TEST: Grossmann SG-Box

One man's joy is another man's sorrow. Even if it is objectively more than understandable that not everyone around us can warm up to a properly cranked up amp sound, the combination of volume and sound puts every guitarist in a quandary at some point. While the electro guys with their synthetic sounds can easily work on their sonic collages in any rented apartment at room volume, a good to very good guitar sound is unfortunately inevitably dependent on a minimum volume. At the latest now the hour of an Iso Box strikes, as it is offered for example by the company Grossmann. Can the Grossmann SG Box help us out?

The new woes of young G.

We all know the problem, especially if you live in a rented apartment with several parties in the house. Especially with all-tube amplifiers, even if they have only 1 watt as output power, the feel-good factor about the personal sound in relation to the volume starts far above the limit that the neighbor still considers tollerable. Especially if you want to equip your instrument with a decent sound for a recording.

As is well known, especially all-tube amplifiers act from the point where you drive the output stage razor-thin into saturation with the maximum sound, which at the same time turns out to be much too loud for an intact neighborhood. But even transistor amplifiers need a minimum of speaker activity to produce a decent sound. The quiet chirping in room volume can really not be expected by anyone on a recording. Of course, you can also buy a Kemper or similar, but we do not want to open the barrel about the sonic quality of these products or their robbery of the classic amplifier culture today.

The only other option is a professional recording studio with room-in-room construction or, precisely, an Iso Box. But what exactly can an Iso Box do?

How an Iso (-lations) Box works

The principle of an Iso Box is in principle very simple but in detail more than just clever. How do you get a noise generator to be quiet? Quite simply, one packs as thick and heavy plates as possible over and under him, seals all joints lets the sound in the inside dead run. Then you decouple it as much as possible from the floor and make sure that the surrounding material vibrates as little as possible, because that is the sound that we perceive now.

This means at the same time that our great amplifier / loudspeaker combination outside the box sounds like bowl, only inside the box comes the true sound to bear. So never get the idea to equate an Iso box with a load resistor between amplifier and cabinet in terms of sound, that doesn't work. Of course, this means that a good iso box must have one or more elaborate miking mounts. So let's see how the Grossmann SG Box fares in all these respects.

The construction of the Grossmann SG Box

If you want to dampen sound (please don't confuse this with damping), you need mass. The heavier the better, what is heavy does not resonate so easily. But the whole thing is of no use if the individual components are so heavy that they cannot be lifted. Here, the Grossmann SG box with its weight of 27 kg (without speakers) is exactly at the limit. In order to lift the upper part from the lower part, you should have a strong shoulder/arm combination, otherwise you will quickly get stuck on the microphone mounts. Yes, it's exhausting, no, it can't be done any other way, because see masses!

The Grossmann SG Box comes in three parts, top, bottom and speaker. The speaker port was designed for a 12 inch speaker, a good choice since probably 95% of all guitarists prefer this speaker size over 10 or 15 inches. However, a 10 inch reducer ring also allows the use of a 10 inch speaker. In principle, you can install anything you want here in terms of manufacturer and wattage. I chose one of the most popular and flexible speakers, the Vintage 30 from Celestion. However, you should be careful with the final volume, a 100 watt all-tube behemoth will destroy a single speaker of this power class very quickly. Therefore, either use amps of maximum 20 watts or choose another speaker.

Also included are three mounting arms for three microphones, the appropriate cabling plus all adapters for the different speakers and all the necessary screw fittings to attach the mounting rails and the microphone clamps. Very important also, 4 very soft and highly erected cone feet made of rubber to decouple the construction with regard to resonance from the floor.

Both the upper and lower parts of the Grossmann SG Box are lined to the maximum with foam and mineral mats to prevent any form of reflection. Who likes to work with rooms, please add in the mix using plug-ins or outgear. Regarding the required cables, everything is already prepared, for the microphones three XLR cables are hardwired together with connection sockets on the bottom part, color-coded with white, black and gray. In addition, the speaker input is located below the microphone jacks.

As we all know, every centimeter counts when picking up a guitar, so maximum flexibility of the microphone rails is an extremely important point. Here Grossmann has really done everything right. In the X-axis, the rails with 2, respectively three holes can roughly decide how far the microphone moves towards the dome. The Y-axis has a control range of about 25 cm, so that you can move the microphone right up to the speaker, thanks to the lack of a front cover, or choose a more indirect pickup. Due to the fact that the microphone stands can rotate at their screw connection to the housing, one can also move the microphones in the Z-axis, which allows for more sophisticated miking techniques, such as the Fredman method.

A little attention should be paid to the deflections of the microphones to the side and especially upwards, so that when you put the hood on, you don't move the microphones or worse, push them out of their mount, because in this case they can fall on the speaker and possibly damage it. If you have a microphone clamp that can be screwed on tightly, such as the one supplied with Heil microphones, you are generally on the safe side. In the case of the cheap clamp variant, as supplied with microphones such as the SM 57, it is advisable to secure the microphone with some gaffa tape if necessary.

The Grossmann SG Box in practice

I was truly curious about the sound insulation and the sound of the Grossmann SG Box, especially since the system has to hold its own against an extensive guitar miking system in my studio, which consists of 10 different cabinets and 14 different microphones. Let's start with the soundproofing.

In order not to overload the Celestion Vintage 30 speaker at all, I limited the output power of my H&K Black Spirit 200 to 20 watts. Now various factory sounds, as well as my stage sounds were used, in which the resonance control is used much more strongly and the box in the bass range strongly demanded. The result was impressive!

Up to a master volume of just under 12 o'clock, the Grossmann SG box just spreads room volume. The 22 mm thick MDF panels resonate slightly and spread the sound of a simple portable radio to the outside. This volume can also be used in a rented apartment without any problems. At full load, it could be a bit loud in a rented apartment, but a detached house can easily handle this volume. It's easy to forget how incredibly loud 20 watts can be on a speaker. At regular intervals, you should briefly take off the hood and briefly realize how strong the insulation actually is, you might hardly think it possible.

Due to the very soft and high feet of the speaker, vibrations towards the floor are also very well cushioned, a real gain in terms of damping. In terms of sound, the system can also only be given top marks, although the sound is of course highly dependent on the amplifier used, the microphone and the knowledge of the perfect positioning of the same. Spatial recordings are of course not possible with the Grossmann SG Box, but in my opinion this also has an advantage. It is often forgotten with the vaunted spatial component within the guitar recording that it only makes sense if you actually have a very good sounding, acoustically optimized room whose recording is worth it. In that case, I would always give preference to a very good plug-in or Outgear Reverb to place the guitar in a room.

Conclusion

The Grossmann SG Box is a perfect tool to eliminate the main problem of all guitar recordings, the given combination of good sound with high volume. With disciplined handling, you can also drive your beloved all-tube amp into saturation and still make your recordings very high quality in a rented apartment.

For all guitarists who do not have their own recording studio, but still want to generate maximum sound quality of the old school, an absolute must!


Additional Informations:

- A guitar isolation box, also known as a guitar booth or guitar cabinet isolation box, is a specialized enclosure designed to isolate the sound of a guitar amplifier, speaker cabinet, or combo amplifier. These boxes are commonly used in recording studios, rehearsal spaces, and home studios to achieve a clean, isolated sound while reducing overall volume.

The concept of a guitar isolation box is relatively simple. A guitar amplifier or speaker cabinet is placed inside the box, which is lined with acoustic foam or other sound-absorbing material. This material helps to reduce the amount of sound that escapes from the box, allowing for a lower overall volume level while still maintaining a clear, full-bodied tone.

Guitar isolation boxes come in a variety of shapes and sizes, depending on the needs of the user. Some boxes are large enough to accommodate full-sized amplifiers or speaker cabinets, while others are designed to fit smaller combo amps or even pedals. Many boxes feature removable or adjustable panels to allow for different microphone placements or to change the sound of the isolated guitar signal.

One of the primary benefits of using a guitar isolation box is the ability to record or play at lower volumes without sacrificing tone or clarity. This can be especially beneficial in situations where high volume levels are not practical, such as in apartments, shared living spaces, or late-night recording sessions. Additionally, isolation boxes can help to eliminate unwanted noise and interference from other sources, resulting in a cleaner, more focused sound.

While guitar isolation boxes can be purchased commercially, they can also be built at home using basic materials and construction techniques. There are numerous online tutorials and DIY guides available for those interested in building their own isolation box.

Overall, a guitar isolation box is a valuable tool for any guitarist or recording engineer looking to achieve a clean, isolated sound without sacrificing volume or tone. Whether purchased commercially or built at home, an isolation box can be an effective and cost-efficient solution for a variety of recording and playing situations.

Fredman microphone placement is a recording technique that was popularized in the 1990s by the Swedish metal band, Meshuggah, and their producer, Fredrik Thordendal. This technique involves placing two microphones in front of a guitar amplifier, one slightly off-axis and the other directly on-axis, and mixing the two signals together to achieve a unique, full-bodied tone.

The Fredman microphone technique is named after its creator, Fredrik Thordendal, and is often referred to as the "Fredman mic technique" or simply "Fredman miking". The technique is commonly used in heavy metal and hard rock recordings, but can be used for any genre where a full-bodied guitar tone is desired.

To set up the Fredman microphone technique, two dynamic microphones are placed in front of the guitar amplifier, one slightly off-axis and the other directly on-axis. The off-axis microphone is typically angled at around 45 degrees from the amplifier, while the on-axis microphone is placed directly in front of the amplifier speaker. The two microphones are then mixed together to achieve a balanced tone.

The off-axis microphone is often positioned closer to the center of the speaker cone, where the tone is brighter and more focused. This microphone captures more of the high-frequency content of the guitar tone, resulting in a more detailed and articulate sound. The on-axis microphone, on the other hand, captures more of the low-frequency content of the guitar tone, resulting in a fuller, more rounded sound.

The two microphones are typically mixed together in a 50/50 blend, although the exact mix can vary depending on the desired sound. The resulting tone is typically characterized by a full-bodied, heavy sound with a lot of midrange and low-end punch.

The Fredman microphone technique has become a popular recording technique in heavy metal and hard rock circles, and is often used by producers and engineers to achieve a unique guitar tone. However, it is important to note that the technique may not be suitable for all genres or styles of music, and should be used judiciously to avoid overloading the mix with too much low-end or midrange content.

In conclusion, the Fredman microphone technique is a unique and effective way to capture a full-bodied guitar tone in heavy metal and hard rock recordings. While it may not be suitable for all genres or styles of music, it can be a valuable tool for producers and engineers looking to achieve a distinctive sound.

TEST: Gretsch G2655 Streamliner

OK, a little guessing game at the beginning of the test, what stands for the artificial word "Twäng" and is not a Tele ;-) Have fun and let an experienced guitarist explain the "Twäng" to you. He will throw confused descriptions into the room and at the end probably name two manufacturers, on the one hand the Tele and on the other hand pretty much everything Gretsch has ever brought to the market. I won't talk my head off about "Twäng", but rather present the new Gretsch G2655 Streamliner, with which Gretsch enters new presregions.

The construction of the Gretsch G2655 Streamliner

First introduced at NAMM 2016, the guitar has a mission that reads "Gretsch Sound for Everyone". What do these words want to tell us? Well, anyone who has ever had the pleasure of holding a USA Gretsch Hollow Body in their arms and then risked a glance at the price tag will probably have gasped twice. On the one hand, the immense body of the instruments requires a completely different handling than a slim solid body, and on the other hand, you have to expect at least a three as the first number in the thousands league in this league.

Detached from the value of these instruments, the market of the affluent clientele is relatively quickly frilled and if you do not want to end up primarily on the living room wall of the "dentist league", even a traditional company like Gretsch, which, by the way, is probably the only manufacturer in the world that has brought it to world fame in both guitar and drum building, must find ways and means to bring the legendary "Twäng" (da isser widder ... ) also into the hands of the ambitious, but less solvent young rockers over.

That this cannot be realized with a production "Made in USA, Germany, France ..." or another country with corresponding ancillary wage costs, should be clear to everyone. So it is not surprising that the Gretsch company also has the Gretsch G2655 Streamliner manufactured in Indonesia, a country that has apparently completely displaced China from the instrument sector in the low price range. It will be interesting to see where Gretsch has cut corners to be able to guarantee the very reasonable retail price of only 477,- €, especially since the construction includes some points that the CNC milling machine cannot easily process automatically.

Let's start with the body first. As you can quickly see from the two sound holes, the Gretsch G2655 Streamliner is a hollow body with center block guitar, in Germany also often referred to as a semi-acoustic in the style of a 335. The purpose of this construction is the attempt to merge the highest possible acoustic response of a full resonance guitar with the feedback insensitivity of a solid body. "Jazz with noise" to put it bluntly.

For this, quite unusual woods are used. In addition to the laminated top and back made of maple, the manufacturer surprises with a neck made of Nato and a fingerboard made of Laurel. Both woods originate in South and Central America and are not protected in any way due to the low demand so far. In terms of resonance, however, they are very close to their larger models, which means that it is reasonable to suspect that their use in instrument making will increase in the future and that they will not just make their way across the Pacific to Asia as a few containers have done in the past.

Despite the low retail price, the neck and the body have a cream-colored binding, which was even applied 4-ply on the body. A fact worth mentioning, since this work cannot be done by a router or a robot. For the otherwise at Gretsch gladly used Bigsby vibrato system it has not been enough here, instead of this a hardtail in V-shape is used at the Gretsch G2655 Streamliner together with a tune-o-matic-like bridge construction.

A crucial role in the classic Gretsch sound in the high-priced models take the legendary FiltertRon pickups, but it was not quite enough for this version.   Instead, Gretsch uses BroadTron B-25 pickups on the Gretsch G2655 Streamliner, which are visually based on the great models. Just as classic as legendary is the master volume circuit adopted from the distant past, where not only each pickup has its own volume control, but the guitar as such can be regulated in its overall volume. Anyone who has ever put a passive pickup via a switch directly to the output and in the A / B comparison of the sound degradation even with the best electrics could perceive, may wonder why in times of amp channel change and diverse FX pedal selection, this circuit has been saved to the present.

In practice

When you pick up the guitar for the first time, you notice the incredibly low weight of just under 2.4 kg, which is very low even for semi-acoustic instruments. Accordingly, a concert evening can be easily played with such a weight, if it weren't for the almost mandatory top-heaviness of the instrument, which, however, is still within moderate limits.

The playability is also convincing. The neck has enough mass for a powerful grip and lies with the "slim U" very pleasant in the hand. The tuners also do a good job, nothing that should cause you worry or trouble.

Otherwise, the guitar is very well set up for an inexpensive Asian production, the string action is unusually low and also the 22 comparatively flat medium jumbo frets focus on rhythm and chord-based solo playing. The unamplified basic sound of the Gretsch G2655 Streamliner is pleasantly lively, the response is very fast and the offered volume of the construction invites to practice without amplification. Up to this point, everything is very good so far. But then the disillusionment.

Immediately after I connected the Gretsch G2655 Streamliner to my Hughes & Kettner Triamp MK III, the Gretsch red pen shows itself in ruthless openness in the form of the installed pickups. Not only do the BroadTon pickups have nothing in common with the classic FilterTron in terms of sound, they tear the excellent acoustic impression of the instrument to the ground. The pickups not only sound comparatively dull and characterless in the clean range, they also "screech" unpleasantly without any volume in the crunch and lead range. Even the attempt to create the typical Malcolm-Young-AC/DC rhythm sound, which was famously created with a Gretsch Firebird, just doesn't want to succeed, because no matter with which amp you try, the pickups don't provide the necessary basis.

For a soft, latently muffled jazz sound, the pickups are still good to use, but as soon as it comes to expressiveness, dynamics and character, the BroadTon pickups are completely overwhelmed. Rarely have I experienced such a discrepancy between the acoustic and electric behavior of a guitar as in this case. This is all the more sad because the acoustic impression, along with the very good workmanship of the instrument, was really very good up to this point. Once again it shows how, in addition to the neck construction, the pickups have the decisive part in the overall sound of the instrument.

Gretsch probably also deliberately wants to create a clear distinction from their top-of-the-line instruments, which is absolutely understandable from a company policy point of view, however, they don't do themselves any favors with these pickups. On the other hand, it's a no-brainer to shell out another €150 or so and have high-end pickups put into the guitar, especially since the basic construction of the Gretsch G2655 Streamliner would undoubtedly deserve it.

In summary, the pickup problem is unfortunately massively reflected in the final rating. If the instrument would have received a fat very good from me before the connection to the amp, I unfortunately have to go back to a satisfactory after this sound impression.

Conclusion

With the Gretsch G2655 Streamliner, the big name offers a model from the low price range, which comes up with strengths and weaknesses. While the instrument convinces with a crisp and dynamic basic sound in addition to clean workmanship and good factory settings when unamplified, the extremely mediocre-sounding pickups detract immensely from the overall impression.

Interested parties should therefore additionally plan about 150 € for 2 good pickups in the sales price, the basic construction of the instrument would have deserved it.

Additional Informations:

- Gretsch Guitars is an American guitar manufacturer with a rich history dating back over 130 years. Founded in 1883 by Friedrich Gretsch, the company has been making guitars that are highly prized by musicians around the world. In this article, we will explore the history and legacy of Gretsch Guitars, and how they have become a fixture in the music industry.

Early History Friedrich Gretsch began making banjos, tambourines, and drums in Brooklyn, New York in the late 19th century. His business grew quickly, and by the early 20th century, Gretsch was making guitars as well. The company became known for its high-quality instruments, and its popularity grew among musicians.

In the 1930s, Gretsch introduced its iconic hollow-body electric guitars, including the Electromatic, Synchromatic, and Duo Jet models. These guitars became hugely popular with jazz and country musicians, and they helped establish Gretsch as a major player in the guitar industry.
The Golden Era The 1950s and 1960s are considered the "Golden Era" of Gretsch Guitars. During this time, the company introduced some of its most iconic models, including the Chet Atkins Country Gentleman and the White Falcon. These guitars were known for their striking appearance and unique sound, and they were used by some of the most famous musicians of the time, including Elvis Presley and George Harrison of the Beatles.

However, by the 1970s, Gretsch had fallen on hard times. The company was sold several times and struggled to maintain its reputation for quality and innovation. It wasn't until the 1990s that Gretsch began to make a comeback.

The Gretsch Revival In 1989, Fred Gretsch III, the great-grandson of the company's founder, acquired the Gretsch name and set out to revive the company's fortunes. He worked closely with master luthier Stephen Stern to design and build new guitars that would capture the spirit of Gretsch's golden era.

The company's revival was helped along by endorsements from musicians like Brian Setzer of the Stray Cats, who played a Gretsch guitar on their hit song "Rock This Town." Today, Gretsch Guitars is once again a major player in the guitar industry, known for its high-quality instruments and innovative designs.

Innovation and Quality One of the keys to Gretsch's success has been its commitment to innovation and quality. The company has always been willing to experiment with new designs and materials, and this has led to some of its most successful models.

For example, the Gretsch Duo Jet featured a unique "Filter'Tron" humbucking pickup that provided a distinctive sound not heard on other guitars of the time. The White Falcon, meanwhile, featured a striking appearance with gold hardware and a white finish, and it quickly became a favorite of rockabilly and rock musicians.

Today, Gretsch continues to innovate with new models like the Electromatic Jet and the Streamliner. These guitars combine classic Gretsch design elements with modern features like high-output pickups and streamlined body shapes.

In Conclusion Gretsch Guitars has a long and storied history in the music industry. From its humble beginnings making banjos and drums to its current status as a major guitar manufacturer, Gretsch has always been committed to quality and innovation. Today, Gretsch guitars are used by some of the most famous musicians in the world, and the company continues to be a fixture in the music industry.

- Gretsch Filtertron pickups are a key component of the iconic sound that Gretsch guitars are known for. These pickups were first introduced in the 1950s, and they quickly became a favorite of musicians in the rockabilly and rock-and-roll genres. In this article, we will explore the history and unique sound of Gretsch Filtertron pickups.

History of Filtertron Pickups The Gretsch company first introduced the Filtertron pickup in the mid-1950s as a response to the growing popularity of electric guitars. These pickups were designed to provide a unique sound that was different from the standard single-coil and humbucker pickups that were commonly used at the time.

Filtertron pickups were initially designed for Gretsch's hollow-body electric guitars, and they quickly became a favorite of musicians in the rockabilly and rock-and-roll genres. These pickups provided a distinct, twangy sound that was perfect for the music of the time.
Over the years, Gretsch has continued to refine and improve the design of its Filtertron pickups. Today, these pickups are used in a wide range of Gretsch guitars, from the classic hollow-body models to more modern solid-body designs.

How Filtertron Pickups Work Filtertron pickups are unique in that they use a dual-coil design that is similar to a humbucker pickup, but with a slightly different configuration. The coils are wound in opposite directions and are placed close together, which helps to cancel out unwanted noise and interference.

The result is a clear, bright sound that is full of character and personality. Filtertron pickups have a unique mid-range boost that helps to cut through the mix in a band setting, making them ideal for lead guitar work.

The sound of Filtertron pickups can be described as twangy and bright, with a touch of warmth and clarity that is characteristic of Gretsch guitars. These pickups are particularly well-suited to genres like rockabilly, rock-and-roll, and country music, where their unique sound is an essential part of the music.

Innovation and Quality One of the keys to Gretsch's success has been its commitment to innovation and quality. The company has always been willing to experiment with new designs and materials, and this has led to some of its most successful models.

For example, the Gretsch Duo Jet featured a unique "Filter'Tron" humbucking pickup that provided a distinctive sound not heard on other guitars of the time. The White Falcon, meanwhile, featured a striking appearance with gold hardware and a white finish, and it quickly became a favorite of rockabilly and rock musicians.

Today, Gretsch continues to innovate with new models like the Electromatic Jet and the Streamliner. These guitars combine classic Gretsch design elements with modern features like high-output pickups and streamlined body shapes.

In Conclusion Gretsch Filtertron pickups are a key part of the iconic sound of Gretsch guitars. These pickups provide a unique mid-range boost that helps to cut through the mix in a band setting, making them ideal for lead guitar work. The sound of Filtertron pickups can be described as twangy and bright, with a touch of warmth and clarity that is characteristic of Gretsch guitars. If you are looking for a unique and distinctive sound for your guitar playing, a Gretsch with Filtertron pickups may be just what you need.

TEST: GAP Comp-3A

It is always something special when the Swedish company Golden Age Project launches a product on the market. With the Golden Age Project Comp-3A, the Scandinavians once again strike into the notch cultivated by them, as there are a pleasantly "kautzige" presentation, the ignoring of usual norms in terms of rack or desktop standards and above all, the detail-accurate copy of a legendary Neve original.

The Golden Age Project Comp-3A takes as its model the circa 1970 transistor-based Neve LA-3A, which was further developed from the LA-2A optocompressor, replacing the LA-2A's tube circuitry with Class A transistors. We are once again curious to see if GAP, with the comparatively very reasonable price of just under 549,- Euro, once again manages to capture a touch of the incomparable Neve flair.

Design

A look at the exterior of the Golden Age Project Comp-3A leaves no doubt, with the half 19 inch format of 9.5 and 2 height units, you also get visually a thoroughbred Neve clone, which however shines compared to the original with a significantly expanded equipment. Once again, the manufacturing site of the product cannot be determined, since GAP once again refrains from printing the required information and once again, the use of rubber feet was also waived. Therefore, watch out for sensitive surfaces, the screws on the case's underside aren't completely countersunk!

The case itself makes a good impression, but is still quite a way from the heavy-duty department of the original. Of course, you also have to consider the retail price of only 549 Euros in this context. The clone from Universal Audio, which has been taken out of the program in the meantime, is almost three times as expensive, and we don't even want to talk about a well-maintained original.

Among other things, the refreshingly reduced equipment was taken over in the form of a gain and a peak reduction control, along with a large VU meter. In combination with the properties of the opto-coupler, a very effective compression of the sound can be set in the simplest way. For all those to whom an optocoupler means little. The characteristic sound of the optocoupler results from a luminous foil, which is opposed by two photoelectric resistors. The stronger the input signal, the stronger the foil glows and the brighter the light, the lower the resistance of the photoelectric cells.

Optocouplers generally do not have attack and release controls, but adapt to the applied input signal via their special response behavior. The result is the much appreciated non-linear compression behavior, which allows a touch more musicality than other conceptions. Unlike the original, however, the Golden Age Project Comp-3A has a few more controls on the front of the cabinet, allowing for much more advanced operation.

In addition to a trimpoti, which allows balancing in stereo operation with 2 pieces of Golden Age Project Comp-3A, the device also has a potentiometer for the sidechain filter, a stereo link switch, as well as a selector switch for compressor/limiter operation and a true bypass switch. In addition, the Golden Age Project Comp-3A has a circuit labeled with the words "Clearmountain Modification", which can be used to activate a 20 dB pad if needed. Bob Clearmountain is one of the protagonists of Neve compressors and is not without reason honored with the same circuit, which lowers the noise floor and extends the level reduction.

The sidechain operation is not a simple highpass filter, but the sensitivity of the device is shifted more into the treble range. Thus, the Golden Age Project Comp-3A can also be used very well as a de-esser.

At the rear there is a link output for the operation of 2 Golden Age Project Comp-3A compressors and 2 outputs in TSR and XLR form. As usual, the "board bug style" power supply is supplied separately. Even if this practice saves production costs for foreign distribution, a touch of "cheap" unfortunately always hangs over this design, especially since the mini plugs slip out of their anchorage much faster than a proper IEC plug. Be that as it may, this practice does not change the sound.


Practice

If one has set the goal to copy a legend of audio engineering, one must not only face the sonic challenge, but in the case of the LA-3A also take on the ease of handling. This claim is fulfilled by the Golden Age Project Comp-3A with flying colors. The minimalist principle of the two controls immediately achieves very good results, both in compressor and limiter mode. The unit sounds smooth without muddiness and delivers a direct sound, which does not swallow or discolor any nuances.

Because of the circuitry, the Golden Age Project Comp-3A also sounds very tight yet "relaxed." As expected, it is less suitable as a 0 dB fidget compressor for extremely hard productions, but as a musical partner in dynamic interplay with a rather airy source material it cuts an excellent figure even in limiter mode. The optocoupler can bring its full strength to bear on the signal, especially when the material is decaying.

The circuit intervenes in the material in a typically soft way, which is naturally best realized with dynamic signals such as clean guitar sounds, brass and of course vocals. With complex or already heavily compressed material, the circuit inevitably comes to its limits, here an external release control must provide clarity. To what extent such signals need to be compressed again, however, is another matter.

As expected, the Golden Age Project Comp-3A not only works slower compared to conventional compressors, especially in the release range, but also in direct comparison to other optocouplers one tends to accuse it of a certain "sluggishness". Whether this is a disadvantage depends once again on personal taste and the source material. Personally, I find the vintage character in this envelope processing very well met, which thus also shifts the character of the outgoing signal more into the vintage realm.


Conclusion

With the Golden Age Project Comp-3A, the Swedish cloning machinery convinces once again. The compressor/limiter, which is based on the legendary Neve LA-3A, shines with a very intuitive 2-knob technology, which also delivers excellent results with very little effort.

Even if the outer appearance is in certain points a little owed to the price policy, the inner values of the product convince all along the line. If you want to integrate a large part of the legendary Neve sound into your workflow at a comparatively very reasonable price, you will find a very good optocoupler in the Golden Age Project Comp-3A, which can show its strengths especially in the signal processing of open sound material in the area of bass, guitar and vocals.

An excellent clone, definitely test it!

Additional Informations:

- Audio compressors are one of the most important tools in a sound producer's toolkit. They play a crucial role in shaping and controlling the dynamics of audio signals. In this article, we will explore what audio compressors are, how they work, and how to use them effectively in sound production.

What are Audio Compressors? An audio compressor is an electronic device that reduces the dynamic range of an audio signal. In simpler terms, it reduces the difference between the loudest and quietest parts of the signal. It does this by automatically lowering the volume of the loudest parts of the signal, so they are closer in level to the quieter parts.
How do Audio Compressors Work? Audio compressors work by using a threshold and a ratio. The threshold is the point at which the compressor starts to reduce the volume of the audio signal. The ratio is the amount by which the compressor reduces the volume above the threshold. For example, if the ratio is set to 4:1, then for every 4dB the audio signal goes over the threshold, the compressor will reduce the volume by 1dB.

Types of Audio Compressors There are several types of audio compressors available, each with its unique characteristics. Some of the most common types include:
VCA (Voltage Controlled Amplifier) Compressors: These are the most common type of compressor and are known for their transparency and accuracy.

Optical Compressors: These compressors use a light source and a photocell to control the volume reduction of the audio signal. They are known for their smooth and warm sound.
FET (Field-Effect Transistor) Compressors: These compressors use FETs instead of tubes or transistors to control the volume reduction of the audio signal. They are known for their fast attack times and aggressive sound.

Using Audio Compressors When using audio compressors, it's important to understand the dynamics of the audio signal you are working with. Different types of audio content, such as vocals, drums, and bass, will have different dynamics that will require different settings on the compressor.

Here are some tips for using audio compressors effectively:

Use a gentle ratio setting to avoid over-compression, which can result in a loss of dynamic range and a "squashed" sound.

Adjust the attack and release times of the compressor to match the dynamics of the audio signal.

Use the makeup gain to bring the overall level of the audio signal back up after compression.

In conclusion, audio compressors are an essential tool in sound production. By understanding how they work and how to use them effectively, sound producers can achieve a more polished and professional sound.

- Rupert Neve was a pioneering audio engineer and inventor whose impact on the world of sound recording is immeasurable. He is best known for designing and building high-end audio equipment that has been used on countless hit recordings over the years. In this article, we will explore the life and legacy of Rupert Neve, and his contribution to the audio industry.

Early Life and Career Rupert Neve was born in Newton Abbot, Devon, England in 1926. His father was an electrical engineer, and this sparked his interest in electronics at an early age. After serving in World War II, Neve studied at the Technical College in Redruth, Cornwall. He then worked for a number of companies, including Ferguson Radio, where he developed his skills in audio engineering.

In 1961, Neve founded his own company, Neve Electronics, in Little Shelford, Cambridge. He started designing mixing consoles and other audio equipment for the emerging British music industry. His equipment quickly gained a reputation for its superior sound quality and innovative features.

In the 1970s, Neve moved to the United States and set up a new company, Rupert Neve Designs, in Wimberley, Texas. This company continued to design and manufacture high-end audio equipment, including mixing consoles, preamplifiers, and compressors.

Innovations in Audio Equipment Neve was a true pioneer in the field of audio engineering. He was constantly seeking new ways to improve the sound quality of recordings, and his inventions revolutionized the industry. Here are some of his most notable innovations:
Transformer-coupled designs - Neve was one of the first engineers to use transformer-coupled designs in audio equipment. This allowed him to achieve a warm and rich sound that was highly sought after by recording engineers.

EQ circuits - Neve's EQ circuits were renowned for their precision and musicality. They allowed engineers to shape the sound of recordings with great detail and subtlety.
Dynamic range expansion - Neve's dynamic range expansion circuitry allowed engineers to capture the full dynamic range of musical performances, without the distortion that was typical of older recording techniques.

Modular design - Neve's modular designs made it easy for engineers to swap out individual components, allowing them to customize their equipment to their specific needs.
Legacy and Impact Rupert Neve's impact on the audio industry cannot be overstated. His equipment has been used on countless hit recordings, and his innovations have shaped the sound of modern music. Neve's legacy lives on through his companies, Rupert Neve Designs and AMS Neve, which continue to produce high-end audio equipment that is prized by recording engineers around the world.

In addition to his technical achievements, Neve was also known for his dedication to quality and his passion for music. He was a mentor to many young engineers, and his legacy continues to inspire future generations of audio professionals.
In conclusion, Rupert Neve was a true pioneer in the field of audio engineering. His innovations in audio equipment have had a profound impact on the industry, and his dedication to quality and passion for music continue to inspire generations of engineers and musicians.

TEST: Godin Summit Classic SG Matte Green

There are companies that have somehow always been there, but hardly anyone has really taken note of them. I ask to consider this sentence completely value-free, but when I have heard the name Godin in my meanwhile already quite long career, the instruments, especially in the acoustic range were quite a concept to me, yet I could not have prayed down any type designation or other details. To remind ill-informed noses like me, the Canadian company, which after all was founded by Robert Godin almost 5 decades ago, has launched the Godin Summit Classic SG Matte Green, an instrument that will stay in my memory in more ways than one.

The construction of the Godin Summit Classic SG Matte Green

Despite its gigantic spatial expanse, Canada is a comparatively small light on the international electric guitar market, unlike its loud rumbling neighbor to the south. This means that due to the significantly less pronounced globalization mania, one sometimes draws attention to oneself with very interesting detailed solutions, but sometimes also comes around the corner with unusual woodsman ideas. In the case of the Godin Summit Classic SG Matte Green, both are true in my opinion.

First of all, the standards. Even the layman will easily recognize who was the godfather for the layout of the Godin Summit Classic SG Matte Green. The Les Paul shape is obvious and if the instrument would have 2 P-90 style single coil pickups, the association with the Les Paul Special would be perfect due to the "unadorned" finish. However, there are some points, which are clearly above the LP Special league, from therefore one should put the comparison also immediately again to the files.

The Hardware

First of all, let's start with the big plus points of the Godin Summit Classic SG Matte Green, which is especially reflected in the hardware. Besides two Schaller strap pins (nothing special as far as that goes), the instrument features an extremely massive bridge with the monster name of "one-piece Graphtech Resomax Sonic 1 Nickel Wrap Around Bridge", which plays into the hands of the instrument's sustain. Although you can only move the octave purity as a whole by means of two side-mounted thumbscrews, the lack of moving parts, on the other hand, ensures a minimum of absorption of the strings' vibrational energy. If you play standard string sets, the fixed milled grooves should not be a problem with regard to the octave purity, with special sets, e.g. Light Top Heavy Bottom or similar, you should check in advance to be on the safe side. Likewise, sets with a wound G-string are completely out of the question due to the string offset.

Another highlight are the tuners from our own production, which shine with a detail that I have not come across before. While the bass tuners of the 3:3 headstock run with an 18:1 ratio, the treble tuners have the much finer 26:1 ratio. A very practical design, considering that especially the unwound strings react very sensitively to the well-tempered tuning and allow a very highly graduated implementation with this ratio.

The attachment of the cable socket also offers a special feature. I have never seen a solution where a comparatively small metal plate holds the jack, which is then anchored to the side with 2 small wood screws at an angle of about 45 degrees. The result is a very nice detail solution, which on the one hand does without the failure-prone sleeve bushings and on the other hand eliminates the constantly breaking plastic plates. A very discreet and extremely successful detail solution.

The pickups

As already mentioned, the Godin Summit Classic SG Matte Green has 2 humbuckers, also from our own production, which are not split. To add to the Gibson touch, an optical replica of the Zebra pickups (one black and one white coil each) were made, the coil coloring that was discovered only by accident on the legendary Paulas of 58 - 60, after some musicians removed the chrome caps to minimize the feedback behavior of the pickups. The controls available are one volume and one tone knob per pickup, switched by a three-way switch in the classic LP position.

The wood selection of the Godin Summit Classic SG Matte Green

When it comes to wood selection, Godin once again takes the "support your local dealer" approach by using Canadian Laurentian basswood for the body. Basswood is comparatively rarely used as a tonewood, but this does not represent any kind of valuation. In this context, we refer once again to the wonderfully enlightening article by Walter Kraushaar at this link - https://www.kraushaar-gitarren.de/cms/tonholz.html - which many a "guitar expert" would like to delete from the Internet.

The glued-in neck is once again made of the popular maple and has been fitted with a rosewood fingerboard. The neck was apparently stained and gives a "roasted" look, but I have no documentation regarding a special heat treatment. The short scale length with a slight extension of 629 mm is used, with a fingerboard radius of 305 mm and a nut width of 419 mm. To minimize the frictional resistance in the saddle, a Graphtech saddle was used. The instrument comes with a sturdy upscale gig bag.

Oha ...

Have I forgotten anything? Oh yes, there was something else. After a long list of good to very good points, I have long thought about how best to formulate it, but unfortunately I could not think of a gentle formulation, so out freely. I know, tastes are different and there may be one or the other lone warrior who also likes to white his instruments in the camouflage color of his work tool, but what Godin was thinking with this finish will forever remain a mystery to me.

The Nato-olive, even more so in a matte finish, has the charm of a Leopard 2 on a military training ground, despite the impeccable finish. There may be one or two representatives of the metal camp who would like to add a touch of army romance to their camouflage stage outfit, but in this case the rest of the guitar is visually diametrically opposed. Whoever at Godin headquarters had the idea for this paint job will, in my opinion, have to answer for the expected sales figures. But as I said, it's all a matter of taste.

The Godin Summit Classic SG Matte Green in practice

What immediately jumps acoustically into the ear at the first notes is the incredible sustain of the guitar, which is otherwise reserved only for the representatives of a continuous neck. The solid construction and especially the outstanding hardware of the Godin Summit Classic SG Matte Green have truly paid off. The result is an incredibly stable tone, far from any deadspots or resonance exaggerations. The attack behavior is very good, the overall vibration behavior exemplary.

The combination with the in-house Godin pickups is interesting. Much like the Gibson role model from the late seventies / early eighties, the combination leaves an outstanding impression in the crunch range. Carried rock riffs in the AOR / classic rock area suit the instrument very well and leave a lasting impression. The basic sound is rather treble reduced, of course depending on amp, speaker and pedals, but very tasteful. Classic triad riffing and the sun rises!

Of course, the Godin Summit Classic SG Matte Green is also capable of the other two ends of the scale, i.e. clean and high gain, but I would not necessarily see the high gain range in particular as the instrument's parade discipline. The clean range is convincingly performed, as long as you can dynamically gain something from the one or other saturation in your sound image. The sound is expressive, voluminous and very pleasing.

The high-gain range, on the other hand, quickly runs the risk of drifting into muddiness due to the reduced treble image, but let's be honest, anyone who buys the Godin Summit Classic SG Matte Green for high-gain drop tunings doesn't know what they're doing anyway.

Conclusion

With the Godin Summit Classic SG Matte Green, the Canadian manufacturer has an outstandingly crafted and sonically excellent instrument in its ranks, which attracts attention with excellent detail solutions, voluminous sound and the ugliest finish I have ever seen in my life.

If you have a different opinion about the finish and are looking for an instrument that is outrageously priced for what it offers, you should definitely give it a try.

Additional Informations:

- Godin Guitars is a Canadian company that has been producing high-quality guitars for over three decades. Founded in 1987 by Robert Godin, the company has established a reputation for innovation and craftsmanship, and its guitars are played by musicians around the world.
One of the defining features of Godin Guitars is its commitment to using sustainable and environmentally friendly materials. The company sources its wood from responsibly managed forests, and it uses a variety of alternative materials, such as carbon fiber and composite materials, to reduce its environmental impact.

Godin Guitars offers a wide range of guitar models, each with its own unique features and characteristics. The company's flagship brand, Seagull, is known for its handcrafted guitars, which are made from high-quality woods and feature innovative design elements such as the Integrated Set Neck system, which ensures a stable and responsive playing experience.
Another popular brand under the Godin umbrella is Art & Lutherie, which offers affordable, handcrafted guitars made from locally sourced materials. These guitars feature a rustic aesthetic and a warm, vintage sound that appeals to players of all levels.

Godin Guitars also produces several electric guitar brands, including Godin, which offers a range of innovative models that incorporate features such as MIDI capabilities and multiple pickups for a versatile playing experience. The company's other electric guitar brands include Norman, Simon & Patrick, and La Patrie, each with its own unique design and features.

One of the most innovative features of Godin Guitars is its use of a unique guitar building process called "breathe-through" technology. This process involves carving out chambers inside the guitar body, which helps to reduce the weight of the instrument and improve its resonance and sustain.
In addition to its commitment to craftsmanship and sustainability, Godin Guitars is also known for its support of local musicians and music communities. The company sponsors several music festivals and events throughout Canada, and it has a strong presence in the Canadian music scene.

In conclusion, Godin Guitars is a company that combines innovation and craftsmanship to produce high-quality guitars that are both environmentally friendly and musically versatile. Its commitment to sustainability and community involvement sets it apart from other guitar manufacturers, and its wide range of brands and models ensures that there is a Godin guitar to suit every player's needs and preferences.

- Single Cut Guitars are a classic design that has been around for over 60 years, and they continue to be popular with musicians of all genres. This style of guitar is characterized by its single-cutaway body shape, which is designed to provide easy access to the upper frets while maintaining a traditional look and feel.

The most famous example of a single cut guitar is the Gibson Les Paul, which was first introduced in the early 1950s. The Les Paul's iconic design, with its single-cutaway body and dual humbucking pickups, has become a symbol of rock and roll and is still favored by many guitarists today.

In addition to the Les Paul, there are many other brands and models of single cut guitars available on the market. These guitars come in a range of styles and price points, from affordable beginner models to high-end custom instruments.

One of the advantages of the single cut guitar design is its versatility. The thick, mahogany body of the Les Paul produces a warm, rich tone that is ideal for rock and blues music, while other single cut guitars, such as the PRS Singlecut, offer a more versatile sound that can be used for a variety of musical styles.

Single cut guitars also offer a number of practical benefits for guitar players. The single cutaway design provides easy access to the upper frets, making it easier to play complex chord shapes and lead lines. The thick body of the guitar also provides a solid platform for the bridge and pickups, which helps to reduce unwanted vibrations and improves sustain.

Despite its many advantages, the single cut guitar design is not without its drawbacks. The thick body can make the guitar heavy and uncomfortable to play for extended periods, and the single cutaway can limit access to the highest frets.

In conclusion, Single Cut Guitars are a classic design that continues to be popular with musicians of all genres. Their versatile sound, easy access to the upper frets, and solid construction make them a popular choice for guitar players. Whether you're a beginner or an experienced player, a single cut guitar is a great option that will provide you with years of playing enjoyment.

TEST: Gibson Les Paul Standard 60s Faded

Recently, a young guitarist asked me if I could give him a recommendation regarding a Les Paul. There were so many different models on the market and he had no idea what the differences were and why the prices differed so much. In fact, Thomann alone has over 50 different models in its online store and the German Gibson website has 77 different models in its portfolio. I admit, even an experienced LP player like myself was probably a bit easier to please in the past with the classics Custom, Standard, Deluxe and Junior, all in different colors. The current latest edition of the most successful signature guitar in the world goes by the name of Gibson Les Paul Standard 60s Faded and it takes an unusual approach.

The concept of the Gibson Les Paul Standard 60s Faded

The guitarist's brain is truly a special one, containing at times convolutions that any other instrumentalist can only note with a shake of the head, or can you imagine a keyboardist or drummer being particularly keen when the varnish on his instrument is chipped, the paint yellowed or the hardware rusted? OK, the 2,000 hours of stage presence with a six-digit number of kilometers of transport distance does not necessarily want to look at his instrument, but just a good number of fans of the two founding fathers of the electric guitar, Fender and Gibson, love the vintage look of an instrument and can not make friends with the high gloss polish of a factory-new instrument so at all.

Add to that the peculiarity of various neck finishes that sweaty hands virtually stick to the back of the neck, and many musicians find this annoying. Aware of this, Gibson has now introduced the "Faded" models, where the typical standard Paulas have some "wear and tear" already at factory delivery, without going into the heavy aging department.

But first, let's start with the "standards of a Standard", which Gibson friends should be familiar with anyway, hence only a rudimentary listing. But wait, first an important point, it is a (subjectively considered) "real" Les Paul, which means the body is not chambered and therefore also gives a stately weight of about 4.3 kg. Yes, it is a high weight and yes, Lester Polfus aka Les Paul wanted it that way and yes, the comparatively high weight is an integral part of the classic LP sound, as the wood mass clearly influences both the resonance point and the vibration behavior. Let's not misunderstand each other, there are much lighter instruments, which, for example, with a through-neck show a comparable sustain behavior, but when it comes to the typical midrange and vibration behavior of a Les Paul, a solid body is always superior to the hollowed variant.

Otherwise, the Gibson Les Paul Standard 60s Faded impresses with a classic mahogany armada, consisting of a one-piece, glued-in neck plus a two-piece bookmatched mahogany body. The fingerboard is rosewood as always on Standard instruments, the two-piece AA top is maple, which is bound with a one-piece binding on the top and extends over the neck as well, the whole with the short scale length of 628 mm and 22 medium jumbo frets. P.S. If you ever had the luck / misfortune to play a LP Custom Fretless Wonder, you know how low you can grind frets :-)

The bridge / stop tailpiece is now made of aluminum, the tuners are from Grover's Rotomatic series and have Kidney Buttons as tuning pegs. In order to featurn the "used" character a bit, the two 60's burstbuckers were shipped without caps and the pickguard was omitted altogether. The circuit is classic 3-way without coil tapping, plus 2x Volume, 2x Tone, the whole hand-wired with Orange Drop Capacitors. Special strap locks were not included with the instrument, but a strap and a practical multitool are included. The instrument is delivered in a high-quality Gibson case, which is kept in the classic brown and no, the lining is not pink or purple this time.

It is also very positive to note that Gibson after its restructuring, which was completed some time ago, has raised the manufacturing level back to the regions, which has led to the legend status of the series from the fifties and sixties. The workmanship of the Gibson Les Paul Standard 60s Faded is impeccable, the components very high quality, the overall appearance a real pleasure.

The finish of the Gibson Les Paul Standard 60s Faded

But now let's get to the special feature of the instrument, the faded finish. The entire instrument is covered with a satin nitrocellulose lacquer, which is less resistant to external influences, but does not restrict the vibration behavior of the instrument like simpler lacquers. In addition, the instrument receives the so popular aging much earlier, which is very much appreciated by many users.

In particular, the neck of the Gibson Les Paul Standard 60s Faded gets through this varnish a much "woodier" feel than you know it from the classic LP necks. I wouldn't go so far as to say this is a natural neck with occasional oiling, as was practiced on some Ibanez models of the eighties, but the SlimTaper profile of the neck does indeed get a very intense feel.

The subtle yellowed finish is supposed to give the instrument the touch of a long and carefully played-in instrument, which is of course not possible at factory delivery, as not a scratch adorns the varnish and the appearance comes across flawlessly even. However, as soon as the respective user has left his personal imprints on the instrument, this instrument will, as expected, fade into aging more quickly than the analog high-gloss variants, where it takes considerably more work to drive the varnish into saturation accordingly.

In practice

What could be written about a Les Paul that is not well known to every guitarist? Whenever Gibson has tried to give the Les Paul a more "modern" look in its 120-year history, the shot backfired, so users can really be happy to be able to purchase the majority of the LP portfolio in the classic approach. The same approach with all its advantages also comes to bear on the Gibson Les Paul Standard 60s Faded, which can be recognized without a doubt already in dry play. The combination of solid mahogany insert in combination with the short scale length allows a sustain-rich low-mid sound, which depending on the amplifier is responsible for countless hits of the sixties and seventies, after they had clearly lost the fifties to the eternal competitor Fender. After the collapse of popularity in the eighties, it was thanks to Guns'n'Roses and their snotty rock that the LP model took off to new heights. It is not without reason that the majority of the "Signature Signature" series consists of various models that are manufactured for Saul Hudson (Slash). Can you actually "sign" a signature guitar twice? No matter.

Of course, with the appropriate setup pedal / amp / cabinet / speaker you can elicit good to very good clean or even high gain sounds from the Gibson Les Paul Standard 60s Faded, but the real highlights of the instrument are once again the extremely tasteful crunch sounds of all distortion stages up to the classic lead sound. Here the instrument impresses with a massive, powerful basic sound that makes it really hard not to immediately sing "Alright Now" by Free or any hit by Led Zeppelin or Thin Lizzy.

The instrument plays quite well, the neck has enough "meat" without scratching half the baseball bat, although of course the comparatively "shirt-sleeved" transition at the base of the neck still ensures that it is quite uncomfortable to grip from the 15th fret upwards. However, one is compensated with one of the two great sounds in the history of the electric guitar and it is questionable whether there will really be another trademark in the electric guitar sector in the future, which can steal the thunder from the two over fathers in terms of popularity.

Conclusion

With the Gibson Les Paul Standard 60s Faded, the company introduces an instrument beyond the High Gloss Standard version in its portfolio. The instrument offers a high level in all respects and seamlessly continues the renewed manufacturing quality that Gibson has been demonstrating for some time.

For friends of the classic Gibson tone a must!

Additional Informations:

- Gibson Guitars is a legendary company that has been at the forefront of guitar design and manufacturing for over a century. The company was founded in 1902 by Orville Gibson, a talented luthier who was known for his innovative designs and meticulous craftsmanship. Since then, Gibson has become one of the most respected names in the music industry, and its guitars are played by some of the most famous musicians in the world.

Gibson's early guitars were handcrafted in a small workshop in Kalamazoo, Michigan. These guitars were known for their high quality and unique designs, which incorporated elements of both traditional and modern styles. Over the years, Gibson continued to refine its manufacturing techniques and expand its product line, adding new models that appealed to a wide range of players.

One of Gibson's most famous models is the Les Paul, which was introduced in 1952. The Les Paul was designed in collaboration with jazz guitarist Les Paul, and it quickly became one of the most popular guitars in the world. Its solid body construction, powerful pickups, and sustain-rich tone made it the perfect instrument for rock and roll music, and it has been used by countless guitarists over the years, including Jimmy Page, Eric Clapton, and Slash.

In addition to the Les Paul, Gibson has also produced a number of other iconic models, such as the SG, the Explorer, and the Flying V. These guitars have all played a significant role in the evolution of rock and roll music, and they continue to be popular among guitarists of all genres.
Throughout its history, Gibson has remained committed to quality craftsmanship and innovation. The company's guitars are still handcrafted using traditional techniques, and every instrument undergoes rigorous testing to ensure that it meets Gibson's high standards. Additionally, Gibson continues to develop new technologies and designs that push the boundaries of what is possible with a guitar.

In recent years, Gibson has faced some challenges, including financial difficulties and legal issues related to the use of endangered woods in its guitars. However, the company has persevered, and it continues to produce some of the finest guitars in the world. Today, Gibson is headquartered in Nashville, Tennessee, and it remains a major player in the music industry, with a loyal following of musicians and fans around the world.

In conclusion, Gibson Guitars is a company with a rich history and a commitment to quality craftsmanship and innovation. Its guitars have played a significant role in the evolution of rock and roll music, and they continue to be among the most popular instruments in the world. Whether you are a professional musician or a beginner, a Gibson guitar is a great choice if you are looking for an instrument that offers exceptional tone, playability, and style.

- Lester Polfuss, better known as Les Paul, was an American musician and inventor who is widely regarded as one of the most important figures in the history of the electric guitar. Born in 1915 in Waukesha, Wisconsin, Les Paul began playing guitar at an early age and quickly developed a reputation as a virtuoso performer.

In the 1930s and 1940s, Les Paul began experimenting with ways to amplify his guitar sound, eventually developing his own electric guitar and recording techniques. In 1941, he moved to New York City and began performing regularly with his trio, which featured his innovative guitar playing and use of technology such as tape delay and multi-track recording.

Les Paul's influence on the electric guitar can be seen in his many innovations, including the solid-body electric guitar, which he developed in the early 1940s. This revolutionary design featured a single piece of wood for the body, which eliminated the feedback issues that had plagued earlier hollow-body electric guitars.

In addition to his contributions to guitar design, Les Paul was also an accomplished inventor, holding numerous patents for technologies such as tape echo, reverb, and noise reduction. His inventions paved the way for modern recording techniques and influenced countless musicians and producers over the years.

Throughout his career, Les Paul continued to push the boundaries of what was possible with the guitar, experimenting with new sounds and techniques and inspiring generations of musicians. He was inducted into the Rock and Roll Hall of Fame in 1988, and he remained active as a performer and innovator until his death in 2009 at the age of 94.

Today, Les Paul's legacy lives on through his innovative guitar designs, which are still produced by Gibson under the Les Paul name. His recordings and performances continue to inspire musicians around the world, and his inventions have had a lasting impact on the music industry.
In conclusion, Lester Polfuss, or Les Paul, was a true pioneer in the world of music and technology. His contributions to the electric guitar and recording techniques have had a lasting impact on the music industry, and his innovative spirit and passion for music continue to inspire musicians around the world.

TEST: Fun Generation BP 112

Compared to the discreetly martial-looking in-house product ranges of the music house Thomann such as T.Amp or T.Bone, the name of the series "Fun Generation" seems more like flower children in Woodstock fever, which should not, however, hide the fact that the comparatively new product range is one that primarily emphasizes fast, uncomplicated handling, which can also be carried out by a layman in a pinch. In addition, Thomann also throws in the very low price of €189 for the test model.

Nome est omen. Although it has been on the market for some time, the "Fun Generation" label is a newcomer to the portfolio of Musikhaus Thomann labels compared to the established house brands such as "T.Bone" or "T.Racks". The product name gives an idea of who the target group of the products, which are mainly from the sound reinforcement sector, is. Fast it should go, mobile it should be, easy to handle and preferably with the background of a cell phone operation to manage. With the Fun Generation BP 112 A, all this should be possible without any problems, at an extremely low price of only 159,- €. Let us surprise ourselves.

The construction of the Fun Generation BP 112 A

As usual for today's "Fun Generation", a multifunctional amplifier must also be able to run on battery power. Thus, the Fun Generation BP 112 A is also a battery-powered active 2-way box, which has a power of 120 W (peak) / 45 W (RMS), which is generated by means of a Class AB power amplifier. The operating time at RMS power is specified as 5 hours. 4 LEDs (100% green, 75% green, 50% yellow, 25% red) inform about the battery charge status. According to the manufacturer, the transmitted frequency range is 68 - 19,000 Hz at a max SPL of 109 dB.

A 12-inch woofer and a 1-inch compression driver are used as speakers, which has a dispersion angle of 90° x 40°. Both speakers are protected from external influences by a solid, black perforated grille, which, however, has small imperfections in the paint at the bending points to the two bass reflex ports, which are located in the center of the housing. The rest of the case consists of several plastic shells, which have a rough surface. Apart from a few tiny irregularities in the closing edges, the workmanship is very decent.

On the upper side of the case, which measures 380 mm x 295 mm x 600 mm, there is a telescopic handle that is comparatively short at 32 cm, which also takes over the function of a handle for the 12.3 kg construction. In order to fulfill the trolley function, the Fun Generation BP 112 A has 2 adequate plastic casters on the underside, which are of simple construction, but appear quite massive. Also on the underside is also a 35 mm flange for the high stand operation, whereby a simple, not deburred knurled screw ensures a fixation.

A dual function is performed by the two additional handles on the sides of the case. In the lower area of the handles are 2 protrusions each, which set the Fun Generation BP 112 A in a 45 degree angle in wedge operation. Since the handles are only 17 cm wide and were placed in the center of the housing, the box tilts relatively quickly to the side in wedge mode, but I still find the detailed solution quite clever.

The amplifier section

I can't help thinking that either every manufacturer is now copying the others, or there is only one panel manufacturer from whom they all buy. Like almost all battery-powered products in this genre, which I have tested in recent months, the Fun Generation BP 112 A has exactly the same arrangement of connectors and controls as its predecessors. OK, this is also the case with almost every guitar amp, but in the active speaker range this is somewhat strange.

The Fun Generation BP 112 A also has two XLR / TRS combo jacks, which can be switched in their sensitivity by means of a slider between microphone and line. Two volume controls above the jacks regulate the volume of the two channels. There is no gain control, so you have to reckon with one or the other mismatch. Unfortunately, all the controls on the back of the case are not screwed to the case, which means that any pressure movement is transmitted directly to the circuit board. Time will tell how long the solder joints will last in this regard. At least the controllers are recessed in the case, so that nothing can happen to them if they are placed flat.

Next to the two inputs 1 and 2 there is an AUX input with input 3, which has a stereo jack or an RCA input as needed and a separate volume control. The signals are mono summed in the device.

In the upper part of the amplifier section is the digital media player, which is fed from the sound sources USB stick, SD card or Bluetooth. Besides the standard functions, which are all controlled by small push buttons, you can also switch the five-band (100 Hz, 330 Hz, 1 kHz, 3.3 kHz, 10 kHz) summing EQ on the player using a push button. Another button selects the USB port or SD card as the signal source. The player also has a separate volume control. Not to be missed is the now common echo control, whose usefulness in an active multi-functional box has not made sense to me until now.

Finally, there is a master volume control with operation and clip diode and a mix out for daisy chain operation. Since in the range of application of the Fun Generation BP 112 A a stereo operation is probably never used anyway, only the mono summed signal is passed on.

The Fun Generation BP 112 A in practice

The first impression of the Fun Generation BP 112 A can be well described with the adjective "handy". The trolley function works smoothly and does not suffer from the sometimes slouchy telescopic bar attachment of other providers. Thanks to the three handles, the box can also be lifted, carried and placed very well, another feature that is very rarely found in this price range.

If you turn on the box, you hear nothing in the best sense of the word. No noise, no background noise, not even when all controls and EQ are set to their maximum, nothing at all. Either a noise gate was installed internally, or the components are of good quality. Also, no switch-on or switch-off impulse was perceived.

Immediately after turning on the Fun Generation BP 112 A, the system takes about 2 seconds to boot up and then greets you on the display with the words "No Disk". Who would have thought that the CD affinity of past times would still be in electronics so many years later.

I have now tested the system in various rooms. On the one hand as a simple vocal system in the rehearsal room / studio recording room, in high stand operation on an open outdoor area and in wedge operation as an active monitor box. Sonically, the box hardly deviates from each other in the aforementioned operating modes, that is, there is no range that was understood by the manufacturer as a "throw-in". Only the classic "poser foot-on-monitor box" operation is ruled out due to the somewhat wobbly support.

Sound-wise, the Fun Generation BP 112 A performs better than its price would suggest. Especially in the bass range, the performance is quite respectable, as long as you keep the power specifications in mind. 45 watts RMS do not allow real DJ operation, let alone as a vocal system against a powerful playing drummer. On the other hand, the system can keep up when it comes to a garden party.

The high frequency range occasionally comes across a bit harsh, which can't be remedied with the on-board tools, but I've also heard much more "angular" sounding high mid ranges in systems that were in the next higher price range.

The fact that the system itself is relatively simple, despite good workmanship, can be seen, among other things, in the fact that with a strong bass lift on the back of the amplifier part well palpable air currents came out of the slots around the holes of the controllers. Not like an open cabinet, but it shows that the electronics were not placed in a separate compartment within the system.

In summary, however, one must give the system a very good price / performance ratio. If you want to make a simple sound system without a lot of prior knowledge of the subject or without a lot of wiring, the Fun Generation BP 112 A is a good choice.

Conclusion

With the Fun Generation BP 112 A, the Thomann house brand offers a very good price / performance ratio for the active 2-way box. The system is very handy, can be used flexibly and offers a better sound for an extremely low price than the store price would suggest.

Anyone who can get by with an output power of 45 watts RMS should definitely test the system.


Additional Informations:

- Thomann is one of the largest and most renowned music retailers in Europe. The company was founded in 1954 by Hans Thomann in Treppendorf, Germany, and has since grown into a global business with a vast range of musical instruments and equipment available for purchase online.
The Thomann website offers an enormous selection of products, with over 100,000 items available for purchase, including guitars, drums, keyboards, recording equipment, and DJ gear. The company's range of products is constantly expanding, and they carry many of the world's top brands, including Fender, Gibson, Yamaha, Roland, and Behringer.

One of the unique aspects of Thomann is their focus on customer service. The company employs over 1,600 staff members, many of whom are musicians themselves, and they are dedicated to providing the best possible service to their customers. Their customer service team is available to answer questions, provide technical support, and offer advice on product selection, making the shopping experience at Thomann a seamless and enjoyable one.

Thomann is also known for their competitive pricing, with many products available at prices lower than those found in traditional music stores. The company's buying power and large inventory allow them to offer customers a wide range of products at prices that are often unbeatable.
In addition to their online store, Thomann also operates a physical store in Treppendorf, Germany, which spans over 74,000 square meters and houses a vast range of musical instruments and equipment. The store is a popular destination for musicians from all over Europe and features an impressive selection of guitars, drums, pianos, and synthesizers, as well as a range of accessories and merchandise.

Thomann also offers a range of services to their customers, including financing options, extended warranties, and a dedicated repair center. Their repair center is staffed by experienced technicians who can service and repair a wide range of musical instruments and equipment.
Overall, Thomann is a highly respected and influential player in the music industry. Their vast range of products, competitive pricing, and focus on customer service have made them a favorite among musicians of all skill levels. Whether you're a beginner or a seasoned professional, Thomann is an excellent choice for all your musical instrument and equipment needs.

- OEM (Original Equipment Manufacturer) products are a type of product that is designed and manufactured by one company but sold under another company's brand name. OEM products are common in many industries, including electronics, automotive, and consumer goods. In this report, we will examine the advantages and disadvantages of OEM products, as well as their impact on the market and consumers.

Advantages of OEM Products:

Lower Costs: One of the main advantages of OEM products is that they are often less expensive than products sold under a brand name. This is because the manufacturer can sell the product at a lower price without spending money on marketing, advertising, and branding.

Quality Control: OEM products are designed and manufactured by the same company that produces them, so they often have better quality control than products made by other companies. This means that the product is more likely to be reliable and consistent in performance.

Customization: OEM products can be customized to meet the specific needs of the customer. This means that the customer can request specific features or modifications to the product to meet their needs.
Innovation: OEM products often use the latest technology and materials, which means they may be more advanced than similar products sold under a brand name.

Disadvantages of OEM Products:

Lack of Brand Recognition: OEM products are sold under another company's brand name, which means that the manufacturer may not receive credit for their work or reputation. This can be a disadvantage if the manufacturer wants to build their own brand name.

Limited Control: The manufacturer of an OEM product has limited control over how the product is marketed and sold. This means that they may not be able to control the price, distribution, or promotion of the product.

Limited Product Range: OEM products are often designed to meet the specific needs of a customer, which means that the manufacturer may not produce a wide range of products for the market.

Impact of OEM Products on the Market and Consumers:

OEM products have a significant impact on the market and consumers. They provide consumers with access to high-quality products at lower prices, which can be a significant advantage for those on a budget. Additionally, OEM products can increase competition in the market, which can lead to lower prices and better quality products.

However, OEM products can also have a negative impact on the market and consumers. They can limit the number of brands available, which can lead to reduced competition and higher prices. Additionally, OEM products may not have the same level of customer support or warranty protection as products sold under a brand name.

In conclusion, OEM products have both advantages and disadvantages. They can provide consumers with high-quality products at lower prices, but they can also limit brand recognition and control over marketing and sales. Ultimately, whether OEM products are beneficial or not depends on the specific needs and preferences of the consumer.

TEST: Fulltone Mini Deja Vibe

"Well, do you also play a Siebenender?" Yes, the ambitious young German guitarist in the seventies knew primarily only the company "Jschippzon" and the other manufacturer with the funny 7 in front when it came to electric guitars. The fact that the Americans like to represent a big "F" in the form of a number was still foreign to many European musicians at that time. Nobody knew at the time that, in addition to Fender, the company Fulltone would also make this typeface their trademark a few years later.

What was known, however, was that the great string stars of the sixties like Jimi Hendrix and Robin Trower always used an illustrious number of floor pedals at their gigs, which were followed with great interest at the time. It was the time of experiments, which wanted to be implemented with massive physical effort, purely analog, sometimes crawling on the stage floor. Chaos, humming loops, creativity, a wild time.

Besides the first distortors, which elicited lead sounds from the crunchy fullstack for the first time, it was, among other things, the wafting sounds of the Univibe, which elicited chorus and vibrato-like sounds from the amplifiers for the first time and provided a previously unknown world of sound. To realize these sounds in the pre-digital era, an effort was made that would blow up any development budget today. To reanimate this legendary sound, however, requires a great deal of circuitry that cannot be calculated 1:1 by any algorithm.

Aware of this, Fulltone has launched the Mini Deja Vibe MDV-3, a replica of the Univibe, which not only uses custom photocells, but also new-old-stock Panasonic Matsuhita 2SC828 transistors.

Concept

Built in the USA, the Fulltone Mini Deja Vibe MDV-3 comes in an extremely solid cast construction and will probably last a lifetime in terms of stability. In general, Fulltone has attached importance to the user for the retail price of just under 360, - € to deliver a corresponding value detached from the sound. All components, both outside and inside the case, are of very high quality and suggest a long lifespan. Everything excellent before the first use? Not quite.

To ensure the product has the highest possible headroom in terms of operating voltage, the Fulltone Mini Deja Vibe MDV-3 requires an operating voltage of 18V via a stabilized power supply. Yes, you read that right, 18 volts. And yes, as far as I know, there is only the company Voodoo Lab, which currently provides an appropriate power supply in Europe. And no, you cannot place 2 pieces of 9V batteries inside the case in serial mode to power the product. In my opinion, this design represents a not insignificant hurdle in user acceptance, because detached from the fact that 18V certainly provide for an improvement of the sonic potential, if I can't put the product into operation other than with a special, not included power supply, the sonic aspect unfortunately brings me very little for now.

In terms of control options, the Fulltone Mini Deja Vibe MDV-3 can be operated either as a chorus or as a vibrato via a mini-switch. However, you should not stick too much to the designations, because in both sounds also a strong shot of phaser is always built in. If you want to get a more detailed picture of the sound concept, you only have to listen to the current shows or records of Robin Trower, who, according to an imprint on the bottom of the housing, inspired Michael Fuller to design the Fulltone Mini Deja Vibe MDV-3.

Another switch allows the settings Vintage or Modern, whereby Vintage generally works with less treble and softer. The speed of the modulation can be controlled via the pedal, whereby everything from a spherical carpet to a wafting LSD trip can be implemented. Two knobs on the outside of the housing control the intensity and the output volume of the signal. To support the speed of the modulation again visually, a blue LED was installed, which indicates both the operating status, as well as said modulation speed in the form of flashing. The housing rests on 4 strong rubber feet, which were screwed to the base plate in Cry Baby style.

In order to be able to activate the true bypass switch of the product even at full speed (pedal fully depressed), a recess was made in the foot part of the pedal, which allows the product to be activated / deactivated by means of the tip of the foot and a little sensitivity. A successful detail solution!


Practice

Regardless of which setting you use the Fulltone Mini Deja Vibe MDV-3 for the first time, a time travel of about 40 years into the past is definitely pre-programmed. Especially at the moment when the seventies sound look-alikes are sprouting like mushrooms and flooding the charts, the product should fall on nourishing ground. If any sound has vintage character, it's the sonic variations of the Fulltone Mini Deja Vibe MDV-3.

However, there is a big difference between using emulation to digitally calculate a vintage sound and generating it in "real" full analog because of the components used. While a good algorithm always only succeeds in simulating the characteristic corner points of a sound, with a product like the Fulltone Mini Deja Vibe MDV-3 you always have "The Full Monty", i.e. the depth gradation, respectively resolution of the signal does not end at the CPU load of the computer.

The interaction with the amp and the guitar encompasses a much larger amplitude and allows for much more shading in terms of personal technique and sound yield. Here you can also sit down on the floor in front of the amp and experience for yourself how quickly an hour flies by if you only intensively deal with 2 knobs, 2 switches and a handful of pickups on your guitar. What a difference to the preset steppe on the multi-FX pedal.

However, in order to get the full sonic benefit of the Fulltone Mini Deja Vibe MDV-3, you also need two other components that play an important role in this setup. First, you should have a high-quality amp, preferably an all-tube amp, which has a characterful clean and crunch sound. High gain may stay at home, there were not 40 years ago anyway. Secondly, the guitar in combination with the pickup plays a very important role, and it is not for nothing that the two protagonists mentioned above come from the Strat department. Let's make it short, Strat - neck pickup - Marshall JMP or earlier and the sun rises.


Conclusion

With the Fulltone Mini Deja Vibe MDV-3 Michael Fuller delivers the currently best Univibe replica in the world. In addition to excellent workmanship and the use of selected components such as specially manufactured photocells and new-old-stock Panasonic Matsuhita 2SC828 transistors, it is especially the completely authentic flair that the product exudes and invites you to an unrestrained return to the seventies.

A completely discrete electronics without any operational amplifiers provides a unique sound, which will give vintage fans glazed eyes.


Additional Informations:

- Fulltone is a well-known and respected manufacturer of high-quality guitar effects pedals and musical equipment based in Southern California, United States. The company was founded by Michael Fuller in 1991, and since then, it has established itself as one of the most innovative and reliable producers of boutique pedals in the industry.

Fulltone's philosophy is centered around producing guitar effects that are true to the vintage sound but with modern construction and reliability. Their pedals are designed to be sturdy, durable, and built to last, and they are renowned for their sound quality and unique tone-shaping capabilities.
The company's product line includes a wide range of guitar effects pedals, including overdrive,
distortion, delay, modulation, and wah-wah pedals. Each pedal is designed to deliver a unique and distinctive sound that can be customized to suit the individual preferences of guitar players.

One of Fulltone's most popular products is the Full-Drive 2 Mosfet Overdrive pedal, which is widely regarded as one of the best overdrive pedals on the market. This pedal offers a wide range of overdrive and distortion tones, from smooth and warm to gritty and crunchy, and it is often used by professional guitarists in a variety of genres, from blues to rock to metal.

Another popular pedal from Fulltone is the OCD Overdrive pedal, which is known for its dynamic range and high-quality sound. This pedal has gained a reputation as one of the most versatile overdrive pedals available, and it is often used by guitarists who need a pedal that can deliver a wide range of overdrive tones with clarity and precision.

In addition to pedals, Fulltone also produces a range of other musical equipment, including amplifiers, pickups, and cables. Their pickups are known for their clarity and dynamic range, and their cables are designed to provide reliable and high-quality signal transfer.
One of the unique aspects of Fulltone's products is their handcrafted construction. Each pedal is built by hand in Southern California, and the company takes pride in the quality of their workmanship. This attention to detail and commitment to quality has earned Fulltone a reputation for producing some of the most reliable and durable pedals on the market.

Overall, Fulltone is a highly respected and influential player in the guitar effects industry. Their commitment to quality, innovation, and customer satisfaction has made them a favorite among guitarists of all skill levels, and their products can be found in music stores and on stages around the world. Whether you're a professional musician or a hobbyist, Fulltone pedals are an excellent choice for achieving a distinctive and high-quality guitar tone.

- The Univibe pedal is a classic guitar effects pedal that has been used by countless guitarists over the years to achieve a unique and distinctive sound. The pedal was first introduced in the late 1960s by the Japanese company Shin-ei, and it quickly gained popularity among guitarists of the time, including Jimi Hendrix and David Gilmour.

The Univibe pedal was designed to simulate the sound of a rotating speaker, which was a popular effect used by organists at the time. The pedal uses a combination of phase shifting and amplitude modulation to create a swirling, pulsating effect that is often described as a "vibrato" or "chorus" effect.

The Univibe pedal has a simple yet effective design. It typically features a single footswitch, a few control knobs, and an input and output jack. The control knobs are used to adjust the intensity, speed, and depth of the effect, allowing guitarists to dial in a wide range of sounds, from subtle modulation to full-on psychedelic swirls.

One of the unique aspects of the Univibe pedal is its ability to react dynamically to a guitarist's playing. As the guitar signal is fed into the pedal, the phase shifting and amplitude modulation are affected by the strength and frequency of the signal, creating a dynamic and interactive effect that responds to the player's touch.

The Univibe pedal has been used by many famous guitarists over the years, including Jimi Hendrix, David Gilmour, Robin Trower, and Stevie Ray Vaughan. These guitarists have used the pedal to create a wide range of sounds, from Hendrix's signature psychedelic tones to Gilmour's lush and atmospheric soundscapes.

In recent years, the Univibe pedal has undergone several updates and improvements, with many new versions and clones being produced by various manufacturers. Some of the most popular versions include the Fulltone Deja Vibe, the Voodoo Lab Micro Vibe, and the Dunlop Jimi Hendrix Univibe.

Overall, the Univibe pedal is a classic and highly sought-after guitar effects pedal that has stood the test of time. Its unique and dynamic sound has made it a favorite among guitarists of all genres, and its influence can be heard in countless recordings over the years. Whether you're a fan of classic rock, blues, or psychedelia, the Univibe pedal is a must-have addition to any guitarist's pedalboard.