ghost Echo".

The special feature of the pedal is to be found in the algorithm that is used for the pedal. The EarthQuaker Devices Ghost Echo V3 Reverb LTD simulates a spring reverb, as it was used in the early days of guitar amplifier technology, especially by the company Fender as a bonus performance. For those born in 1990 and later, it involved several coil springs, which were usually mounted on the bottom of the combo, vibrated by the guitar tone, picked up again via a pickup, and then mixed in with the original tone using the combo's reverb control, optionally available with a footswitch. As expected, the effect was not the most perfect possible reproduction of a room, which would not have been technically possible, but more a very characteristic reverberation with a very high diffusion content. Together with the slapback echo, these two effects are largely responsible for the sound aesthetics of the fifties and sixties in terms of guitar sound.


https://www.youtube.com/watch?v=cjUwpXu_VUk&ab_channel=fecskefi

To really come into its own, the spring reverb needs an arrangement that is as tidy as possible and a guitar that is as clean as possible, preferably with single notes, as can be seen in the world-famous sound example above. Fat high gain power in fast staccato style does not come into its own in the very wide reverb carpet of the spring reverb and quickly drifts into the muddy.

The control possibilities of the EarthQuaker Devices Ghost Echo V3 Reverb LTD

The EarthQuaker Devices Ghost Echo V3 Reverb LTD comes with a small number of three controls for a room effect pedal, which are named Attack, Depth and Dwell. Their tasks are as follows:

Attack: The Attack control determines the duration of the pre-delay before the effect kicks in and can range from 30 - 150 ms depending on the position of the control. If the Dwell control is set to self-oscillation in the rear control section, this control also controls the pitch of the oscillation.

Dwell: This knob controls the length of the effect, up to a point where the effect "rolls over" and self-oscillation begins.

Depth: This control adds the "wet" portion to the "dry" portion. A 50 / 50 ratio of dry and processed signal is obtained in the 12 o'clock position, above which the original signal portion is steadily reduced.

The pedal is equipped with true bypass, which is based on an electronic relay-based circuit. Therefore, no signal is passed on when the pedal is disconnected from the power. The EarthQuaker Devices Ghost Echo V3 Reverb LTD requires the very low current consumption of only 86 mA for a room effect, which means that even a 100 mA connection is quite sufficient for operation. The pedal requires a power supply, which is not included in the delivery, battery operation is not provided.

The pedal is delivered in a small cloth bag, with a sticker and a manual that is also very trimmed to "funky", which contains a sound description in several languages in addition to the most important technical key data, as if the author himself had thrown in some "magic mushrooms" before writing the article. ("creepy version of the spooky Spring Reverb unit ... scary pre-delay ... viscous, ectoplasmic reverb").

The EarthQuaker Devices Ghost Echo V3 Reverb LTD in practice.

The EarthQuaker Devices Ghost Echo V3 Reverb LTD pedal is a classic one-trick pony in the best sense. It offers exactly one effect, which can be adjusted in its intensity, and that's it in the end. However, the same effect is very tasteful and can be used very well in the vintage, as well as in the ambient area. Interestingly, the designation "echo" is not to be dismissed out of hand, because unlike the original reverb spirals, which do not generate a delay effect, the EarthQuaker Devices Ghost Echo V3 Reverb LTD has in principle an additional slapback delay still switched to it, which can be heard very nicely in the single note sound example. So if you expect a digital copy of the elaborate analog reverbs as identical as possible, you should look for other pedals, because the Earthquaker pedal puts a higher focus on a certain independence.

Nevertheless, the EarthQuaker Devices Ghost Echo V3 Reverb LTD offers a very unique and interesting interpretation of the classic reverb spiral sound and creates an independent sound by combining it with the delay effect, which does a good job as a classic effect in the actual sense. In addition, green is my favorite color, which earns the pedal a highly subjective bonus point.

Conclusion

With the EarthQuaker Devices Ghost Echo V3 Reverb LTD, the American manufacturer carries a limited edition of its Ghost Echo in the portfolio, which was created in collaboration with the artist pool Dead Brain. Despite the template of the reverb spiral sound of the sixties, the device offers an independent interpretation of the analog model and convinces with an interesting "space sound", which in contrast to the original also includes the use of a delay effect.

Who the surcharge of 40, - € compared to the original pedal is worth the artistic look, should take a closer look at the pedal. It is a one-trick pony, but the trick is very appealing!

Additional informations:

EarthQuaker Devices is an American guitar pedal and musical instrument company based in Akron, Ohio. The company was founded in 2004 by Jamie Stillman, who was dissatisfied with the tone and quality of the guitar pedals available in the market at the time. Stillman decided to create his own line of effects pedals that would offer a high level of customization and versatility, and EarthQuaker Devices was born.

Over the years, EarthQuaker Devices has become known for its innovative, high-quality, and versatile guitar pedals. The company's products are used by musicians all over the world, and they have gained a reputation for being some of the best in the industry.

One of the things that sets EarthQuaker Devices apart from other guitar pedal companies is its commitment to using high-quality components and materials. The company takes pride in sourcing its components from reputable suppliers and in using only the best materials in the construction of its pedals. This attention to detail and commitment to quality is evident in the sound and performance of EarthQuaker Devices' products.

Another key factor in EarthQuaker Devices' success is its commitment to innovation. The company is constantly experimenting with new ideas and concepts in order to create pedals that offer unique and interesting sounds. This dedication to innovation has led to some of the company's most popular products, including the Hoof Fuzz, the Dispatch Master, and the Rainbow Machine.

One of the things that makes EarthQuaker Devices' pedals so popular is their versatility. Many of the company's products offer a wide range of sounds and tones, making them suitable for a variety of musical genres and styles. This versatility has made EarthQuaker Devices a popular choice among musicians who are looking for pedals that can help them create their own unique sound.

EarthQuaker Devices' commitment to customization is another reason why the company's pedals are so popular. Many of the company's products offer a wide range of controls and options, allowing musicians to fine-tune their sound and create custom effects that are unique to their playing style. This level of customization has made EarthQuaker Devices a favorite among guitarists who are looking for pedals that can help them achieve a specific sound or tone.
One of the most popular products in EarthQuaker Devices' lineup is the Hoof Fuzz. This pedal is based on the classic Russian Big Muff fuzz pedal, but it offers a range of controls that allow musicians to fine-tune their sound. The Hoof Fuzz is known for its thick and saturated tone, and it has become a favorite among guitarists who are looking for a fuzz pedal that can help them achieve a classic rock or heavy metal sound.

Another popular EarthQuaker Devices pedal is the Dispatch Master. This pedal combines a digital delay with a reverb, offering musicians a range of options for creating ambient and atmospheric sounds. The Dispatch Master is known for its warm and lush tone, and it has become a favorite among guitarists who are looking for a pedal that can help them create ethereal and otherworldly sounds.

The Rainbow Machine is another innovative and popular EarthQuaker Devices pedal. This pedal offers a range of controls that allow musicians to create complex and unusual sounds, including shimmering harmonies, octave-up effects, and pitch-shifted delays. The Rainbow Machine is known for its unique and otherworldly tone, and it has become a favorite among guitarists who are looking for a pedal that can help them create experimental and avant-garde sounds.
In addition to its commitment to quality, innovation, versatility, and customization, EarthQuaker Devices is also known for its commitment to the environment. The company uses sustainable and eco-friendly materials in the construction of its pedals, and it is committed to reducing its carbon footprint and promoting environmental sustainability.

TEST: Diamond Amps Phantom Head

 If you look at the current state of affairs in the field of guitar amplifiers, the entire scene now seems to be split into 2 overarching camps. The one, mostly established brands with a corresponding degree of fame, are trying to minimize their production costs in particular, in addition to the usual product maintenance, by transferring the partly European, partly American developed know-how to mostly Asian realms, in order not to lose touch with the customer's wishes in the global price war.

The other camp, mostly small and very small manufacturers, produce almost exclusively in meticulous manual work very small numbers of pieces in the highest quality, which is reflected, however, in a selling price, which inevitably makes the majority of ambitious musicians in sinking head shaking or but in slight hyperventilation attacks.

We have an international spearhead of the second category for testing. The Diamond Phantom is built in Texas / USA under the direction of mastermind Jeff Diamant in meticulous craftsmanship and currently makes various boutique amp providers sweat.

Construction

According to the old American principle "You see what you get" no half measures were made in the matter of optics with the Diamond Phantom. Front panel, lettering and product logo convey to even the most unprejudiced customer that this is not the two hundredth copy of the Plexi. This is heavy duty, a range where the lead sound in rock just passes for crunch. Mind you, I'm still on the lookout, but I'd be very surprised if the entire gain range wasn't addressed here with the necessary attention.

In addition to the MSRP of 3,272 euros, the other dimensions also tend to make the ambitious user sweat. 23 kilograms first have to be hoisted onto the cabinet with one hand, the construction of a classic full stack inevitably gets into the range of two-armed ripping of the middle weightlifting class. In return, however, you get oversized transformers, solid construction and a finish that defies even tough everyday road use. With the dimensions 720 mm x 270 mm x 260 mm, the head is very strong in width and fills the shelf space of a classic Marshall 4x12" cabinet up to 2 cm each on the right and left. Caution is advised with smaller cabinets, if you don't want to promote the horrible appearance of head-is-bigger-than-box.

Conceptually, the amp can be seen as a two- or three-channel amp, depending on your point of view. In addition to the clean channel, the lead channel is divided into two sections that are independent in terms of gain and volume and can be switched separately via mini-switch or included footswitch, which in my opinion tends more towards a classic clean-rhythm-lead three-channel. The two leads share a four-band tone control including a presence control, the clean channel has its own version of the same design.

Despite the American production, Diamond relies on British power amp sound culture, i.e. 4 pieces of EL34 in AB push-pull design from Russian Svetlana production are used. No less than 6 pieces of 12AX7 preamplifier tubes take care of the signal processing, whereby one tube supplies the FX loop, another one acts as a driver tube.

On the rear side, the Diamond Phantom continues its clear concept, but not without offering 2 small special features. With the Low Focus one instructs the Head to treat the low bass range separately. However, this is not a clumsy bass boost, but an intelligent circuit, which was specially tailored to the bass range of the guitar and affects the mid and treble range. If you select the high range, for example, the amp ensures an even reproduction of all strings, while the focus shifts further down in the other positions. Especially for live applications this is a very interesting approach.

The second bonus is the tube-buffered effects loop, which can also be used as a master volume. If you bypass the FX loop with the included short bypass cable, the respective volume controls of the individual channels take over the function of the FX send control. So the effects loop is not activated with a footswitch, it is in fact always present. The tube buffering also does not change anything in the sound of the amplifier.

Practice

The fact that even with an acoustic tool like an amplifier, the visual factor has become very important, is immediately apparent when you put the Diamond Phantom into operation. It is not that unusual that heads are illuminated from the inside for optical reasons. However, in order to stand out from the competition, which would like to subtly support the glow of the tubes with a discreet red, Diamond drifts into leg-high Hulk territory.

A strong green, paired with a radiant, also green shining operating LED ensures a clear identification in terms of trademark in the diffuse stage light. The one or other purist will of course again come with the criticism of the unnecessary, but I personally like the blown optics very well.

Starting with the clean channel, one encounters a very flexible basic sound, which in the interaction with gain, volume and the effect return (master volume) any gradations of warm clean to crunchy tangy saturation, which already passes as a blues solo sound. In conjunction with the very effective tone control, it succeeds in covering all shades, which one expects from a first channel. However, if you are looking for the ultra-clean sound of a twin reverb, you won't find it. Even in the first channel, the Diamond Phantom cannot hide its tendency towards rock and excels with a wonderfully compressed basic timbre, which always remains audible even in undistorted settings.

As expected, this tendency is continued in the second channel, which picks up the ball in crunch with a fresh, British imprint and leads up to extremely compressed gain sounds. At the same time, the unit develops a punch that never lets the notorious muttering of other contenders arise, even at the highest gain. In cooperation with the Low Focus, Diamond succeeds in generating a homogeneous sound image over the entire frequency range, which leaves nothing to be desired in terms of pressure paired with transparency.

Conclusion

The Diamond Phantom Head leaves an excellent impression in all areas. Starting with the components used, to the workmanship, to the optical concept and not to forget the sound, the amplifier operates at the highest level and needs to shy away from comparison with other representatives of this performance and price class.

Due to the elaborate handwork in the USA, the amplifier will probably put one or the other budget to a hard test. In return, however, you get one of the best-sounding boutique amplifiers in the high-gain range, which are currently on the market.

Pro:
Sound
Processing
Components
Optics

Additional Informations:

- Diamond Amps: Crafting High-Quality Amplifiers for Musicians

Diamond Amps is a boutique amplifier manufacturer based in Houston, Texas. The company was founded in 1992 by Jeff Diamant and his wife Elaine, with a mission to create high-quality guitar amplifiers that musicians would love. Over the years, Diamond Amps has gained a reputation for building some of the most robust and versatile amps in the industry, with a focus on exceptional tone and reliability.
In this article, we'll explore the history of Diamond Amps, their product line, and what makes their amps unique.

History of Diamond Amps

Jeff Diamant was a professional musician before he started building amps. In the early 80s, he moved from New York to Houston and started playing guitar in a popular local band. Jeff became frustrated with the amplifiers he was using at the time and decided to start building his own.
He spent years studying electrical engineering and experimenting with amp designs, eventually creating his own unique circuits. Jeff's amps were a hit among his fellow musicians, and he started selling them locally under the Diamond Amps brand.

In 1992, Jeff and Elaine officially founded Diamond Amplification, and the company began producing amps on a larger scale. Their first product was the Spitfire, a 20-watt combo amp with a classic British sound. The Spitfire was an instant success and put Diamond Amps on the map.
Since then, the company has expanded its product line to include a range of amplifiers and speaker cabinets. Today, Diamond Amps is known for producing high-end, handcrafted amps that are used by top guitarists around the world.

Product Line

Diamond Amps offers a range of guitar amplifiers and speaker cabinets, each with its own unique features and tonal characteristics. Let's take a closer look at each product line:

The Phantom Series

The Phantom series is Diamond Amps' flagship line of guitar amplifiers. These amps are known for their massive, high-gain sound and incredible tonal flexibility.

The Phantom amps are available in three different models: the Phantom 100, Phantom 150, and Phantom 200. Each model is powered by EL34 tubes and features a three-channel preamp, a built-in noise gate, and a tube-driven effects loop.

The Phantom series also includes matching speaker cabinets, which are available in a variety of configurations. These cabs are built with Baltic Birch plywood and feature Celestion speakers for a classic, full-bodied sound.

The Nitrox Series

The Nitrox series is Diamond Amps' newest line of guitar amplifiers. These amps are designed for players who want a high-gain sound with plenty of clarity and definition.
The Nitrox amps are available in two different models: the Nitrox and Nitrox II. Both models feature a four-channel preamp, which allows players to dial in a wide range of tones from clean to high-gain. The Nitrox II also includes a built-in noise gate and a tube-driven effects loop.

The Nitrox series also includes matching speaker cabinets, which are available in 1x12, 2x12, and 4x12 configurations. These cabs are built with Baltic Birch plywood and feature Celestion speakers for a balanced, full-range sound.

The Hammersmith Series

The Hammersmith series is Diamond Amps' line of vintage-inspired guitar amplifiers. These amps are designed to replicate the classic sounds of the 60s and 70s, with a modern twist.
The Hammersmith amps are available in three different models: the Hammersmith 18, Hammersmith 22, and Hammersmith 45. Each model is powered by EL84 tubes and features a two-channel preamp

TEST: Deeflexx

 I admit it, it is always a refreshing feeling when in times of diode overloaded displays and highly sophisticated algorithms a very reduced test object in terms of technology is handed to the tester now and then. And to say it directly, in terms of reduction, the Deeflexx in front of me is hard to beat, it is actually a reflector / deflector, as it could hardly be more analog.

No displays, no electrical conductors, not even a power supply, the plastic tub needs to fulfill its function, it deals with the most primal thing that defines music, the sound in general and the radiation behavior in particular. The product is supposed to help put an end to a notorious acoustic problem, the so-called "beaming", which as expected has absolutely nothing to do with Star Trek.


Design

Anyone who has even a little knowledge of fluid mechanics or radiation theory will immediately recognize the principle of the product. Via one or two triangles, the beam, which a standard loudspeaker normally emits in a highly bundled form and with an exaggerated treble component, is to be deflected and distributed in the room.

We all know the problem from the rehearsal room or the stage that, directly in front of the box, the general sound of the guitar is rather harsh, scratchy, with high volume and thus suboptimal reproduced, while you get on only one meter next to the speaker, especially if a noisy drummer sitting in the back, absolutely no sound more of his performance.

Or you point the speaker at yourself and the rest of the band can only guess what your guitarist is playing at the moment or what key he is in. Loudspeakers have the habit, depending on their size, respectively their diaphragm size, to bundle mids and especially the highs strongly and to radiate them only to the front. This has the consequence that the artist does not hear himself and tries to compensate for this deficiency by adding volume. Now put the amplifier on the floor and you have done everything wrong that you can do wrong. Conclusion: the rest of the band covers their ears because of the infernal volume, the hall mixer mutes the guitar channel and the artist still can't hear a sound.

The Deeflexx Deflection System is now clamped under the speaker by means of an extension at the foot of the product, whereby one can easily modulate the mode of action with a fixed triangular shape and an additional attachable diffuser. The sound is deflected laterally, respectively upwards, and creates a better localization in the room, accompanied by an increase in the high frequencies to the side and above the amplifier.


Practice

Of course, a product like the Deeflexx polarizes right off the bat. Although moderately shaped, this does not change the fact that especially the typically anachronistically rooted guitarist will first look at anything that does not have at least a hint of slight "vintage mustiness" with a heavily furrowed brow. In addition, the futuristic construction must first prove its practical value. What good are the most beautiful acoustics if the product goes down the drain in terms of handling or stability.

In terms of workmanship and durability, we can quickly give the all-clear. The solid plastic, from which all elements are made, is thick enough to withstand blows and direct force even to a greater extent. It also has good elasticity, so it easily absorbs blows that hit the product from above. It does oscillate several times, but the deflection remains within a moderate range.

Slid under a combo with rubber feet, the Deeflexx proves to be quite stable without lifting the combo with its lever. Even with a small 30 watt practice amp, the amp always stayed in position. However, the Deeflexx cannot be mounted under a cabinet with standard casters, since its stand does not have any devices to compensate for the now greater clear height. If you unscrew the casters, however, there are no problems and since we know that all casters on 4x12" cabinets "inevitably" unscrew themselves at some point (thanks to cobblestones and curbs...), this problem usually solves itself without any action on your part...

For a stationary installation, the Deeflexx can also be screwed to the floor, a corresponding hole opening is prefabricated in the base. In addition, the Deeflexx has a scale on the foot to make a better adjustment of the sound. Only the microphone of the speaker may need to be readjusted. For example, with a Deeflexx that is stuck up to the stop under the amp, an SM 57 can no longer be placed at a straight angle in front of the speaker. However, if you pull the Deeflex out a bit, this shortcoming can be easily remedied.

In fact, once you place the Deeflexx in front of your amp, the overall sound of the guitar improves many times over. The aggressive biting of the speaker in the direct radiation is significantly reduced without the sound of the combo suffering. The sound develops more warmth and gets a much better location in the general sound structure.

The product leaves an all-around successful impression. If one would now still have some kind of "washers", possibly pluggable, perhaps also on a magnetic basis for greater ground clearance with rollers or high rubber feet, the design would be perfect! Incidentally, the Deeflexx not only ensures a spatially improved sound reproduction, the first rows in the audience are also spared from the beam by this measure.


Conclusion

The Deeflexx is a unique product that addresses a guitarist's problem that is as old as electrically amplified music itself, in a subjectively incredibly simple construction. Using an optional 2 "diffusers", the product splits the hated treble-focused beam of a loudspeaker and distributes it tastefully throughout the room plus a much improved treble perception in the side and ceiling areas.

The handling of the product is self-explanatory, the workmanship excellent. The product not only brings to bear a greatly improved spatial perception of the signal, but also decouples the strong concentration of high frequencies in the guitar signal. Even if some details sometimes show up in only very fine detail, the Deeflexx is a real asset to almost any speaker design.

Bass or keyboard amplifier systems also benefit from the acoustic solution, although the focus is primarily on the guitar signal. An absolutely recommendable product, which, once used, you will never want to do without again!


Pro

Sound
Effectiveness
Concept
Processing

Additional Informations:

- Hubert Hochleitner and Deeflex: Revolutionizing Guitar Amplification
Introduction

The world of guitar amplification has been constantly evolving since the invention of the electric guitar. Guitarists are always looking for new ways to improve their tone, and as a result, a wide variety of amplifiers, cabinets, and effects pedals have been developed over the years. Hubert Hochleitner, a guitarist from Austria, became frustrated with the limitations of traditional guitar amplification and began experimenting with new ways to achieve a better sound. This led him to develop the Deeflex, a unique device that revolutionized guitar amplification.

Early Years

Hubert Hochleitner was born in Austria in 1957. He began playing guitar at the age of 15 and quickly developed a passion for music. He played in several bands throughout his teenage years and into his twenties, but he always felt like there was something missing from his tone. He experimented with different amplifiers and cabinets, but he was never fully satisfied with the sound he was getting.

In the early 1990s, Hochleitner began to experiment with new ways to amplify his guitar. He started by placing his amplifier on a chair and pointing it directly at his ears, rather than at his legs. He found that this improved the clarity of his tone and made it easier to hear himself on stage. This led him to develop a device that would allow him to achieve this same effect without having to place his amplifier on a chair.

Development of the Deeflex

Hochleitner began experimenting with different materials and shapes to create a device that would reflect the sound of his amplifier directly towards his ears. He tried using mirrors, plastic panels, and even a metal dish, but he was never satisfied with the results. He eventually settled on a design that consisted of two curved panels made of a special plastic material. These panels were mounted on a stand and placed in front of his amplifier.

The Deeflex works by reflecting the sound waves of the amplifier towards the musician's ears, rather than towards the ground or the back of the stage. This allows the musician to hear a more direct and focused sound, without the loss of high frequencies that can occur with traditional amplification setups. The Deeflex also eliminates the need for guitarists to stand directly in front of their amplifiers, which can be damaging to their hearing over time.

Impact on the Music Industry

The Deeflex quickly gained popularity among guitarists in Austria and Germany, and it wasn't long before it began to make waves in the international music community. Guitarists such as Steve Vai, Joe Bonamassa, and Guthrie Govan all began using the Deeflex in their live performances and recordings. Vai, in particular, was a vocal supporter of the device, calling it "one of the greatest inventions for guitarists in recent years."
The Deeflex also caught the attention of amplifier manufacturers, who began to incorporate its principles into their own designs. Companies such as Marshall and Fender began to develop amplifiers that were designed to be used with the Deeflex, and other manufacturers began to create similar devices of their own.

Hochleitner continued to refine and improve the Deeflex over the years, and he eventually developed a new version of the device called the Deeflexx. This new version featured a more streamlined design and was even more effective at directing the sound of the amplifier towards the musician's ears.

Conclusion

Hubert Hochleitner's Deeflex has had a significant impact on the world of guitar amplification. Its unique design allows musicians to hear a more direct and focused sound, without the loss of high frequencies that can occur with traditional amplification setups.


- Plexiglass, also known as acrylic glass or PMMA (polymethyl methacrylate), is a transparent thermoplastic material that has become increasingly popular in recent years due to its versatility, durability, and cost-effectiveness. Plexiglass has a wide range of applications, from automotive and aviation industries to medical equipment, signage, and even home décor.

In this article, we will delve into the history, properties, production, and applications of Plexiglass.

History of Plexiglass:

Plexiglass was first developed in 1928 by the German chemist Otto Röhm. Röhm discovered a way to produce a clear, solid material from methyl methacrylate monomer (MMA) through a process of polymerization. The resulting material was stronger, more transparent, and more weather-resistant than glass.

During World War II, Plexiglass was used extensively in military aircraft as a substitute for glass, which was in short supply. After the war, the material became popular for commercial and industrial applications, including car windows, skylights, and protective barriers.

Properties of Plexiglass:

Plexiglass is a thermoplastic material that is easy to shape and form, making it ideal for a wide range of applications. Here are some of the key properties of Plexiglass:
Transparency: Plexiglass is highly transparent, allowing up to 92% of light to pass through it. This makes it an excellent alternative to glass in applications where clarity is important.
Durability: Plexiglass is shatter-resistant and can withstand impacts that would shatter glass. It is also resistant to weathering, UV radiation, and chemicals, making it suitable for outdoor use.

Lightweight: Plexiglass is half the weight of glass, making it easier to handle and transport.
Easy to work with: Plexiglass can be easily cut, drilled, shaped, and polished, making it easy to customize for specific applications.
Fire-resistant: Plexiglass is a self-extinguishing material and does not release toxic fumes when it burns.

Production of Plexiglass:

Plexiglass is produced through a process of polymerization, which involves the chemical reaction of MMA monomer. Here are the steps involved in the production of Plexiglass:
Polymerization: MMA monomer is mixed with a catalyst and heated to initiate the polymerization process. The resulting polymer is a clear, solid material.

Extrusion: The polymer is extruded through a die to form sheets of Plexiglass. The sheets can be produced in a range of thicknesses and sizes, depending on the application.
Finishing: The sheets are polished to remove any surface imperfections and enhance their optical clarity.

Applications of Plexiglass:

Plexiglass has a wide range of applications, from industrial to consumer products. Here are some of the most common applications of Plexiglass:

Automotive and aviation: Plexiglass is used in car windows, aircraft canopies, and windshields due to its shatter-resistant properties and optical clarity.
Medical equipment: Plexiglass is used to make medical equipment such as incubators, isolation boxes, and surgical instruments due to its ability to withstand sterilization and its transparency.

Signage: Plexiglass is used in signs and displays due to its durability, weather resistance, and optical clarity.

Home décor: Plexiglass is used in home décor applications such as picture frames, shelves, and room dividers due to its lightweight and easy-to-work-with properties.
Protective barriers: Plexiglass is used in protective barriers such as sneeze guards, barriers for schools and offices to reduce the spread of germs and viruses.

TEST: DBX 266XL

 Something is happening in the field of sound reinforcement! Well, this insight is not entirely new and one or the other specialist will already turn away bored after such a rather profane statement, but I must admit, for an advocate of the old school like me, the overwhelming digitalization of recent years is both a curse and a blessing.

Example 1.): The FOH of my band DOMAIN recently complained that he was increasingly confronted with digital consoles at festivals. The reason is obvious, the omission of the outgear, but in this case mostly the internal effects of the console are taken. OK, the access possibilities of an analog console are still unbeatable, but the digital brothers are always tidier in terms of cabling.

Example 2): A colleague of mine, who also owes his educational background to analog technology, wanted to look for "new" 19" outgear in terms of dynamics processing for his live setup at the Musikmesse 2008. You have an idea what he found? NOTHING! Not a single manufacturer who would have relied on analog technology in terms of future development. Quote: "We only manage the catalog now, future developments will only be digital based!" But whoops!

The reader asks himself why, in spite of cable orgies and vehement string-pulling, a small group of manufacturers is bravely fighting at all relevant events and with stoic presence against the emerging omnipotence of zeros and ones. The answer is a fusion of accessibility, visual control, haptic experience and last but not least, sound!

One of the great trademarks of the "little Gallic outgear village" is the American company DBX, which has written compressor history with its model 1066. With the model 266 XL in front of me, the "small" variant of the 166 XL, DBX turns only also to the budget productions, without neglecting the classic DBX sound.



Construction

The XL 266 comes with typical 1 HE, a mounting depth of just under 14.6 cm and a weight of 3 kilograms, which may be due to the used, quite solid sheet steel. Production-wise, it's like almost always with the manufacturers, "Designed in the US, made in China". The product is designed as a stereo device, but can also be operated 2x mono. Via a stereo-couple switch, both channels can be controlled together via the controls of the first channel, the controls of the second channel are ineffective in this case.



At the rear, the 266 XL has balanced inputs and outputs, both in XLR (locked) and in balanced jack. A small push switch allows you to adjust the input sensitivity between +4 dB and -10 dB. In addition, each channel can be used via sidechain for frequency-optimized compression, for example as a de-esser. A cold device plug without fine fuse access closes the rear panel. Unfortunately, the XL 266 does not have a power switch.

On the front, the XL 266 has two identical access options for one stereo and two mono channels, respectively. The channels can be activated individually via illuminated bypass switches. From left to right are the controls of the expander / gate section, followed by the compressor section up to the catch-up amplifier.

The gate can be completely deactivated in terms of threshold or adjusted up to + 15 dB threshold, with a ratio of 1:1 to 4:1. Two LEDs (green / red) indicate the ratio of the input level to the set threshold. If the signal is below the threshold, the red LED lights up, if the signal level is above, the green LED lights up.

In the compressor section, in addition to the usual threshold, ratio, attack and release management, the patented Overeasy circuit, an in-house threshold opitimization, watches over the input signal. In addition, an "Auto" button can be used to automate the response and release times, whereby, according to the user manual, this gives you the "classic DBX sound" based on the legendary 1066, which is still traded as an industry standard today.
Two eight-digit LED displays also show the reduction of the input signal from 1 to 30 dB.



Practice

Due to the very practical and multilingual user manual, even the inexperienced user can get a clear picture of the compressor's / noise gate's field of application within a short time. Examples of use are very well described, as is the dynamic context, along with the corresponding compression of the material.

The optical control by means of the LEDs alone is already very helpful to quickly detect the applied signal dynamically and to monitor its processing. For dynamically undemanding material, it is not a big deal that the attack and release times can only be configured rudimetrically between fast and slow by means of two knobs, but complex dynamic jumps overtax these setting options. If you want total control here, you have to move up a price range.

As a second compressor in the studio or as a quick helper in the live area, the device does everything you can expect from a good compressor / gate combination and that all very fast, absolutely uncomplicated and above all, with the highly appreciated DBX sound.

So hundred percent I can not even say why DBX compressors in direct comparison to similar competitors always sound a tick'n "fatter", I only know they do! Even with this budget product, the sound is just right. And once again it proves true, experience can not be replaced by anything!



Conclusion

There is simply a reason why one almost automatically thinks of the name DBX when thinking of Outgear compressors and gates. Even with the aforementioned product for the small purse, you don't have to worry about anything in terms of sound.

The 266 XL has the DBX sound that is appreciated across all styles and knows how to handle all common mono and stereo signals in terms of their dynamic management in just a few steps. Assuming a corresponding compressor experience, the operation of the device is intuitive and brings the desired result within a very short time.

Those who do not work with dynamically highly complex material and can do without the lack of calibration of the attack and release times will find in the XL 266 an accomplished accomplice, which sounds more expensive than one might expect from the price.


Pro:
DBX sound for little money
clear operation
very good automatic


Contra:
sharp protruding screws on the bottom side of the device
jack input sockets not locked to the housing
no exact attack and release times adjustable
no on/off switch

Additional Informations:

- DBX Audio is a well-known American audio equipment manufacturer founded in 1971. The company is headquartered in Salt Lake City, Utah, and specializes in professional audio processing equipment. DBX Audio is a subsidiary of Harman International Industries, which is itself a subsidiary of Samsung Electronics.

DBX Audio's products are designed for professional sound reinforcement and recording applications. They are used in a variety of settings, including live events, broadcast studios, and recording studios. The company's product range includes compressors, limiters, equalizers, crossovers, and digital signal processors (DSPs).

One of DBX Audio's most popular products is the DBX 286S, a mic preamp and channel strip designed for recording and broadcasting applications. The DBX 286S features a built-in compressor, de-esser, enhancer, and expander/gate, all of which are adjustable and designed to help users achieve optimal audio quality. The DBX 286S also features phantom power, a low-cut filter, and a 20dB pad, making it a versatile and powerful tool for audio processing.

Another popular product from DBX Audio is the DBX DriveRack PA2, a loudspeaker management system designed for live sound applications. The DriveRack PA2 includes a powerful DSP processor and a user-friendly interface, allowing users to easily optimize their sound system for any venue. The DriveRack PA2 features advanced features such as automatic feedback suppression, EQ, and delay, making it a valuable tool for any live sound engineer.

In addition to its product range, DBX Audio is also known for its commitment to innovation and excellence. The company's products are designed and manufactured using the latest technologies and highest-quality materials, ensuring that they deliver exceptional performance and durability. DBX Audio's products are also rigorously tested to ensure that they meet the company's strict standards for audio quality and reliability.
DBX Audio is also committed to providing exceptional customer service and support. The company offers a range of resources and tools to help customers get the most out of their products, including user manuals, online tutorials, and technical support services. DBX Audio also offers a comprehensive warranty on all of its products, giving customers peace of mind and protection against defects and failures.

Overall, DBX Audio is a leading manufacturer of professional audio processing equipment, known for its commitment to innovation, excellence, and customer service. With a wide range of products designed for a variety of applications, DBX Audio is a trusted choice for sound engineers and audio professionals around the world. Whether you're looking for a mic preamp, a loudspeaker management system, or any other professional audio processing equipment, DBX Audio has the tools and expertise to help you achieve exceptional audio quality.

- Audio compressors are essential tools for music producers, sound engineers, and other professionals in the audio industry. They are used to manipulate the dynamic range of an audio signal, which is the difference between the loudest and softest parts of the signal. This article will provide a detailed explanation of what audio compressors are, how they work, and their various uses.

What is an Audio Compressor?

An audio compressor is an electronic device or software tool that reduces the dynamic range of an audio signal. The dynamic range of an audio signal is the difference between the loudest and softest parts of the signal. A compressor reduces this range by attenuating the level of the loudest parts of the signal, while leaving the quieter parts relatively unchanged. This process is commonly known as compression.

How does Compression Work?

Compression works by applying gain reduction to the loudest parts of an audio signal. When an audio signal exceeds a certain threshold level, the compressor will reduce its gain by a specified ratio. For example, a 2:1 ratio means that for every 2 decibels (dB) above the threshold, the compressor will reduce the gain by 1 dB. This means that if the input signal exceeds the threshold level by 6 dB, the output signal will only be 3 dB above the threshold.

The attack and release times of the compressor determine how quickly the compressor reacts to changes in the input signal level. The attack time is the time it takes for the compressor to start reducing the gain after the signal exceeds the threshold, while the release time is the time it takes for the compressor to stop reducing the gain after the signal falls below the threshold.

The ratio, threshold, attack, and release times can all be adjusted to achieve different levels of compression. A higher ratio means more gain reduction, a lower threshold means that the compressor will start working at a lower input level, and faster attack and release times mean that the compressor will react more quickly to changes in the input level.

Uses of Audio Compressors

Audio compressors are used in a variety of applications, including music production, broadcasting, live sound reinforcement, and post-production for film and television. Here are some common uses of audio compressors:

Leveling Vocals

Compressors are often used to level out the dynamic range of vocal performances. This ensures that the quieter parts of the vocal are heard in the mix, while preventing the louder parts from overpowering the other instruments. By using a compressor with a fast attack time and a slower release time, a vocal performance can be made to sound more consistent in level and easier to mix.

Controlling Bass

Bass instruments can be difficult to mix, as their low-frequency content can often mask other instruments in the mix. A compressor can be used to control the level of the bass, making it easier to hear the other instruments in the mix. By using a compressor with a slow attack time and a fast release time, the initial attack of the bass can be preserved while reducing the level of sustained notes.

Taming Transients

Some instruments, such as drums and percussion, have sharp, transient peaks that can be difficult to control. By using a compressor with a fast attack time, these peaks can be tamed, allowing the overall level of the instrument to be increased without causing distortion or clipping.

Broadcast Limiting

Broadcasters often use compressors to limit the dynamic range of their programming. This ensures that the program material is consistent in level, regardless of the source material. By using a compressor with a high ratio and a fast attack time, the dynamic range can be reduced without affecting the overall level of the program material.

TEST: Drawmer 1976

Once again, a big name of the earlier decades has set out to dock to old glories. Those born in 1970 and earlier may still remember the pre-DAW days, when tapes and Atari PCs were used to work and synchronize in the biggest and most expensive recording studios. An integral part of any high-quality drum recording were entire Outgear rack systems with Drawmer noisegates and compressors, although the British manufacturer naturally considered other products in its portfolio. With the Drawmer 1976, the manufacturer now brings a processor to the market, which strongly stretches out its feelers in the psychoacoustic field.

The Drawmer 1976's mode of operation

When a manufacturer places its product in one of the most innovative decades of music history, one already has an approximate impression of where the journey is going. Interestingly, however, Drawmer does not go with the 1976 the way of the already heavily occupied area of compressors or filters, but goes into an area that still surrounds a touch of "magic". If one can represent the mode of action of EQs or the like quite wonderfully in an optical variant, then in the psychoacoustic area a correlation meter is possibly still your friend, the rest must be interpreted with the ears. Perhaps this is also the reason why products of this kind still have a niche existence.

As is well known, the only high-flyer in this field, the Aphex Aural Exciter, which originated from an accidentally wrongly wired cable and which was so hotly traded after its release in the mid-seventies that the device could only be rented by the hour, brought it to world fame. Like many other products, the Aural Exciter was slowly laid to rest with the advent of the DAW and its manifold plug-ins. So what drives Drawmer to launch an outgear product in 1U format over 4 decades later, which enters the race with plenty of vintage attitude?

The construction of the Drawmer 1976

The Drawmer 1976 is a stereo processor, which can also operate in mono if required. The processor is used in recording, mixing, as well as in mastering. By means of three different frequency bands, a saturation of the frequency ranges as well as a separate stereo width can be created individually, which allows a very large sound variety.

Let's start with the general appearance of the Drawmer 1976. The unit is solidly built and gives a quality impression. The individual controls are neatly countered on the housing, slabby direct connections to the circuit board without a lock nut are fortunately looked for in vain here. The rear of the Drawmer 1976 is quickly dealt with. Right / Left balanced XLR In and XLR Out, power plug, power switch ready. Here one can do nothing wrong.

At the front, the thing turns around, here it goes really into the nitty-gritty. For a better overview we divide the front into seven areas, as there are:

1.) the input area

2.) the bass frequency band including the controls Saturate, Width and Level

3.) the crossover control for the bass / mid range

4.) the mid frequency band including the Saturate, Width and Level controls

5.) the crossover control for the mid / treble range

6.) the high frequency band including the Saturate, Width and Level controls

7.) the output range



The three frequency bands can also be individually activated and deactivated with the Bypass and Mute switches, or listened to solo or in individual combinations. Let's now take a look at the individual sections in detail.


The input area:

Probably the most unspectacular area of the unit. Only one input control and three colored LEDs (green, orange, red) regulate the input level, whereby the orange area represents the optimal working level. However, it is interesting to note that with a maximum of +15 dBu in the catch-up range on the other side, it is also possible to completely mute the signal using "Off".

The Low Band:

Now it gets down to the nitty gritty. The Saturate control adds a saturation effect to the selected frequency range, which, depending on the setting, offers everything from subtle compression to fuzz-like distortion. The Width control next to it changes the stereo effect from -5 (mono) to +5 (outside the impulse points of the speakers) via the phase position. The Level control now determines the individual volume of the selected frequency band in relation to the other two bands.

The crossover control for the bass / mid range

The crossover frequency of the bass band starts at 70 Hz and can be turned up to 1.5 kHz. This allows for adventurous effects depending on how differently you configure the adjacent frequency ranges. Especially with a continuous loop, just changing the crossover point in real time can provide interesting effects.

The Mid Band (same control as the Bass Band, only with changed frequency)

The crossover control for the mid / treble range

Here the crossover frequency can be selected from 800 Hz up to 15 kHz. Since the two crossover frequencies overlap in a range from 800 Hz to 1.5 kHz, you can additionally achieve weird sounds and effects in the "freak" range.

The High Band (same control as the Mid Band, only with changed frequency)

The Output Range

Here, too, the output can be driven to zero, which I honestly don't quite understand, but so be it. Furthermore there is a mono and a bypass switch for the whole unit. In addition, two 8-digit LED chains indicate the internal level of the product.

The Drawmer 1976 in practice

Although you can certainly use the Drawmer 1976 delightfully as a "fiddling toy" on stage for restless DJs, I focused primarily on its function in recording and mixing. To what extent you change the sound of an instrument already during recording or only in the mixdown, everyone must know for themselves. I for one am not a fan of "We Fix It When We Mix It", especially since this is usually the producer's phrase for "Don't Bug Me" anyway.

Although the Drawmer 1976 is predestined for stereo percussion or drum loops, I also tackled processing of various stringed instruments like electric guitar or electric bass. What I left out are high-gain instruments, which usually have too much compression on their own for further processing to make sense. A word about the loops, all sound files work on the principle off - on - off - on. However, it is always very good to hear when the Drawmer was activated in 1976.

In the area of acoustic drums and tape loops you can hear very well how much especially the midband decisively shapes the sound. In combination with the general increase in loudness, instruments such as snare and parts of the hi-hat come strongly to the fore, but without being sonically annoying. In the bass range, the effect is comparatively subtle, but quickly turns into too much fuzz when used too much.

With the Synth Loop, the individual instruments are not quite so strongly emphasized from the sound image; here you have more to do with a comparatively even increase in loudness and saturation. The Drawmer 1976 can breathe a fair amount of "analogy" into purely synthetic sounds.

With a clean guitar the Drawmer 1976 is to be enjoyed with caution. The quite pleasant saturation is quickly confronted with the problem of distortion, which cannot be compared with the saturation of a tape machine.

To show the fuzz qualities of the Drawmer 1976, a corresponding bass sound is best suited. Here you can very nicely simulate the vintage sound of an old bass recording, although this bass recording could have used a bit more compression.

"And what about the stereo widening" some will ask? I did indeed subtly pull apart some frequency bands to give the sound more width. If you go to the extremes, the transmitted frequency range changes quite massively, especially since you have to sit in the perfect stereo triangle to enjoy the sound, otherwise the effect will be perceived more as phase cancellation. Here I recommend that everyone makes their own picture by getting the product once.

Conclusion

With the Drawmer 1976, one of Outgear's big British names lets loose a real banger. Not only can the stereo processor be used in recording, mixing and mastering, it also offers the possibility to give an interesting life of its own to an inconsequential loop live.

I recommend checking out the product and indulging your playful instincts.

Additional Informations:

- Drawmer Audio is a UK-based company that designs and manufactures high-quality audio equipment. The company was founded in 1981 by Ivor Drawmer, who had already gained a reputation as a successful audio engineer and designer. Drawmer Audio quickly established itself as a leading provider of professional audio equipment, known for its reliability, performance, and innovation.

Over the years, Drawmer Audio has developed a range of products that have become industry standards. One of the company's most famous products is the Drawmer DS201 dual channel noise gate, which was introduced in 1982. The DS201 quickly became a popular choice for recording studios, live sound applications, and broadcast facilities. Its innovative design, which allowed for precise control over the gating threshold and release time, set a new standard for noise reduction.

Another iconic Drawmer product is the MX30 dual channel compressor/limiter/gate, which was introduced in 1987. The MX30 was designed for use in broadcast, recording, and live sound applications, and was known for its transparent sound and flexible control options. It quickly became a popular choice for engineers looking for a versatile and reliable compressor/limiter/gate.

In addition to its classic products, Drawmer Audio has continued to innovate and develop new products. The company's current product line includes a range of compressors, gates, EQs, and preamps, as well as a line of mastering processors. All of Drawmer's products are designed and manufactured in the UK, using high-quality components and rigorous quality control standards.
One of the key features of Drawmer's products is their intuitive and user-friendly design. Drawmer's engineers work closely with professional audio engineers to ensure that each product meets the needs of its intended user. The company's products are known for their transparent and natural sound, as well as their reliability and durability.

Drawmer Audio has received numerous awards and accolades over the years for its products, including multiple TEC Awards and a Resolution Award for its MC3.1 monitor controller. The company's products are used by a wide range of professionals in the music, film, television, and broadcast industries, as well as by hobbyists and enthusiasts who demand high-quality audio equipment.

In conclusion, Drawmer Audio is a highly respected and innovative company that has been at the forefront of the professional audio industry for over 40 years. Its products are known for their reliability, performance, and intuitive design, and are used by professionals and enthusiasts alike. With a commitment to quality and innovation, Drawmer Audio is sure to continue to be a leading provider of high-quality audio equipment for years to come.

- An audio compressor is a device or software that is used to reduce the dynamic range of an audio signal. This means that it reduces the difference between the loudest and quietest parts of the audio signal. Audio compressors are used in a variety of settings, such as music production, broadcasting, and live sound reinforcement. In this article, we will explore what audio compressors are, how they work, and their various uses.

What is an Audio Compressor?

An audio compressor is a signal processing device that reduces the dynamic range of an audio signal. The dynamic range is the difference between the loudest and quietest parts of the audio signal. Audio compressors are used to make the audio signal more consistent in volume, which can help to make it sound better and more professional.

Audio compressors work by detecting the level of the audio signal and then applying gain reduction to parts of the signal that exceed a certain threshold. The amount of gain reduction applied is determined by the ratio setting of the compressor. For example, a compressor with a ratio setting of 2:1 will reduce the gain of the audio signal by half when it exceeds the threshold. A compressor with a ratio setting of 4:1 will reduce the gain of the audio signal by a quarter when it exceeds the threshold, and so on.

Audio compressors can also be used to shape the envelope of the audio signal. This means that they can be used to adjust the attack and release times of the gain reduction. The attack time is the time it takes for the compressor to begin reducing the gain of the audio signal when it exceeds the threshold. The release time is the time it takes for the compressor to stop reducing the gain of the audio signal when it falls below the threshold.

Uses of Audio Compressors

Audio compressors are used in a variety of settings, such as music production, broadcasting, and live sound reinforcement. In music production, audio compressors are used to make vocals and instruments sound more consistent in volume. This can help to make the mix sound more polished and professional. Audio compressors can also be used to shape the envelope of individual sounds, which can help to create a more dynamic and interesting mix.

In broadcasting, audio compressors are used to make sure that the audio signal stays within a certain range of volume. This can help to prevent the audio signal from being too loud or too quiet, which can be distracting to listeners. Audio compressors can also be used to ensure that speech is more intelligible, especially in noisy environments.

In live sound reinforcement, audio compressors are used to make sure that the audio signal stays within a certain range of volume. This can help to prevent feedback and ensure that the audio signal is clear and intelligible to the audience. Audio compressors can also be used to shape the envelope of individual sounds, which can help to create a more dynamic and interesting mix.

Types of Audio Compressors

There are several types of audio compressors, each with its own characteristics and uses. The most common types of audio compressors are:

VCA (Voltage-Controlled Amplifier) Compressors: These are the most common type of compressor used in music production. They are known for their fast response time and transparent sound.

Optical Compressors: These compressors use a light source and an optical sensor to control the gain reduction. They are known for their smooth sound and gentle compression.

FET (Field-Effect Transistor) Compressors: These compressors use a FET to control the gain reduction. They are known for their aggressive sound and fast response time.

Tube Compressors: These compressors use a vacuum tube to control the gain reduction. They are known for their warm and natural sound.

TEST: Digitech Whammy 5

Happy the one who is lucky enough to be the first. Every manufacturer dreams of it, only the fewest are granted it. We are talking about the creation of a true classic, whose product name Kleenex is directly linked to the name of the manufacturer. A small example, Plexi ... Rectifier ... TS-9 and also the Whammy pedal. Digitech probably would not have hoped for this in its wildest dreams 13 years ago, to establish a completely new effect of its time until today.

A large part of the ultimate success may have contributed Tom Morello's solo in the song "Killing In The Name", which with sounds beyond the guitar fretboard of its time caused many guitarists only incredulous head shaking at the exalted guitar work. A comparable effect had never been heard before on a guitar and accordingly hit like a bomb. In the meantime, DigiTech, a company belonging to the Harman Group, has brought version 5 of the Whammy pedal onto the market, and the product has once again improved on its predecessor in terms of quality and practicality.

Design

The pedal, classically designed in bright red, is manufactured in the USA and comes, as expected, in a very robust construction. The almost 1.5 kg weight is distributed on four rubber feet, which also show a very good "stickiness" on smooth surfaces. The product has a jack input and output plus a MIDI jack to control the Whammy remotely if necessary. The last jack to note is the input jack of the included power supply, battery operation is not possible.

The left-mounted expression pedal is not to be surpassed in stable construction. Solid sheet steel, clean workmanship and a circumferential rubber pad for the foot suggest a long durability. No matter how much heavy footwear is used, this rocker will not be smashed by anyone, unlike the plastic version of some competitors.

For the first time, a Whammy pedal comes with a true bypass switch, so it can also be placed before other effect pedals without the frequency response being affected too much due to a buffer function. Remember, first Whammy Pedal, then the distortion in the signal chain. Via an endless controller, you can choose between 20 different presets, which are conceptually divided into the Harmony, Whammy and Detune sections.

In the Whammy section, the delivered signal can be shifted selectively via pure fourth, pure fifth, 1 octave, 2 octaves up, respectively major second, pure fourth, pure fifth, 1 pure octave, respectively 2 pure octaves down. In the Harmony section intervals are added proportionally, alternatively 1 octave higher / 1 octave lower, fifth lower / fourth lower, fourth lower / third lower, fifth higher / seventh higher, fifth higher / sixth higher, fourth higher / fifth higher, third higher / fourth higher, minor third higher / major third higher and second higher / third higher. The expression pedal controls the proportion of the added interval in each case.

In Detune mode, you have a kind of mixable standing chorus, which is offered in two strengths (Shallow / Deep). In addition, you can choose between the modes "Classic" and "Chords" by means of a mini-switch. The "Classic" mode has been optimized for single notes, the "Chords" mode is self-explanatory for chords. If you ever have problems with the control path of the effect, you can recalibrate the Whammy pedal in no time. To do this, interrupt the power supply to the device and initiate it again while holding down the On/Off switch. Then a few targeted movements with the expression pedal and the control range is redefined.


Practice

The 5th generation or tradition obliges, whereby the verb obligate mostly refers to the area of improvement, respectively further development. One or the other will not be unjustified in asking what could be improved on the Whammy 5, or what its predecessors didn't have, but first things first.

The first thing that stands out is the excellent quality of the sound signal. The processor works tonally very well, generates the effect almost latency-free and also leaves the signal untouched in terms of formants over wide control ranges. It goes without saying that with 2 octaves of pitch, sound shifts occur at a certain point of the pitching, but this is also desired by the artist, or can be integrated into the performance / composition.

In terms of sound comparison to its predecessors, the Whammy 5 beats all its predecessors, as long as it is about a preferably coloration-free reproduction. For example, the pedal sounds almost too clean in direct comparison to the first-generation edition, with which Tom Morello recorded his huge hit, but in my opinion this is the much better option. Sonic "digital slobber" which still fed the first generations with plenty of artifacts in the signal, no longer occurs in this version.

In direct comparison, the two modes Classic and Chords differ in particular by a somewhat "smoother" operation in Chords mode, which reduces the unpleasant digital artifacts to a minimum. What I personally like very much are the Detune presets, which really create a very nice and at the same time independent chorus effect, very successful.

And the Whammy effect itself? Nomen est omen, that is, if you want Whammy, you need Digitech. The effect is the famous one-in-a-million thing, which can be identified in fractions of a second. Just the other day, as a member of the Guitar Fight Club jury, I was listening to various guitarists in an improv duel, where one of the musicians very tastefully integrated this pedal into his performance. The jury only looked at each other briefly and everyone knew which product it was, you can't do that with any other effect in such a short time.



Conclusion

The Whammy effect is one of the few outstanding effects that have made it to world fame in recent years due to their uniqueness. Nothing compares, unless it is a Whammy copy. The recognition value is immense, the signal quality excellent, the processing exemplary.

Intelligently integrated into the tonal context, the Whammy pedal enables unique effects that let the electric guitar advance in terms of expression into regions of a synthesizer, but without losing its guitaristic approach and expression. Traditional as well as experimental sounds can be easily realized without the need to use mechanical aids such as vibrato systems or neck bending. If you want a whammy effect, you can't go past Digitech.

Additional Informations:

- Digitech Pedals is a renowned music gear manufacturer that specializes in the production of pedals for guitarists, bassists, and other musicians. The company was founded in 1984 and has been at the forefront of the industry ever since. With its wide range of innovative products, Digitech has become a household name among musicians worldwide.

The company's product lineup is vast, including everything from distortion and overdrive pedals to multi-effects processors and loopers. Whether you're a beginner or a seasoned pro, Digitech has something for everyone. Their products are designed to deliver exceptional sound quality, versatility, and ease of use.

Digitech's commitment to innovation is evident in its products, with each new release featuring groundbreaking technology that sets the standard for the industry. For example, their Whammy pedal, which was first released in 1989, is still considered one of the most innovative pitch-shifting effects pedals on the market.

Another standout product is the Trio band creator pedal, which was released in 2014. This pedal allows guitarists to create complete backing tracks by simply playing chords. The pedal uses advanced algorithms to analyze the chords and create realistic bass and drum parts in real-time, giving guitarists the ability to play along with a full band.

In addition to its innovative products, Digitech is also committed to providing excellent customer service. The company has a dedicated support team that can help customers with any questions or issues they may have. Additionally, Digitech offers a 1-year warranty on all of its products, giving customers peace of mind knowing that they are buying a quality product that is backed by the manufacturer.

Digitech's products are used by a wide range of musicians, from bedroom guitarists to professional touring musicians. Some notable artists who use Digitech pedals include David Gilmour of Pink Floyd, Steve Vai, Joe Satriani, and John Mayer, among many others.

Overall, Digitech Pedals is a company that is dedicated to providing musicians with innovative and high-quality products that inspire creativity and musical expression. Whether you're a beginner or a seasoned pro, Digitech has something for everyone, and their commitment to customer satisfaction makes them a top choice for musicians worldwide.

- Digitech’s Whammy Pedal is one of the most iconic and innovative pitch-shifting effects pedals on the market. It was first released in 1989 and has since become a go-to pedal for guitarists looking to create unique and experimental sounds.

The Whammy Pedal is a pitch-shifting pedal that allows guitarists to change the pitch of their notes by up to two octaves up or down. This can be done in real-time, allowing guitarists to create incredible sounds on the fly. The pedal is also capable of creating other effects such as detuning, harmonizing, and vibrato.

One of the most notable features of the Whammy Pedal is its "Whammy Bar" mode. In this mode, the pedal acts like a tremolo arm on a guitar, allowing guitarists to create pitch-bending effects by simply pressing down on the pedal. This mode has become a staple for many guitarists and has been used in countless songs and recordings.

Another notable feature of the Whammy Pedal is its "Dive Bomb" effect. This effect allows guitarists to create a dramatic and powerful sound by quickly dropping the pitch of their notes. This effect has been used by many guitarists, including Tom Morello of Rage Against the Machine and Eddie Van Halen.

Over the years, the Whammy Pedal has gone through several updates and revisions. The most recent version, the Whammy 5, features new modes and improved sound quality. It also includes MIDI input and output, making it easier to integrate into complex guitar rigs and recording setups.

The Whammy Pedal has been used by countless guitarists over the years, including Steve Vai, Tom Morello, Jack White, and many others. Its unique and innovative sound has made it a staple of many genres, including rock, metal, and alternative music.

In conclusion, Digitech's Whammy Pedal is a groundbreaking and innovative pitch-shifting effects pedal that has been a go-to for guitarists for over 30 years. Its unique features and sound have made it a staple for many guitarists, and its continued updates and revisions ensure that it remains relevant and useful in today's music industry. Whether you're a beginner or a seasoned pro, the Whammy Pedal is a must-have for any guitarist looking to create unique and experimental sounds.

- Tom Morello is an American musician, best known for his work as the guitarist for the rock bands Rage Against the Machine and Audioslave. He is widely regarded as one of the most innovative and influential guitarists of his generation, and his unique playing style has had a significant impact on the world of rock music.

Morello was born on May 30, 1964, in Harlem, New York City. He grew up in a politically active family and was heavily influenced by the social and political issues of the time. He began playing guitar at the age of 17 and quickly developed his own unique style, incorporating elements of heavy metal, punk rock, and hip-hop.

In the late 1980s, Morello moved to Los Angeles to pursue a career in music. He quickly established himself as a talented guitarist and began playing in various bands around the city. In 1991, he formed the band Rage Against the Machine with singer Zack de la Rocha, bassist Tim Commerford, and drummer Brad Wilk.

Rage Against the Machine's self-titled debut album was released in 1992 and quickly became a critical and commercial success. The album's politically charged lyrics and innovative sound, which combined elements of heavy metal, punk rock, and hip-hop, helped to establish the band as a major force in the world of rock music.

Morello's playing style on the album was particularly notable, as he utilized a range of unique techniques to create his distinctive sound. These included heavy use of effects pedals, alternate tunings, and unconventional playing techniques such as tapping and scratching.

In addition to his work with Rage Against the Machine, Morello has also played with other notable musicians over the years. In 2001, he formed the band Audioslave with former members of Soundgarden, and the band released three albums before disbanding in 2007. Morello has also played as a solo artist, releasing several albums under his own name.

Throughout his career, Morello has been known for his political activism and his commitment to social justice. He has been involved in various political causes over the years, including labor rights, environmentalism, and anti-racism. He has also been a vocal critic of the policies of the U.S. government, particularly in the areas of foreign policy and civil liberties.

In recognition of his contributions to music and activism, Morello has received numerous awards and accolades over the years. He has been named one of the 100 greatest guitarists of all time by Rolling Stone magazine and has been inducted into the Rock and Roll Hall of Fame twice, once with Rage Against the Machine and once with Audioslave.
In conclusion, Tom Morello is an iconic and influential guitarist who has had a significant impact on the world of rock music. His unique playing style, political activism, and commitment to social justice have made him a revered figure among music fans and activists alike.