It is what it is, some product groups captivate the inclined user already because of their outer appearance, while other products are perceived more as a necessity than as acoustic jewelry. Who hasn't been fascinated by a quintuple maple top or stood in awe in front of a fat fullstack? And what do all these products have in common? They depend on the most inconspicuous and at the same time the most important element of the signal chain, the cable.
Apart from the fact that cables significantly determine the quality of the sound, they are also the 95% that cause a defect. Therefore, the sound quality and workmanship of a cable can not be emphasized enough in terms of practicality. So far, so good, in fact up to here not really something new for the experienced musician.
However, up to now there was a kind of "speed of light" in the unbalanced instrument cable sector, or rather a cable length, which led to a merciless devaluation of the sound after exceeding the same, whereby one must say for the sake of fairness that this was used by some blues musicians as a welcome aid to curb the biting highs of their vintage single coils. Normally, however, due to the capacity of a cable, anything above 6 meters was accompanied by a reduction in treble.
The maximum of feelings was represented by the 9 meter cable, which slightly scratched the height barrier, but basically still corresponded to 90% of the original sound of the pickups. Cable lengths longer than that could no longer be bought as ready-made, if at all you had to solder the length yourself, or have it soldered by the screwdriver of your choice.
Why do I keep using the past tense in my test so far? Well, the German company Cordial has brought with the Cordial CSI 15 PP-Metal for the first time a ready-made 15 meter cable on the market, which apparently does not want to adhere to the empirical values from physics and the associated economy. Daring, one might think, or maybe not?
Concept
To clarify it right away, who now follows the test with his EMG axe a bit incredulous in the sense of "I've never noticed that with the cable length", may lean back relaxed and trust his ears again. The capacity analysis described above only applies to passive, i.e. high-impedance pickups. EMG, the most popular representatives of active pickups, work with low impedance signals, which allows the use of cables with a length of up to 30 meters without any loss of sound. The same "only" need to pay attention to the processing of the instrument cables, the capacity is of secondary importance here.
The classic rock, pop and blues guitarist, on the other hand, most likely uses passive pickups, which so far have stretched the sails at said 9 meters. Attention, not to forget, if one operates a pedalboard, which is equipped exclusively with true bypass switch and one has placed no buffer amp in the signal path, also already 2 pieces of 6 meter cable can grow by the addition to 12 meters!
Well then, how can the Cordial CSI 15 PP-Metal cable help us solve the problem? Cordial has gone and maxed out the copper content in their Metal series. The Conductive Plastic covered cable, which is based on the Cordial CGK 175 meter cable, has an extremely low capacitance of only 88pF / m due to the use of oxygen-free copper and the unusually high number of 42 inner conductor strands. Matching the copper base color of the cable, a special edition of gold-plated Neutrik connectors was also installed. The processing is, as always with Cordial cable in this league absolute top class.
Practice
OK, the first question, why do you need 15 meters of cable at all? Wacken, ok, Rock am Ring, also clear, but even at an average open air stage, the guitarist / bassist is hardly more than 9 meters away from his amp / floorboard, right? And then he surely has a transmitter, right? Regarding the transmitter, here there are simply 2 camps, some love transmitters, others hate them. The sonic and technical differences would go beyond the scope of this test, so we'll just leave it at that and devote ourselves to the camp that wants to play with cable.
If you just want to plug the cable between guitar and amp, shorter lengths may be enough, but then the good piece lies across the stage and the great friend of the guitarist, the agile front man, traps on the same at every opportunity and thus promotes the wear of the product. If you want to prevent this, lay the cable at the edge of the stage around the entire stage and lead it back to the amp. The same applies to the output floorboard connection to the amp.
It's also nice if the guitar tech has its place on the other side of the stage. If there's a problem during the show, it's always easier to run to the tech with a long cable than to draw his attention with wild hand-waving movements.
Sound
This is explained very quickly. I don't know how Cordial managed it, but there is virtually NO difference in sound between the 9, 12 and 15 Metal cables of the Cordial CSI 15 PP-Metal series! The 6 meter variant still has a little tick'n more treble in the basic sound, but from there the sound actually remains identical, although it should decrease purely mathematically in quality. Fantastic!
Conclusion
With the Cordial CSI 15 PP-Metal, Cordial brings by far the best-sounding 15 meter instrument cable to the market. What previously seemed unfeasible in terms of sound, the German company has managed due to their vast experience and using the best materials. Sound differences can no longer be perceived between the 9, 12 and 15 meter versions, which in the future will allow increased use of the length that is often more useful in practice.
Top rating, definitely test it!
Additional Informations:
- Cordial Cables is a German company that has been manufacturing high-quality audio and video cables for over two decades. Founded in 1995 by Manfred Niederauer, Cordial Cables has become a leading name in the audio and video industry, delivering top-notch products to professional musicians, recording studios, and broadcasting companies all over the world.
Quality and Innovation
Cordial Cables is known for its commitment to quality and innovation. The company uses only the best materials and production techniques to create its cables. Each cable is hand-assembled and tested by skilled technicians to ensure that it meets the highest standards of quality and reliability. This attention to detail has earned Cordial Cables a reputation for producing some of the best audio and video cables in the industry.
In addition to its dedication to quality, Cordial Cables is also known for its innovative approach to cable design. The company has developed a range of patented technologies that improve the performance and durability of its cables. For example, Cordial Cables' "Anti-Kink" technology prevents cables from becoming twisted or tangled, while its "Triple Shielding" technology minimizes interference and noise.
Product Line
Cordial Cables offers a wide range of audio and video cables to meet the needs of professional musicians, recording studios, and broadcasting companies. Its product line includes:
Instrument Cables: Cordial Cables' instrument cables are designed to provide high-quality sound transmission and durability. The company offers a range of cables for different instruments, including electric guitars, basses, and keyboards.
Microphone Cables: Cordial Cables' microphone cables are designed to deliver clear, accurate sound with minimal interference and noise. The company offers a range of cables for different microphone types and applications.
Speaker Cables: Cordial Cables' speaker cables are designed to deliver high-quality sound with minimal loss or distortion. The company offers a range of cables for different speaker types and applications.
Patch Cables: Cordial Cables' patch cables are designed to provide reliable connections between audio equipment. The company offers a range of cables for different applications, including effects pedals, studio equipment, and rack-mounted gear.
Video Cables: Cordial Cables' video cables are designed to provide high-quality image transmission with minimal interference and noise. The company offers a range of cables for different video formats, including HDMI, VGA, and DVI.
Custom Cables: Cordial Cables also offers custom cable design and production services. The company can create custom cables to meet the specific needs of individual customers.
Sustainability
Cordial Cables is committed to sustainability and social responsibility. The company uses environmentally friendly materials and production techniques wherever possible, and it takes steps to minimize its impact on the environment. Cordial Cables also supports charitable organizations and community projects in its local area.
Conclusion
Cordial Cables is a leading name in the audio and video industry, known for its commitment to quality, innovation, and sustainability. The company's dedication to creating high-quality, reliable cables has earned it a reputation as one of the best in the industry. Whether you're a professional musician, recording studio, or broadcasting company, Cordial Cables has a wide range of products to meet your needs.
- Copper: Properties, Uses, and History
Copper is a chemical element with the symbol Cu and atomic number 29. It is a soft, ductile metal that has excellent thermal and electrical conductivity, making it a valuable resource in modern technology. In this article, we will explore the properties, uses, and history of copper.
Properties of Copper
Copper is a reddish-orange metal that is soft and malleable. It has a relatively low melting point of 1,984°F (1,083°C) and a boiling point of 5,301°F (2,927°C). Copper is an excellent conductor of heat and electricity, and it is highly resistant to corrosion.
In its pure form, copper is relatively soft and malleable, making it easy to work with. However, when it is alloyed with other metals, such as zinc or tin, it becomes stronger and more durable. Copper alloys are used in a wide range of applications, from electrical wiring to construction materials.
Uses of Copper
Copper has been used for thousands of years, dating back to ancient civilizations such as the Egyptians and the Romans. It was prized for its beauty and durability, and it was often used to make decorative objects, jewelry, and weapons.
Today, copper is used in a wide range of applications, including:
Electrical Wiring: Copper is an excellent conductor of electricity, which makes it the ideal material for electrical wiring. It is used in everything from power grids to household appliances.
Plumbing: Copper is also commonly used in plumbing because of its excellent corrosion resistance and durability. It is often used to make pipes, fittings, and valves.
Construction Materials: Copper is used in construction materials such as roofing, gutters, and flashing. It is also used in architectural features such as sculptures, statues, and domes.
Industrial Applications: Copper is used in a wide range of industrial applications, including heat exchangers, radiators, and boilers. It is also used in the production of alloys, such as brass and bronze.
Medical Applications: Copper is used in medical applications such as dental fillings, surgical instruments, and prosthetics. It is also used in some medications and dietary supplements.
History of Copper
Copper has been used by humans for thousands of years. The oldest known copper artifacts date back to the 8th millennium BC and were found in present-day Iraq. Copper was also used in ancient Egypt, Greece, and Rome, where it was prized for its beauty and durability.
During the Industrial Revolution, copper became even more important as a resource. It was used in the production of steam engines, telegraphs, and electrical wiring. The demand for copper continued to grow throughout the 20th century as new technologies such as automobiles and computers were developed.
Today, copper remains a valuable resource in modern technology. It is used in everything from smartphones to solar panels. The global demand for copper continues to grow, and it is estimated that the world will need over 40 million metric tons of copper by 2035.
Conclusion
Copper is a valuable resource that has been used by humans for thousands of years. It has excellent thermal and electrical conductivity, making it ideal for a wide range of applications in modern technology. Copper is used in everything from electrical wiring to medical applications, and its demand continues to grow as new technologies are developed. As one of the most versatile and useful elements on the periodic table, copper will undoubtedly continue to play a vital role in our lives for many years to come.
Dienstag, 21. März 2023
TEST: Cordial Metal Cable
TEST: Chapman Guitars ML3 Bea Rabea Massaad Baritone
OK, I admit it, I love baritone guitars when it comes to drop tunings. No standard guitar, no matter how high quality, is able to reproduce the crisp and incisive tone of a quality baritone guitar. Why? Coming up in the test! What are we testing? A Chapman Guitars ML3 Bea Rabea Massaad Baritone!
Why baritone guitars?
OK, a bit of physics must be involved, but really only in a very rudimentary way. When our piece of wire, called a string, is stretched between 2 points with a certain tension, a certain tone will sound when it vibrates. If we shorten this distance but keep the tension, the tone will be higher, the other way around, if we lengthen the distance but keep the tension, the tone will be lower. So far, so good. This means that if we shorten the scale length of an instrument, the string tension decreases for the same pitch, or increases for a longer scale length.
So, for fun, let's take a standard 010 set in standard tuning. Already with a drop tuning of 2 semitones we have a single slobber on the fingerboard. The alternative, a thicker set of strings, e.g. a 011 set. This game can be continued 1 to 2 times, but at the latest from the 012 set the G-string is already wound and at the latest at 013 it's over, unless you take a special set, such as my signature string set ( https://www.thomann.de/de/pyramid_axel_ritt_013_056_string_set.htm ), whereby I play this in standard tuning, but this is another story.
With increasing thickness of the strings, however, the swinging in and out behavior of the strings also changes, so that a clean tone shaping no longer wants to succeed with a standard scale length. The solution to this problem lies in the scale length. By lengthening the scale length, comparatively thinner strings can be tuned much lower, resulting in a much better defined tone with much more character. A strong baritone string set with the thickest still cleanly vibrating plain G-string would be, for example, this set here ( https://www.thomann.de/de/pyramid_axel_ritt_signature_baritone.htm ).
As before, too little string tension is the main problem for a defined downtuning. The strings quickly sound "boomy" and they may only be "stroked", since a harder attack causes the string tension to shoot up and the intonation of the guitar to go to hell, even with the best octave purity. Conclusion, the lower the tuning the longer the scale length aimed for.
The construction of the Chapman Guitars ML3 Bea Rabea Massaad Baritone
The Chapman Guitars ML3 Bea Rabea Massaad Baritone is the baritone version of YouTuber Rabea Massad's signature series. A review of the standard version of the ML3 can already be read here ( https://www.amazona.de/test-chapman-guitars-ml3-std-bea-mensis-e-gitarre/ ), so this review is primarily about the differences to the baritone version.
At first glance, the guitars do not seem to differ that much, if you disregard the retail price, but this is probably also due to the country of manufacture. While the standard version is made in the "real" low-wage country Indonesia, the baritone version is built in Korea, which results in a store price that is almost twice as high. But one should also consider the expected sales figures, where a standard guitar is always ahead of the baritone version.
Again, a Tele body is used, but somehow the pickup arrangement seems to be different. This is not an optical illusion, but is based on the scale length of just under 711 mm, which, unlike many other competing specimens also labeled as baritone guitars, is already a full-blown baritone guitar. Not everyone has to use an extreme scale length of 760 mm, as is the case with my custom baritone guitars, but to speak of a "baritone" below a scale length of 700 mm, I find a bit "audacious".
This scale length could theoretically be implemented by simply extending the neck, but this would cause a problem. It is well known that the optimal vibration point for the neck pickup is below the 24th fret. On some guitars, the neck pickup is moved back a bit in favor of two more frets, but loses a bit of character as a result. If one wanted to place the neck pickup on a baritone guitar simply by extending the neck below the 24th fret, the pickup would have to be placed almost completely in the neck. Furthermore, the shifted center of gravity would greatly increase the top-heaviness of the instrument.
To counteract this, almost all baritone guitar manufacturers move the bridge construction and bridge pickup further back, so that the neck pickup can just be placed on the body near the base of the neck. This has of course optically and also play-technically the consequence that the distance between bridge and neck pickup is clearly larger, than with a standard guitar. This is also the case with the Chapman Guitars ML3 Bea Rabea Massaad Baritone, so the instrument looks a bit "different" and also plays a bit differently, especially with palm muting playing styles. However, one quickly gets used to the changed dimensions.
Apart from these differences in basic construction, many points between the two instruments are identical. Both instruments feature a toasted and bolt-on maple neck with ebony fingerboard. However, on the baritone version, the manufacturer has placed fluorescent dot inlays on the fretboard side to aid orientation on a dimly lit stage. Otherwise, shaping, pickups, alder as body wood, maple top, natural binding, circuit, everything as with the standard version. Only the weight is slightly higher at just under 3.6 kg, because more wood was used.
But wait, the final inspection has slopped properly. With Indonesian production, one could possibly turn a blind eye, but not with Korean production. On the Chapman Guitars ML3 Bea Rabea Massaad Baritone is a baritone string set with wound G-string, here D-string. You can do this, and it is not unusual, as long as you don't want to do any bending on the instrument. However, if you string such a set, the octave purity must also be adjusted accordingly. On a standard set with a plain G string, the characteristic octave purity offset is always between the last wound string (D) and the first plain string (G). However, this offset must be between the G and B (B) strings on a set with a wound G string (baritone D string), as it is on a steel string acoustic guitar, which is not the case on this guitar.
Rather, the assumption is that the octave purity was adjusted by eye, since this misadjustment should have been noticed during a proper adjustment via a tuner. The adjustment error should have been noticed during the final inspection at the latest. Anyway, 5 minutes of adjustment work with the right tool, maybe 10 minutes if you want to check the other strings at the same time for safety's sake and good.
The Chapman Guitars ML3 Bea Rabea Massaad Baritone in practice
Like any other baritone guitar with an "adult" scale length, the Chapman Guitars ML3 Bea Rabea Massaad Baritone feels a bit unusual for a standard guitarist at first impression, which has not only to do with the extended scale length. Especially the swinging in and out behavior of the longer strings needs a little getting used to. Although the sound itself comes across very crisp and concise in unamplified mode, the strings physically always need a few milliseconds longer until they have reached their targeted oscillation rate. This is not noticeable in normal playing mode, but if you want to drive a few shredding attacks, you will be slowed down a bit here and there, especially in the lower registers.
Sound-wise, the Chapman Guitars ML3 Bea Rabea Massaad Baritone offers the same advantages and disadvantages as the standard version. The guitar resonates very well, the sustain is outstanding especially in chord playing and the overall appearance of the guitar knows how to convince.
Unfortunately, as with the Standard, the two Chapman pickups can not really convince me. The basic sound of the pickups is comparatively harsh and "angular", a real feel-good feeling just does not want to arise. Even if the construction of the guitar offers a good basis for a singing tone, the pickups again do not manage to transfer the structural quality of the guitar. In addition, there is a mechanical problem with the neck pickup. When struck harder, the high B string wedged itself under the overhanging edges of the coil body at the top several times, not really nice.
Conclusion
With the Chapman Guitars ML3 Bea Rabea Massaad Baritone, the British manufacturer has a good baritone guitar in its catalog, which also deserves the designation baritone due to the decent scale length. While the structural substance of the instrument is convincing, the pickups unfortunately could not really convince me due to the "angular" basic sound.
Additional informations:
Chapman Guitars is a British guitar company founded by Rob Chapman in 2009. Since its inception, Chapman Guitars has established itself as a major player in the guitar industry, offering high-quality guitars at affordable prices. In this article, we'll take a deep dive into Chapman Guitars and explore what makes this company so unique.
The Early Days
Rob Chapman, the founder of Chapman Guitars, began his career in music as a guitar teacher in the early 2000s. He quickly became a popular guitar teacher and began making YouTube videos to share his knowledge with a wider audience. In 2009, he decided to start his own guitar company, and Chapman Guitars was born.
Initially, Chapman Guitars was a small operation, with Rob Chapman designing and selling guitars out of his garage. However, the company quickly gained a following, and demand for Chapman Guitars grew. Today, Chapman Guitars has a team of employees and a dedicated fan base around the world.
Design Philosophy
One of the things that sets Chapman Guitars apart from other guitar companies is their design philosophy. Rather than simply copying classic guitar designs, Chapman Guitars takes inspiration from a wide range of sources, including modern and futuristic designs. This has resulted in a unique lineup of guitars that stand out from the crowd.
Chapman Guitars also places a strong emphasis on playability. All of their guitars are designed with the player in mind, with comfortable neck profiles and easy access to the upper frets. The result is a lineup of guitars that are not only visually striking but also comfortable and easy to play.
Affordable Prices
Another major factor that sets Chapman Guitars apart is their commitment to affordable prices. While many high-end guitar companies charge thousands of dollars for their instruments, Chapman Guitars offers guitars that are accessible to a wider audience. This has made Chapman Guitars a popular choice for musicians who want a high-quality guitar without breaking the bank.
Despite their affordable prices, Chapman Guitars does not sacrifice quality. All of their guitars are made with high-quality materials and are designed to last. This has earned Chapman Guitars a reputation for producing some of the best guitars in their price range.
The Product Lineup
Chapman Guitars offers a wide range of guitars, from traditional designs to more modern and unconventional shapes. Here are some of the most popular guitars in the Chapman Guitars lineup:
ML1
The ML1 is one of the most popular guitars in the Chapman Guitars lineup. It is a modern take on the classic double-cutaway design, with a lightweight basswood body and a comfortable, satin-finished neck. The ML1 is available in a variety of finishes, including solid colors and stunning quilted maple tops.
ML2
The ML2 is a variation on the ML1 design, with a slightly thicker body and a set-neck construction. The result is a guitar with more sustain and a warmer tone. The ML2 is available in a variety of finishes, including a stunning flame maple top.
Ghost Fret
The Ghost Fret is a unique guitar design that takes inspiration from modern and futuristic shapes. It features a beveled mahogany body and a satin-finished neck with 24 jumbo frets. The Ghost Fret is available in a variety of finishes, including a stunning red-to-black fade.
Traditional Series
For those who prefer more traditional guitar designs, Chapman Guitars offers the Traditional Series. These guitars take inspiration from classic designs, with features like bolt-on necks and traditional finishes. The Traditional Series includes models like the ML3, ML4, and ML5.
Montag, 20. März 2023
TEST: Engl A101
With hardly any other instrument are joy and sorrow as close together as with the acoustic guitar. On the one hand, the instrument is bursting with independence in terms of transport and flexibility, just think of the countless bed-in-the-cornfield style possibilities regarding singer/songwriter, on the other hand, you can pack your bag when the volume bullies of the electric guitar or drum faction unpack their potency.
Only the feeding of the monitor system including all the disadvantages such as the dependence on the monitor man and the eternal fight against the low-frequency feedback was until recently the measure of all things to get an ear on a stage. As far as I know, almost 30 years ago it was Trace Elliot, among others, who heard the plea of acoustic guitar players and developed an acoustic combo similar to an electric guitar combo, which was of high quality, but also heavy and expensive.
As expected, it was a bass amp manufacturer who had an open ear for acoustic guitarists, since the electric guitar amplifiers and especially their cabinets with their essential treble clipping by the 12 inch speakers were anything but open for a specialized amplifier for acoustic instruments. The same still have their wedge solution, see above, a real drama.
Thanks to Class-D power amplifiers and modern manufacturing methods, the middle ages of acoustic amplifier technology are long gone and have been taken over in the last especially by manufacturers who primarily drew attention to themselves through their success in the electric guitar sector. The Saarland-based manufacturer Hughes & Kettner can now join this merry band, which with the Hughes & Kettner Era 1 releases an in many respects extraordinary amplifier on the market, or should we better speak of a miniature P.A.?
Design and construction
In order to give the Hughes & Kettner Era 1 a special treatment during development, the services of acoustics specialist Michael Eisenmann, who was a leader at the renowned acoustic amplifier manufacturer AER, were secured.
Although the Hughes & Kettner Era 1 is primarily associated as an amplifier for an acoustic guitar with a built-in pickup, one should be aware from the outset that the combination of a 250 watt power amplifier with a 1 inch dome tweeter / 8 inch bass speaker can also amplify other acoustic instruments such as accordion, string instruments or zither. Due to the wideband playback, keyboards or vocal microphones can also be connected, which, due to the four-channel mixer section, quickly turns the amplifier into a typical "vocal system".
Conceptually, the Hughes & Kettner Era 1 has 2 identical channels, which, in addition to a gain control and a 3-band tone control, also have an FX selector for the internally installed 16-fold FX device along with FX control. An EQ switch can be used to change the center frequencies of the tone controls, with Mode 1 being designed more for steel string instruments and Mode 2 more for nylon string instruments. Similarly, Mode 1 is more suitable for male voices, Mode 2 for female voices. Furthermore, each channel has a clip display, a shape display, and a control for the sound.
All of these controls and buttons are located on the top of the cabinet, along with volume controls for channel 3 and a master notch and master volume control that are recessed for transport reasons. All inputs and outputs of the Hughes & Kettner Era 1 are located on the rear of the cabinet.
While channels 1 and 2 are fed via lockable combo jacks (XLR / TRS), whereby 48 V phantom power can be optionally connected and thus designed for amplifying acoustic instruments and microphones, channel 3 (mini stereo jack) and channel 4 (TRS) are responsible for feeding MP3 players or high-level instruments. Both channels nevertheless have a separate volume control.
As a circuit trick one has to see the FX Send over channel 4, with which an external FX processor can be used. In this case, the internal FX processor is disabled and the FX knob controls the external FX device. Attention, in this case with the external processor set the FX portion to 100%!
To support the acoustic ambience visually as well, the Engl A101 comes in a sophisticated wood finish, which gives the impression of brown leather, but is based on multi-layer plywood, in contrast to the typical synthetic leather covering of a rock/blues combo. All corners have been rounded, corner or edge protectors are looked for in vain for optical reasons. All knobs and switches were placed recessed, so that the combo offers as little surface for external impact during transport as possible. The amp was developed by Engl, but it is built in Italy by the Scherfler company.
With dimensions of 28 x 41 x 37 cm and a weight of 13 kilograms, the amp is comparatively manageable on the road, especially since it delivers 150 watts of power despite its small dimensions. By means of two recessed handles, the combo can be transported well. 4 strong rubber feet ensure that the combo remains in the place where it was placed.
The power is transmitted by an 8 inch bass speaker, which sits in a reflex cabinet and a tweeter. Unlike an electric guitar amp, whose treble response is deliberately cut due to the harsh distorted sound by using bass speakers alone, an acoustic guitar amp must be able to reproduce the full range of generated frequencies, which is why Engl also specifies a frequency response of 40 Hz - 20 kHz.
The entire control panel is also appealingly different, reminding us more of a mixing console interface than a guitar head. Where in the electric guitar field distortion is created by means of gain controls, in an acoustic guitar amplifier the focus is on avoiding distortion. The back of the amplifier is quickly described. In addition to the cooling fins, there is also the on/off switch and a ground lift, which can prevent ground loops.
On the clearly more interesting upper side of the housing are all further control options of the amplifier. The amplifier has a total of 4 inputs, which are suitable for a wide range of applications. Inputs 1 and 2 are identical in design and are primarily used to feed acoustic instruments and vocal microphones. Both inputs have a balanced XLR and an unbalanced TRS input. Each is followed by a three-band tone control, the FX control for the internally installed effects unit and the channel volume control.
Channel 3 allows feeding unbalanced signals with low impedances like e.g. electric guitars or electric basses. One can choose over 2 different input sensitivities by means of the different jack sockets. The sound control options correspond to channels 1 and 2. Channel 4, on the other hand, allows you to feed in playback devices such as MP3 players or cell phones by means of two RCA plugs. So far, so good. However, things get interesting in the master section.
Via a balanced XLR out, you can pass on the entire sound present at the speaker to a larger P.A., or you can use the signal to feed it into the DAW via an interface. You can also connect a recording device or a second Engl A101 via 2 independently adjustable RCA outputs. So it is theoretically possible to adapt several combos to the respective spatial conditions via a daisy-chain procedure.
In terms of effects, a comparatively spartan effects unit was installed, which has 4 presets (reverb, room, delay, chorus/room), which can only be adjusted in their mixing ratio to the original signal. However, to get around this slight limitation, Engl has built in a stereo return FX loop. This allows an external processor to be used, and the internal FX unit is automatically disabled when used. Finally, there is a 48V phantom power pressure switch, which allows the use of condenser microphones in channels 1 and 2.
Practice
In order to ensure a realistic assessment of the concept, one should first visualize the area of application of an amplifier of this type.
Scenario 1: You have the thankless task of playing the "balladeer" in a rock band, i.e. you have to play Bon Jovi for pedestrians at regular intervals so that all the girls don't leave the club in a huff or at least go to the ladies' room in pairs for an indefinite period of time after the heavy banging of your colleagues.
Scenario 2: You're fed up with all the noise from your colleagues and have discovered that with acoustic guitar and vocals you can not only get the girls out of the toilet in no time, but you also no longer have to share your fee with the rude noisemakers.
Scenario 3: You play in an unplugged band, which is supposed to make some noise even in the smallest of spaces.
Scenario 4: You work as a stand-up comedian and want to incorporate several instruments into your repertoire in Otto Walkes style and play MP3s as a DJ in a small setting at the end of the evening.
Scenario 5: You saw Tommy Emmanuel live and decided not to hang up the guitar, but to practice 4 hours a day to succeed him in time.
To 1.): The Engl A101 is loud and sounds good. What does good mean, the amp sounds excellent! Very voluminous without booming and with a pleasantly soft compression in the treble. In addition, the 150 watts can generate a good contra for the drummer in ballad mode. Of course, you can have the acoustic guitar fed live to the monitor or the Inear, but a dedicated amp, which is controlled by yourself and guarantees a minimum of "physicality" in the stage sound, is still the better choice.
To 2.) Due to the mixer-like surface, the Engl A101 can show its complete strength here. It manages to acoustically illuminate a pub without any problems and even in a small club it leaves an excellent impression. If necessary, you can feed in a playback via channel 4.
To 3.) Singer, guitar, bass player and backing rumble from the MP3 player, all through one amp! Perfect!
To 4.) explains itself factually. The right input for every signal.
To 5.) I wish a lot of staying power!
Conclusion
With the Engl A101, the German manufacturer is moving very successfully into foreign realms. Especially in singer-songwriter mode or as a basic acoustic backup in the pop/rock live area, the combo knows how to convince and offers maximum flexibility with minimal dimensions.
Conceptually, one acquires a power mixer plus speaker with the specialty in the acoustic guitar range. Sonically and conceptually an outstanding design!
Test it!
Additional informations:
Engl Amplification: The Sound of German Engineering
Since 1983, Engl Amplification has been at the forefront of the high-end guitar amplifier market, delivering top-quality products with a distinctively German touch. From humble beginnings in a small workshop in Bavaria, Engl Amplification has grown to become one of the most respected and sought-after amplifier brands in the world, known for their exceptional build quality, attention to detail, and innovative features. In this article, we will take a closer look at the history of Engl Amplification, their product lineup, and what sets them apart from the competition.
The Early Years
Engl Amplification was founded in 1983 by Edmund Engl, a musician and electronics engineer from Bavaria, Germany. Edmund had been tinkering with guitar amplifiers since he was a teenager, and after studying electronics in college, he decided to start his own amplifier company. His goal was to create high-quality, versatile amplifiers that could deliver the perfect tone for any style of music, from classic rock to heavy metal.
In the early years, Engl Amplification was a one-man operation, with Edmund building each amplifier by hand in his workshop. He started out by creating custom amplifiers for local musicians, and word soon spread about the exceptional quality of his products. By the mid-1980s, Engl Amplification had established a reputation as a premium amplifier brand, and began selling their products to musicians around the world.
The Rise to Prominence
Throughout the 1990s, Engl Amplification continued to grow in popularity, thanks in part to their association with some of the biggest names in rock and metal. Artists such as Iron Maiden, Judas Priest, Slayer, and Metallica all used Engl Amplification products on stage and in the studio, helping to cement the company's reputation as a go-to choice for high-end amplifiers.
One of the things that set Engl Amplification apart from the competition was their focus on innovation. In 1994, they introduced their first MIDI-compatible amplifier, the E 580, which allowed guitarists to control multiple functions of the amplifier using a MIDI footswitch. This was a groundbreaking feature at the time, and helped to establish Engl Amplification as a leader in amplifier technology.
In the years that followed, Engl Amplification continued to innovate, introducing new products and features that set them apart from their competitors. In 2000, they introduced their first signature amplifier, the Steve Morse Signature, which was designed in collaboration with the legendary guitarist. This was followed by signature amplifiers for artists such as Ritchie Blackmore, Marty Friedman, and Paul Stanley, among others.
Today, Engl Amplification offers a wide range of products for guitarists of all styles and skill levels, from their entry-level Thunder series to their flagship Invader and Savage series amplifiers.
Product Lineup
Engl Amplification's product lineup is divided into four main series: the Thunder, the Ironball, the Invader, and the Savage. Each series is designed to offer a different set of features and tones, catering to the needs of different types of guitarists.
The Thunder series is Engl Amplification's entry-level lineup, offering a range of affordable amplifiers that still deliver the company's signature tone and build quality. These amplifiers are ideal for guitarists who are just starting out, or who need a reliable backup amplifier for gigs and recording sessions.
The Ironball series is a more versatile lineup, designed for guitarists who need a wide range of tones in a compact package. These amplifiers are perfect for players who want a portable amplifier for gigs and rehearsals, but who still need the power and versatility of a high-end amplifier.
The Invader series is Engl Amplification's flagship lineup, offering some of the most powerful and versatile amps.
TEST: Empress Effects Superdelay
Besides the reverb, the delay effect is one of the most popular room effects in the field of music, whereby I personally always prefer the delay on a guitar much more than the reverb effect live. While with a reverb FX you always fight against the room sound of the venue and in the worst case it leads to massive "mudding" of the sound, a well-dosed delay can ensure a comparatively good spatial expansion of your own sound even in disastrous acoustic conditions.
The selection of delay effects on the market is correspondingly large, both on floor pedals and in the 19-inch range, not to mention the vast numbers of multi-effects units, each of which has a delay effect in its presets. So what makes someone like Canadian manufacturer Empress Effects launch a floor pedal that deals solely with "just" an effect?
Well, echo is not just echo, as you will learn in the course of the test, you have the possibility to vary the simple repetition of a signal in the parameters sound, volume, number of repetitions, modulation and frequency filters manifold and to accommodate all this in just a small box. Here I notice already like the first of you interested listen up.
Construction:
Behind the Empress Effects Superdelay are the developer names Jason Fee and Steve Bragg from Canada, the country where the same device is also manufactured. The guitar signal is converted via a 24-bit AD/DA converter and processed internally on a 32-bit basis.
On the front of the unit, in addition to the input and output jacks and the connector for an external expression pedal, there is also the connector for the external power supply. The Superdelay processes all voltages between 9 and 12 volts, only a current flow of 300mA should have the power supply. There is no possibility to run the unit from battery!
All electronics are housed in a solid white steel case, the internal construction and all wiring is neatly laid out in circuit board fashion.
3 footswitches, 5 knobs and 4 multifunctional miniswitches control the manifold possibilities in terms of echo. Depending on the combination of the miniswitches and knobs, the Mode Specific miniswitch in particular has an enormous functional range.
Here are the primary functions of each knob and switch:
bypass switch: explains itself! It is a true bypass switch, a red LED gives information about the operating state of the device.
presets button: The device has 8 freely assignable memory locations, which indicate the selected memory location via small LEDs below the knobs. This button is used to skip to the respective preset. The sounds are stored via a small black push button, which is located next to the presets button.
tap button: This button is used to set the delay speed in real time or to specify rhythm patterns that the delay should play. A yellow LED serves as an additional visual control.
mix knob: the volume ratio between original and effect signal
d time / ratio knob: In the non-tap modes you set the regular delay time of the effect signal here, in tap mode you set the relative delay time to the tapped tempo here. For example, with the 2:1 setting, the delay time of the effect signal is twice as fast as the tapped tempo.
feedback knob: controls the number of times the echo repeats. If the knob is turned to the right, the effect signal gets louder with each repetition.
mode knob: sets the mode of the device (norm, tap, auto, rev, rhy, tape, misc, loop).
volume knob: adjusts the final volume of the device
exp pedal Miniswitch: controls the control range of a connected expression pedal. Selectable are the mix control and the feedback control respectively.
filter Miniswitch: here you can activate a highpass or lowpass filter, which affects the effect signal.
modulation miniswitch: a slow / fast modulation can be added to the effect signal with this switch
mode specific miniswitch: this switch (a/b/c) performs the following functions in combination with the mode switch (see above):
1.) norm a: normal delay sound, short echo - (5,5 ms - 95 ms)
2.) norm b: normal delay sound, medium echo - (45 ms - 800 ms)
3.) norm c: normal delay sound, long echo - (700 ms - 2200 ms)
4.) tap a: tapped tempo delay - echo delay is the same as the tapped signal
5.) tap b: triplet rhythm - echo delay is one third of the tapped signal
6.) tap c: quitolic rhythm - echo delay is one fifth of the tapped signal
7.) auto a: echo delay is based on the tempo of the input signal - low input sensitivity for quiet playing
8.) auto b: echo delay is based on the tempo of the input signal - medium input sensitivity for moderate playing
9.) auto c: Echo delay oriented to the tempo of the input signal - high input sensitivity for loud playing
10.) reverse a: effect signal is played back reversed - setting via rotary control d time / ratio
11) reverse b: effect signal is reversed - setting via tap button
12.) reverse c: effect signal is played back reversed - setting via the rotary control the tap button, effect signal is played back with double speed
13.) rhythm a: effect signal is played back in the rhythm you entered with your foot on the tap button, up to 4 repetitions are possible - d time / ratio knob scales the repetitions
14) rhythm b: effect signal is played back in the rhythm you have entered with your foot on the tap button, up to 4 repetitions are possible, d time / ratio knob stretches or compresses the repetitions
15.) rhythm c: effect signal is played back in the rhythm you entered with your foot on the tap button, up to 4 repetitions are possible, the first repetition is quieter, the following ones get louder
16.) tape a: emulation of a tape echo - high tape quality
17.) tape b: Emulation of a tape echo - first signs of tape wear in the sound.
18.) tape c: emulation of a tape echo - tape is in trouble ;-)
19.) misc a: the effect parts get louder when the input signal gets quieter
20.) misc b: the mixing ratio changes when the input signal gets quieter
21.) misc c: pressing the tap button turns off the effect signal
22.) looper a: loop function - up to 6,8 seconds sampling time
23.) looper b: loop function - up to 13.6 seconds sampling time
24.) looper c: loop function - loop is played back reversed
As you can see, the Superdelay has every imaginable use of the echo signal, at least I don't know of any other function that could still be implanted regarding a delay.
Practice:
Impressive how many functions the guys from Empress Effects have squeezed into the comparatively small box. Of course, this is not without a certain tightness on the control panel, but can be handled well in practice.
For all the joy of spaced-out sounds, should you not play on "Freaky Joe And The Space-Whimps From Hell", you will most likely reduce the practical live use of the echo effect to a few settings.
The number of 8 memory slots, which seems rather moderate at first, turns out to be completely sufficient in practice, especially since you can intervene in the respective tempos very well by means of the tap function, provided the drummer has appropriate timekeeping (joke at the expense of colleagues: "How can you tell that a drummer is standing in front of the door? Gets faster when tapping...! ;-)
Besides the classic applications, the Superdelay is also wonderfully suited for eccentric freak-outs on stage. Wild turning of the knobs, kneeling on the stage floor, optionally sliding, enriched with eccentric poses, is just as practicable with the Superdelay as its sober use as a very good working tool.
Like any good floor pedal, the Superdelay belongs on a protective floorboard, otherwise it would only be a matter of time before the first switches or knobs break off or otherwise suffer damage due to their protruding appearance.
Conclusion:
The Superdelay leaves a very good impression! Processing, sound and practicality are exemplary, the echo application area is globally covered. No modulation was forgotten, no style was neglected. A really nice boutique box.
Whether this diversity at the highest level is worth the comparatively high price, everyone must decide for themselves. You get "only" one effect, but at the best possible level.
Additional Informations:
Empress Effects: Revolutionizing the World of Guitar Effects
Empress Effects is a Canadian-based company that designs and manufactures guitar effects pedals. Since its inception in 2004, the company has been dedicated to creating high-quality, versatile, and innovative products that have earned a reputation among guitarists and music enthusiasts worldwide. Empress Effects is renowned for its range of effects pedals, including its multi-effects units, that offer a unique blend of modern technology and classic sound.
The company was founded by Steve Bragg, who had been experimenting with guitar effects since he was a teenager. Bragg started building custom effects pedals for friends and local musicians in his hometown of Ottawa, Canada. His passion for music and electronics eventually led him to create Empress Effects, with the goal of bringing his unique ideas and designs to a larger audience.
Empress Effects' Philosophy
Empress Effects has a strong philosophy that guides its product design and development. The company believes in creating products that are built to last, both in terms of durability and versatility. Empress Effects pedals are designed to be reliable, with solid construction and a user-friendly interface that allows for easy customization of the sound. This focus on longevity means that guitarists can depend on their Empress Effects pedals for years to come, without worrying about them breaking down or becoming obsolete.
Another key aspect of Empress Effects' philosophy is innovation. The company believes in pushing the boundaries of guitar effects technology to create new and exciting sounds. This innovation is evident in the company's product line, which includes several groundbreaking pedals that have set new standards in the world of guitar effects.
Empress Effects' Products
Empress Effects offers a wide range of products that cater to the needs of guitarists at every level. The company's pedals are designed to be versatile and easy to use, with intuitive controls that allow for precise tweaking of the sound.
One of the most popular products in the Empress Effects lineup is the Empress Reverb. This pedal is renowned for its exceptional sound quality and versatility, offering 24 studio-quality reverbs that can be customized to suit any style of music. The Empress Reverb also features a unique "Ghost" mode that adds a haunting layer of reverb to the sound.
The Empress Echo System is another popular pedal that has gained a loyal following among guitarists. This pedal offers a wide range of delay effects, including vintage tape delay and digital delay, that can be combined and customized to create unique sounds. The Empress Echo System also features a looper that allows guitarists to layer multiple loops and create complex soundscapes.
Empress Effects also offers several multi-effects pedals, including the Empress Effects Zoia and the Empress Effects Multidrive. These pedals are designed to provide a wide range of effects in a single unit, allowing guitarists to create complex soundscapes without the need for multiple pedals. The Empress Effects Zoia, in particular, has been praised for its modular design, which allows users to create custom effects and signal chains using a variety of modules.
Empress Effects' Awards and Recognition
Empress Effects has received numerous awards and accolades for its innovative products and dedication to quality. The company has been recognized by several industry publications and organizations for its contributions to the world of guitar effects.
In 2018, the Empress Effects Zoia was awarded the Best Effects Pedal of the Year by MusicRadar, a leading music publication. The Zoia was praised for its versatility and innovation, with the judges stating that it "opens up a whole new world of creative possibilities.“
Empress Effects has also received several awards for its other products, including the Empress Reverb and Empress Echo System.
Sonntag, 19. März 2023
TEST: Electro Harmonix 5MM
The construction of the Electro Harmonix 5MM
The Electro Harmonix 5MM is a tiny power amplifier, which in terms of its approach, however, can do much more than a classic guitar power amplifier of the upper power class. Current power amplifiers for guitarists as individual components are available in 2 variants, on the one hand in pedal form for the personal pedalboard, or as a 19 inch plug-in unit for the rack. In addition, almost all amplifiers, which have a serial FX loop, can run in pure power amp mode, if one considers this useful.
However, the goal and purpose of power amps of this type is almost always to be able to produce an appropriate volume in a practical stage or rehearsal room setup, i.e. below a power class of about 20 watts upwards, you actually have no chance of being able to hold your own against a dynamically playing drummer. Occasionally, single-digit wattages are used for tube power amps in order to drive them into saturation without having to build room-in-room constructions due to the immense volume. But what drives an entrepreneur to bring a transistor power amplifier of only 2.5 watts on the market?
Before we get to the actual test, a self-explanatory statement, but nevertheless extremely important. The Electro Harmonix 5MM is a power amp, NOT an FX PEDAL! RUNNING THE PEDAL IN FRONT OF A REGULAR AMP MEANS THE IMMEDIATE DEATH OF THE AMP! The only thing that is allowed behind the Electro Harmonix 5MM from the wiring point of view is a speaker cabinet (8 - 16 ohms) or else a load resistor!
The construction of the Electro Harmonix 5MM
The Electro Harmonix 5MM is small, very small not to say ridiculously small, at least for a power amp. Small even for a pedal, the cast case has just the dimensions (W x D x H): 70 mm x 114 mm x 51 mm and a weight of just under 180 grams. I own bottlenecks that weigh more! The case itself rests on 4 comparatively soft rubber feet, which provide an excellent grip even on a glass plate, from the arrangement, however, are glued a bit shirt-sleeved. Otherwise, we still have input / output, a volume control and a Bright switch, which gives additional treble on the signal.
The scope of delivery also includes a 9V / 500 mA multi-voltage power supply, which somewhat uncharitably forms an EU plug from the US plug with a simple EU attachment. You can do that, but it can't be beaten as a cheap solution. After all, which product with a retail price of only 69 € still has its own power supply nowadays. May be due to the required 500 mA, which are rather unusual in the pedal range, if you leave older Digitech pedals with their crazy 1.4 amp demands aside.
The power amp practice
Now then, what do you want to use a power amp with such a tiny output power for anyway? In principle, you can give yourself the answer, for all areas where high volumes are not only not needed, but counterproductive. If at the beginning of rock'n'roll you always had the problem that all amplifiers were always too quiet, nowadays you always have the problem that due to highly effective PA systems all amplifiers are always too loud. The personal sweet spot in terms of the moving air of a speaker and the final volume, of course, everyone must find for themselves, the idea of a quiet but adult sounding power amp is as old as the bedroom amp fashion movement itself.
Even before the first sound swells out of the speaker, you have to briefly consider the "transportability" (can you actually still speak of "transport" at 180 grams ...) of the Electro Harmonix 5MM. This amp not only fits into any gig bag, the part can even be transported in the back pocket, depending on how much play you allow your butt in your jeans. This dwarf plus guitar plus 2 cables and off to rehearsal or to the garden party gig, if the rest of the band was gracious enough to pack a suitable cabinet. A setup, which is not to be surpassed in transportability.
One or the other will now, however, rightly fall into my written word. "Wait a minute, doesn't a power amp normally require a preamp, or at least an upstream pedal, to boost the level of the instrument accordingly?" Totally true, but here the typical EHX genius hits the notch with full force. The Electro Harmonix 5MM is sold as a power amp, but it can do much more despite its lack of control options.
In fact, you can also go directly into the pedal with the guitar and get up to about 9 o'clock, depending on the installed pickup, a more or less clean tone, which is comparatively unspectacular, but usable. From about 11 o'clock, the power amp now goes into saturation, which behaves very "power amp-like", that is, with a high compression ratio and incredibly soft in sound. Especially considering the fact that it is a transistor circuit, this is an unexpected plus point. From 3 o'clock we have to do with a powerful crunch, which already allows a powerful classic rock board and above all hangs quite excellent on the volume control of the guitar.
Due to the Kemper preset switcher culture, many guitarists of the "next generation" have not even been given the opportunity to get to grips with the interactive effect of the individual guitar parameters. From there I can only urgently recommend everyone, take for example a crunch or lead sound on your setup and turn back the volume control of the guitar. If you then do not get a very good clean, respectively cruchy sound, your setup is garbage!
The Electro Harmonix 5MM, on the other hand, hangs very well on the volume control and can actually be turned down from crunch to clean, meaning you already have 2 sounds at the start and that only with the volume control. If you want, you can now switch an overdrive / distortion pedal in front of the Electro Harmonix 5MM and thus has 4 (!) Different sounds at the start. Especially for small gigs, where in principle everything is always too loud, such a setup can work wonders.
The attached sounds were all recorded only with my 79' Anniversary Strat, equipped with an EMG DG set in the setup guitar - instrument cable - Electro Harmonix 5MM - speaker cable - cabinet. In my opinion, the flexibility speaks for itself. It's impressive what you can achieve with just a few position changes on the controls.
The only minus point can be the on and off cracking of the pedal, since it was probably no longer enough for a corresponding delay circuit in this price segment. Due to the low power output of the power amplifier, the crackling is very moderate and does not endanger the speaker at any time. By the way, the Electro Harmonix 5MM does not have an on/off switch.
Conclusion
With the Electro Harmonix 5MM, the company around guitar legend Mike Matthews has landed a real hit. The inconspicuous little box turns out to be the ultimate solution when it comes to transportability. Placed in any tiny bag, you can easily carry the pedal for small gigs, rehearsal with moderate volume or but as an emergency backup.
The pedal hangs like a "grown-up" power amp excellently on the guitar's volume control and convinces with a pleasing sound depending on the speaker used. In addition, the pedal scores with a very reasonable price.
In any case, test it!
Additional informations:
Electro Harmonix: The Innovators of Effect Pedals
Founded in 1968 by Mike Matthews, Electro Harmonix (EHX) is a New York-based company that specializes in manufacturing guitar effects pedals and other musical instruments. The company has been a pioneer in the effects industry, and its pedals have been used by musicians of all genres, from classic rock legends like Jimi Hendrix and Eric Clapton to modern-day guitar virtuosos like John Mayer and Ed Sheeran.
EHX is known for creating some of the most iconic pedals in music history, such as the Big Muff Pi, Small Clone, Memory Man, and many others. In addition to pedals, the company also produces amplifiers, synthesizers, and other musical equipment. EHX has always been at the forefront of innovation, and its products have helped shape the sound of music for over 50 years.
History of Electro Harmonix
- Mike Matthews founded Electro Harmonix in 1968, after working at IBM as an engineer. Matthews was passionate about music and wanted to create equipment that could produce unique and interesting sounds. His first product was the LPB-1 (Linear Power Booster), which was a simple booster pedal that increased the volume of a guitar's signal.
After the success of the LPB-1, Matthews continued to develop new pedals, including the Muff Fuzz, which later became the Big Muff Pi. The Big Muff Pi was a game-changer in the world of guitar pedals. Its huge, saturated sound and sustain became an essential component of classic rock guitar tone. The pedal was used by guitar heroes like Jimi Hendrix, David Gilmour, and Carlos Santana.
Throughout the 1970s, EHX continued to release groundbreaking products, such as the Small Stone phaser and the Electric Mistress flanger. These pedals were widely adopted by musicians and helped shape the sound of popular music during that era.
However, the company faced financial difficulties in the 1980s and was forced to shut down in 1984. Matthews eventually regained control of the company in the 1990s and began producing new pedals, including the Big Muff Pi reissue and the Small Clone chorus, which became popular with grunge and alternative rock musicians in the 1990s.
In recent years, EHX has continued to innovate, producing new pedals like the Pitch Fork, a pitch-shifting pedal that allows guitarists to create harmonies and octave effects, and the Superego+, a synthesizer pedal that produces lush ambient textures.
EHX Pedals
EHX pedals are renowned for their unique sound and versatility. The company has produced some of the most iconic pedals in music history, including the Big Muff Pi, the Small Clone, and the Memory Man.
The Big Muff Pi is perhaps the most famous EHX pedal. It was first released in 1969 and has since become a staple of classic rock guitar tone. The pedal produces a huge, saturated sound with endless sustain and distortion. It has been used by guitar legends like Jimi Hendrix, David Gilmour, and Carlos Santana, as well as modern-day guitarists like Jack White and Dan Auerbach.
The Small Clone is another classic EHX pedal. It is a chorus pedal that produces a lush, shimmering sound that can be heard on countless recordings. The pedal was popularized by Kurt Cobain of Nirvana, who used it extensively on the band's landmark album, „Nevermind."
The Memory Man is a delay pedal that has been used by musicians for decades. The pedal produces a warm, analog delay that can create everything from subtle echoes to massive, cascading soundscapes. The pedal has been used by artists like The Edge of U2, Jeff Beck, and many others.
- Floorboard power amps are a popular choice for guitarists who are looking for a compact, portable, and powerful amplifier solution for live performances and recording. These amps are designed to fit into a pedalboard setup and are typically small and lightweight, making them easy to transport to gigs and rehearsals. In this article, we will explore what floorboard power amps are, how they work, and the benefits of using them.
What are floorboard power amps?
Floorboard power amps, also known as pedal amps, are small, lightweight amplifiers that are designed to be used with a guitar pedalboard. They are usually about the same size as a regular guitar pedal and can be easily integrated into a pedalboard setup. They typically have a power output ranging from 20 to 50 watts and are capable of driving a guitar cabinet.
How do floorboard power amps work?
Floorboard power amps work by amplifying the signal that comes from a guitar pedalboard. The signal is typically sent from the guitar to the pedalboard and then to the power amp. The power amp then amplifies the signal and sends it to a guitar cabinet or speaker. This setup allows guitarists to have complete control over their tone and volume without the need for a full-size amplifier.
Benefits of using floorboard power amps
There are several benefits to using a floorboard power amp, including:
Portability: Floorboard power amps are small and lightweight, making them easy to transport to gigs and rehearsals. They can be easily integrated into a pedalboard setup, so there's no need to lug around a bulky amplifier.
Customizability: Floorboard power amps allow guitarists to have complete control over their tone and volume. By using different pedals and settings, guitarists can create a unique sound that is tailored to their playing style.
Affordability: Floorboard power amps are often less expensive than full-size amplifiers, making them a great option for guitarists who are on a budget.
Versatility: Floorboard power amps can be used in a variety of settings, including live performances and recording sessions. They are also compatible with a wide range of guitar cabinets and speakers, so guitarists can easily switch between different setups.
Durability: Floorboard power amps are built to withstand the rigors of touring and live performances. They are typically made from high-quality materials and are designed to last for many years.
Top floorboard power amps
There are several floorboard power amps on the market, each with its own unique features and benefits. Here are some of the top options:
Electro-Harmonix 44 Magnum: The Electro-Harmonix 44 Magnum is a compact and powerful floorboard power amp that delivers 44 watts of power. It has a simple and intuitive interface and can be easily integrated into a pedalboard setup.
Quilter Labs Tone Block 202: The Quilter Labs Tone Block 202 is a high-powered floorboard power amp that delivers 200 watts of power. It has a wide range of tone-shaping controls and is perfect for guitarists who are looking for a versatile and powerful amplifier solution.
Seymour Duncan PowerStage 170: The Seymour Duncan PowerStage 170 is a compact and powerful floorboard power amp that delivers 170 watts of power. It has a simple and intuitive interface and is perfect for guitarists who are looking for a powerful and portable amplifier solution.
Orange Pedal Baby 100: The Orange Pedal Baby 100 is a high-powered floorboard power amp that delivers 100 watts of power. It has a compact and rugged design and is perfect for guitarists who are looking for a reliable and versatile amplifier solution.
Mittwoch, 15. März 2023
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.