TEST: Hughes & Kettner Black Spirit Head

It seems like the search for the holy grail, what guitarists have been promised again and again by the industry for decades and yet never delivered. We are talking about the eternal desire to finally part with the comparatively sensitive, maintenance-intensive, expensive and heavy all-tube amps, which represent an anachronism par excellence, but still manifest the non-plus-ultra in terms of sound from a certain quality level. Only the sampler technology of a Kemper amp sometimes scratches the bark of the protagonists, while the transistor-based amplifier range has established itself primarily in the inexpensive practice amp market. Aware of this, the Saarland company with the Hughes & Kettner Black Spirit 200 media and marketing-technically to a very big blow out, which can wake up because of the full-bodied announcements again a wishful thinking, which would be once again too good to be true. Or perhaps nevertheless?

Saarland and other

Hughes & Kettner is doing well. Probably even very well, if one reviews a short résumé of the last product releases. The Grandmeister series is doing extremely well in the working musician market due to its dimensions and sonic performance, the Era series is jumping from a standing start to #1 among the best acoustic guitar amps in the world, and with the 6-channel Triamp MKIII, the company has a high-end all-tube head of the absolute top class. So what else could be done to give the portfolio an extra coat of paint to put an astonished look on the face of even the competition from overseas and Brexit country?

Typically German, one might say, as far as engineering performance is concerned. However, the fact that Hughes & Kettner, of all companies, is dedicated to the transistor theme is no coincidence, since decades ago they were one of the first to dare to switch to pure transistor technology, admittedly with rather modest results in terms of sound. It was precisely this joy of experimentation that for a long time caused the company from St. Wendel to be rather smiled at in music circles, before they brought one sensation after another onto the market in recent years. To face this challenge again now, it really takes a lot of "cojones".

The construction of the Hughes&Kettner Black Spirit 200

A quick look at the exterior appearance of the Hughes&Kettner Black Spirit 200 reveals its parenthood very easily. Very much in the style of the Grandmeister 36 and Deluxe 40, we are dealing with a typical briquet, which has, however, been kept a bit smaller in dimensions, with the chrome side handles and knobs of its predecessors giving way to a metallic black. If one takes the Hughes&Kettner Black Spirit 200 for the first time in the hand, one is almost frightened by the almost ridiculous weight. In contrast to the nearly 8 kg of its role models, the Head weighs in at just under 3.5 kg, only about 45%, which almost brings tears to the eyes of the traveling musician.

I myself have been doing my air shows for years with a Grandmeister 40 in my regular luggage, but I always have to be careful not to break the notorious 21 kg mark together with the footswitch, cables, stage clothes, etc., otherwise there is a risk of excess baggage. With a Hughes&Kettner Black Spirit 200, this undertaking can be approached much more relaxed, you could even pack it in your hand luggage. By the way, in contrast to the Grandmeister, the Black Spirit also has a multi-voltage power supply, i.e. even the voltages that are around 110 volts at foreign shows, e.g. in the USA, Japan or partly Brazil, can now be played with this amp. Wonderful!

Who has once dealt with the Grandmeister series, also comes very quickly with the Hughes&Kettner Black Spirit 200 to cope. This head can also be programmed as a 4-channel amp in stompbox mode, or in conjunction with a suitable foot switch, for example, the FSM-432 MK III to 128 memory locations. Also the Boost switch was taken over, which increases not as usual the Gain portion, but more in the classical sense the function of a Treble Booster of the first generations takes over, whereby here in contrast to the Grandmeister more the low mids are pushed. Nice for solos and short "thick pants" passages.

A double assignment of the Gain, Volume, Bass, Mid, Treble and Noise Gate controls gives you access to an internally installed digital effects unit, which covers the effects Reverb, Delay, Flanger, Chorus, Phaser and Tremolo. However, you have to accept a few small compromises in the flexibility of the effects. While the delay can still be operated classically with three controls, you can only manage the intensity and speed of the modulation effects. Typical extensions such as the resonance control in the flanger area have unfortunately fallen by the wayside, but this says nothing about the quality of the effects. Otherwise the standard like Presence and Resonance for the power amp, Mastervolume and a switchable FX loop.

Depending on the cabinet connected, you can choose between a power of 200 watts, 20 watts or 2 watts, which gives the amp a very high flexibility from large open air stage to quiet bedroom operation. The 20 watt circuit is particularly suitable for 1x12" vintage cabinets, which can be quickly blown at 200 watts. P.S. I tried the 200 watts in full load on a 412 cabinet once in the test, you don't want to have this volume on any stage without massive hearing protection :-)

The special features of the Hughes&Kettner Black Spirit 200

So, now into the nitty gritty! So what have the Saarlanders done to get as close as possible to the all-tube sound? The first magic word is "analog", the second "Bionic Tone Generator". Analog means that nothing was modeled or sampled here, but the individual components work purely analog. The Bionic Tone Generator, on the other hand, is a potted circuit board, about the inner workings of which H&K, as expected, remain silent and which sits enthroned as an optical eye-catcher next to the amp in classic blue in subtle glowing red on the front. It is precisely this circuit board that is supposed to produce the typical tube sound and was developed with great effort in recent years.

The amp has Bluetooth permanently installed, which allows both the feeding of music and, as with the Grandmeister, remote control via an iPad app. However, the external interface still required with the Grandmeister is omitted here. Line levels can also be fed in via the rear AUX-in and headphones can be connected on the front.

Power amp saturation or what?

Oho, now it gets interesting. The eternal argument of all-tube players (yes, mine too) in terms of sound culture is the famous output stage saturation, accompanied by the artificial word "sag", which describes the collapse of an amplifier's tonal linearity at the power limit. About discreet "rattle" of driver stages, compression of power tubes and return currents of loudspeakers there are countless publications on the market, which all end with the headline "transistor amplifiers can't do that". Exactly this (typically German ...) H&K has now undertaken and built an eight-stage Sag controller, with which one would like to achieve just this sonic behavior. But we are curious about the practical part.

Which loudspeaker would you like to have?

I myself first came across the Red Box in 1986 in the Horussound Studio in Hanover, which at the time was clamped between the amp and the cabinet and made it possible for the first time to pick up guitars without a microphone. Since that time, the product has been a perennial favorite in the H&K portfolio, but in recent years has been massively improved in terms of quality. In the Hughes&Kettner Black Spirit 200, you can now choose between 8 different cabinets and you have the option of using a switch on the back to play the amp in full-range mode directly into a monitor equipped with a notorious tweeter, without the razor sound sawing your eardrums.

The Hughes&Kettner Black Spirit 200 in practice

I admit it, rarely have I been so excited about the sound of an amplifier as I was during this test. After just under 1 hour of screwing, turning and testing, it is clear that the result is sensational! This is by far the best sounding transistor amp I have ever heard. But that's not all, almost 50% of all tube amps, some with three times the retail price of the Hughes&Kettner Black Spirit 200, can also pack their bags here. But everything nicely in order.

Already in the clean range, you can clearly see that H&K has succeeded with the Sag controller a very big hit. With increasing control position, the manufacturer comes very close to a collapsing all-tube amp, even the almost perceived as a fuzz inharmonic range at full load, the Saarlanders have succeeded very well. As with an all-tube amp, the best values are achieved when the power amp is tickled, but not driven to the limit. The best values I could achieve in the range 4 - 6, here the amp sounds incredibly dynamic, without the output stage dominates the preamp sound too much.

If you want to create a really "broken" sound, you should switch a fuzz in front of the amp and set the Sag control to the right stop. In this case you come very close to a ring modulator. If necessary in room volume! Simply great. With increasing distortion, the Hughes&Kettner Black Spirit 200 has to face a transistor phenomenon that has so far set most tube amps apart from transistor design in terms of quality.

We are talking about the "busy" sound, in terms of freshness and liveliness. I'm not talking about the Treble and Presence controls, but the overtone response, which adds a few extra waves on top. Here the Black Spirit shows a clear improvement. In the A/B comparison to the Grandmeister, the basic sound of the Black Spirit also seems a tiny bit busier, but no comparison to earlier realms.

With increasing gain, however, this difference is cancelled out, until finally in the high gain range no more difference can be heard. Especially the extremely difficult area of compression is very well done by H&K. If you didn't know that semiconductors were doing a job here, you would hardly believe it. In combination with Sag and Boost control, the amp allows a variety of sounds that is unparalleled.

Conclusion

With the Hughes&Kettner Black Spirit 200, the Saarland company has succeeded in creating a real sensation! Sonically, the small and extremely lightweight amp manages to provide a lot of eyes and ears, especially since the amplifier is not to be surpassed in versatility. The amp can be used with almost any cabinet up to a wedge, sounds official even at 2 watts via the power throttling and also offers the possibility of a good direct feed into the console with an 8-way Red Box.

I dare to predict that this amp will outstrip the Grandmeister, which is already running excellently, and will in fact be the standard for almost every working musician on stage in the future. Such a sonic flexibility of the upper class with such dimensions is currently unique.

Great cinema! Top mark!

Additional informations:

Hughes & Kettner is a renowned German manufacturer of high-quality guitar amplifiers and effects pedals. The company was founded in 1984 by Hans Stamer and Lothar Stamer and is located in the town of St. Wendel in the Saarland region of Germany.

From the very beginning, Hughes & Kettner set out to create innovative products that would push the boundaries of what was possible in guitar amplification. One of their earliest breakthroughs was the invention of the "Tube Safety Control" feature, which allows guitarists to switch between different output power levels without sacrificing tone or dynamics. This technology has since become a standard feature in many of the company's amplifiers.

Over the years, Hughes & Kettner has continued to innovate and develop new technologies for their amplifiers and effects pedals. One of their most recent breakthroughs is the "Spirit Tone Generator," which is a digital technology that is designed to replicate the sound and feel of real tube amplifiers. This technology is used in the company's Spirit Series of amplifiers, which are highly regarded for their versatility and tonal range.

In addition to their amplifiers and effects pedals, Hughes & Kettner also produces a range of guitar accessories, including footswitches, speaker cabinets, and even a line of guitar strings. The company's accessories are designed to complement their amplifiers and pedals, and they are built to the same high standards of quality and performance.

One of the things that sets Hughes & Kettner apart from other amplifier manufacturers is their commitment to sustainability and environmental responsibility. The company has implemented a number of eco-friendly practices in their production facilities, including the use of solar power, rainwater harvesting, and waste reduction initiatives.

Another key aspect of the company's philosophy is their focus on customer satisfaction. Hughes & Kettner takes great pride in the quality of their products and the level of support they provide to their customers. The company offers a 5-year warranty on all of their products, and they have a dedicated customer support team that is available to help customers with any questions or issues they may have.

In summary, Hughes & Kettner is a highly respected German manufacturer of guitar amplifiers, effects pedals, and accessories. The company's focus on innovation, sustainability, and customer satisfaction has helped them to establish a reputation for producing some of the finest guitar amplifiers and effects pedals in the world. Whether you're a beginner guitarist or a seasoned professional, a Hughes & Kettner amplifier or pedal is sure to provide you with the tone, versatility, and reliability you need to take your playing to the next level.

TEST: Hughes & Kettner Black Spirit Combo

It remains an eternal point of contention for all live guitarists, which is friendly but still comparatively tight. We are talking about the eternal competition between combo amps or head cabinet combination and yes, there is also the Kemper in-ear silent stage variant, but in this test we will stick to the comparison of "real" amplifiers, which, as will become clear in the course of the test, also includes plenty of "silent stage" attributes. After H&K could celebrate excellent successes with the top Black Spirit 200, it was actually only a matter of time until the Hughes&Kettner Black Spirit 200 combo should see the light of day. This happened recently, here is the test.

The construction of the Hughes&Kettner Black Spirit 200 Combo

As already mentioned, the Hughes&Kettner Black Spirit 200 Combo is very much based on its head predecessor, strictly speaking, the amplifier part is identical. This brings a great many advantages and one tiny disadvantage. To get an overview of the Head variant, you can read the AMAZONA review here (https://www.amazona.de/test-hughes-kettner-black-spirit-200-gitarrenverstaerker/). The special features of the Black Spirit are briefly summarized here.

The outstanding feature of the Hughes&Kettner Black Spirit 200 is the so-called Bionic Tone Generator, whose task is to form the "missing link" between tube and transistor amplifiers, so to speak. As is well known, the top league of amplifiers is made up exclusively of all-tube amplifiers, primarily for sonic reasons. The interaction of the individual components with each other creates a unique combination of compression and dynamics in the top devices of the genre, which could not be elicited from a transistor amplifier until now. H&K have made a very nice video about this, where the exact operation of this component is explained, see here https://youtu.be/A99D9ex_ces.

It would be so nice if the same sound quality of a tube amplifier could be generated from a solid state device, because unfortunately solid state amplifiers have almost only disadvantages compared to a solid state device, except for their sound. The tubes are wearing parts, the end tubes must also be calibrated, they are sensitive during transport, in heated condition you may not move the amp at all, otherwise it blows away the tubes directly, the amplifiers are many times heavier and last but not least, due to the only manufactured components, many times more expensive. For the ecologically minded guitarists among us, there is the additional problem that the majority of the supplied energy is converted into heat, similar to an internal combustion engine - almost 70%.

H&K have now set themselves the task of adopting the sonic advantages of an all-tube amplifier as far as possible, while still incorporating as many features of a modern amplifier as possible, such as Bluetooth connectivity, headphone operation or high-quality speaker emulation.

Head or Combo?

The Head version of the Hughes&Kettner Black Spirit 200 Combo could convince me at the time on a broad basis, especially if you belong to the category of "working musician", where, in addition to a very good sound, especially points such as transportability in weight and dimensions, flexibility in terms of sound and sound pickup and preferably also a worldwide use in terms of mains voltage. All of these points were already fulfilled by the top version and therefore do not need to be recited again in this test. The decisive question is rather, how far does the combo differ sonically from the head and should one give preference to a combo over a head in certain situations?

Briefly again a breath history lesson. The splitting of amplifier and speaker into the top/cabinet combination had purely pragmatic reasons in its time. What is nowadays the main problem in stage use, the volume, was also a problem 50 years ago, but diametrically. There were still no powerful P.A. components, which meant that all concerts, even the very big ones, had to be sounded by guitar and bass to a large extent from the stage.

While today all guitarists have the problem that their amps are too loud, the combos of his time with 10 - 20 watts all had the problem that they were much too quiet for large stages. To accommodate ever larger amplifiers and more and more speakers in a cabinet brought at some point the problem that the amplifiers became so heavy that they could hardly be transported. Rumor has it that Pete Townsend's (The Who) roadies refused to transport the 8x12" cabinets built especially for him, so Jim Marshall cut the cabinet in half and made two 4x12" cabinets. The Fullstack was born.

With today's P.A. and monitor systems, the fullstack has completely lost its physical raison d'être, if only the combination didn't sound so fantastic. In addition, you can freely combine cabinets and heads and thus has an additional powerful tool in terms of sound diversity at hand, which is not the case with a combo. In addition, a head / cabinet combination usually works with a different compression, moves more air and has a sonically different interaction with the artist.

Jo and now to the vexed topic of transport and handiness, where the combo really comes up trumps. It is simply much more space-saving and handy to play with a combo. The components are coordinated, the cabling is in place and anyone who has ever set up his 4x12 cabinet in a small club, standing 2 meters in front of the box, not hearing a sound from what he is playing and in turn the first row in the audience covers their ears because of the high volume, knows the problems of the classic halfstack solution.

Another advantage is the flexibility of the application possibilities of a combo, since you get the top part factually as also here with H&K on top. If you find that your room needs more than just a 12-incher, you can either unplug the internal speaker and use an external cabinet, or you can use the speaker as well. The Hughes&Kettner Black Spirit 200 Combo has 2 speaker outputs for this, one of the few differences to the top version. So there are many reasons which speak for a combo, which brings us back to the actual topic. Let's take a look at whether you can really determine a winner between the Hughes&Kettner Black Spirit 200 Combo and its top brother.

The Hughes&Kettner Black Spirit 200 Combo in detail

Since the amplifier part of the two variants is identical and can be read in the above-mentioned review, let's focus on the differences in the form of housing and speakers. First of all, the Hughes&Kettner Black Spirit 200 combo features a Celestion G12H-75 Creamback, a speaker that is rarely found in combos, not least because of its comparatively high power handling. So why a 75 watt speaker? Strictly speaking, the speaker cannot be powerful enough when connected to the Black Spirit 200, because the number 200 stands for the maximum power of the amplifier in watts. Should you drive the amplifier in this power setting and not limit it to 20 or 2 watts as possible, you should be very sensitive with the master control. Of course, the experienced musician hears the famous "Pappzerre" of a loudspeaker, which is close to the Exitus, immediately out, but it is nevertheless a little sensitivity.

Of course, one could have installed a speaker with a higher load, Celestion, for example, among other manufacturers, also carries Neodymium variations with 250 watts in its program, but the sound changes accordingly, of course. That being said, no one, really NO ONE wants to experience 200 watts of guitar volume on a regular stage. The 75 watt Creamback is therefore a successful compromise and, despite its ceramic magnets, displays a comparatively high vintage character.

The second big point in the sound department is the cabinet of the Hughes&Kettner Black Spirit 200 Combo. According to H&K, the speaker was packed into a so-called Thiele-Small enclosure, in which the ventilating speaker cabinet achieves maximum performance at low frequencies. To get closer to a closed cabinet in terms of bass response and compression of the cabinet's inner air column, the combo was closed at the rear and thus radiates only to the front. Many vintage combos achieve their typical sound by "losing" half of their radiated energy to the rear due to their open rear cabinet. This is not the case with the Hughes&Kettner Black Spirit 200 Combo.

The Hughes&Kettner Black Spirit 200 Combo in practice

Compared to an all-tube combo, the Hughes&Kettner Black Spirit 200 Combo is downright lightweight, but you do have to really grab it, especially due to the weight of the speakers at a total weight of 14.9 kg. Of course, you can control the amp by hand, but this proves to be quite cumbersome and you can't use the 128 memory locations. Clearly more effective here are the matching foot switches from H&K, or the very successful iPad app, which has finally appeared after what feels like 2 years. Controlled via Bluetooth, you can place your amp anywhere in the room or on stage and control it remotely.

If you activate the amplifier, you have to attest the Creamback a very good and above all appropriate sound behavior already at the first notes. The basic sound is voluminous, the tuning with the cabinets works excellently. In addition, the speaker manages to produce a balanced and powerful sound at very low room volumes as well as at higher volumes. In order to experience the extremely extensive tonal possibilities, I ask to study again the above-mentioned test report of the Head, a renewed enumeration of the features would go beyond the scope of this test and also primarily consist of repetitions.

Conclusion

With the Hughes&Kettner Black Spirit 200 Combo, the Saarland company has a top class product on the market. The combination of sound, portability, and flexibility eclipses anything I've come across in the combo category for a working musician. It is hard to imagine that there is currently a combo on the market that would be better suited for a cover band, for example. And don't you dare come up with another one with Kemper.

Absolute buy recommendation!

Additional informations:

Hughes & Kettner is a well-known German company that designs and manufactures high-quality guitar amplifiers and effects pedals. Founded in 1984 by Hans Stamer and Lothar Stamer, Hughes & Kettner has become a leading brand in the music industry, renowned for its innovative products, cutting-edge technology, and exceptional sound quality.

The company is headquartered in St. Wendel, Germany, where all its products are designed and manufactured. The founders' passion for music and technology has been the driving force behind the company's success, and their commitment to quality has been evident in every product they've created.

Hughes & Kettner has a long history of innovation, and the company has been at the forefront of technology in the music industry. In 1991, the company introduced its first fully programmable guitar amplifier, the TriAmp, which allowed guitarists to switch between different amp channels and effects at the touch of a button. This technology has since been refined and is now a standard feature in most of the company's products.

In 1995, Hughes & Kettner introduced the ZenTera, the first amp to use digital signal processing technology. This revolutionary amp allowed guitarists to create a virtually unlimited range of sounds, making it a favorite among guitarists looking for versatility and flexibility.
Over the years, Hughes & Kettner has continued to innovate and develop new products. In 2006, the company introduced the Switchblade, the world's first fully programmable tube amp. This amp combined the warmth and richness of a tube amp with the versatility and flexibility of digital technology, making it a favorite among guitarists.

In 2010, Hughes & Kettner introduced the TubeMeister, a series of small, lightweight tube amps that delivered the same high-quality sound as larger, heavier amps. The TubeMeister series quickly became a favorite among guitarists who wanted a portable, high-quality amp for gigs and rehearsals.

In addition to its amps, Hughes & Kettner also produces a range of effects pedals, including distortion, delay, and modulation pedals. These pedals are designed to work seamlessly with the company's amps, allowing guitarists to create a wide range of sounds and effects.
Today, Hughes & Kettner products are used by some of the world's top guitarists, including Steve Vai, Joe Satriani, and Paul Gilbert. The company's commitment to quality and innovation has made it a favorite among musicians who demand the best from their equipment.

In conclusion, Hughes & Kettner is a leading manufacturer of high-quality guitar amplifiers and effects pedals. The company's commitment to innovation and quality has been evident in every product it has created, and its amps and pedals are used by some of the world's top guitarists. Whether you're a professional musician or a hobbyist, Hughes & Kettner has a product that will meet your needs and exceed your expectations.

TEST: Hughes & Kettner Ampman Series

That's what I call an open ear for the needs of the customer. After the Hughes & Kettner Nano series from the standstill both by the writing guild and the user to probably the best bedroom amp ever, Hughes & Kettner immediately set out to create an expanded product line, which addresses the criticisms of the tiny heads. In particular, the lack of FX loop and the somewhat limited direct-to-interface functions somewhat diminished the rehearsal room / live, as well as home recording, which does not detract from the excellent sound, but somewhat limited the flexibility. Well, Hughes & Kettner presents, the Ampman series, which sets out again with the two models Classic and Modern, after the 3-way BS200 series (Head, Combo, Floor) and the Nano series to manifest another highlight in the Spirit.

Floor amp or what?

Most guitarists will not have remained unaware of the general development. The trend towards "smaller and lighter" continues unabated in 2021 and is gaining more and more contour. The royal class in the form of massive all-tube heads and combos still represents the ultimate in terms of sound, but its handling is now unfortunately only possible for lucratively working artists of the upper and top league, who have a corresponding crew and equally corresponding transport possibilities. And even in the professional sector, every kilogram counts for air shows, which is taken out of the transport budget and rather put into one's own wallet.

So the Ampman series follows the very successful Floor Amp of the BS200 series, which has found its way into the transport bags of (semi)-professional guitarists for quite some time due to its extensive sonic and circuit flexibility (LINK). Should the Nano series produce an illegitimate offspring with the Floor Amp, it would look like the Ampman series. But everything nicely in order.

The concept of the Ampman series

Hughes & Kettner has set itself 3 different goals with the Ampman series.

1) Keep the simple sonic management of the Nano Series.

2.) Combine several models of the Nano series in one amp

3) To incorporate the road capability and flexibility of the Floor Series into the product.

To be upfront, all 3 approaches have been fully successful, which can be seen from the first impression of the products. Each 2 Nano Amp models were combined in one of the two versions, where you can choose between the Classic and the Modern version. As expected, the Vintage Nano Head with its excellent clean sound found access to both Ampman versions, whereby the Classic variant with its second channel aims more in the direction of rock , the Modern variant more in the direction of metal.

In addition to the highlight of the Sagging circuit, both the Tone control, as well as Gain and Master were adopted from the Nano series in both channels. As a real added value, one must evaluate the controls Presence and Resonance, which now round off the sonic possibilities in the area of high and low frequencies. Furthermore, there is a master control per channel, which decides the volume difference in solo mode. In terms of power, the values are identical to the Nano series and correspond to the physical constraint of a solid state power amplifier, i.e. the more resistance at the speaker, the less power.

The values amount to approx. 50 watts at 4 ohms, 25 watts at 8 ohms and 12 watts at 16 ohms and are sufficient without problems to fill a club stage or a small hall with sufficient volume. Only with a "pure" 16 ohm speaker such as older Marshall 412 cabinets (not switchable to 4 ohm mono) 12 watts could be a little tight on a hall stage. But always remember, volume monsters like a 100 watt Plexi are just about 80% louder than an Ampman at 16 ohms!

To protect the 14 knobs during transport, they are placed slightly recessed on the top. The respective channel selection is indicated by an LED on the outer right. Four footswitches allow a practical sound management in the form of channel selection, a solo switch, the activation / deactivation of the FV loop and a boost switch, which slightly boosts the upper midrange and can be compared with an external booster.

Although the Ampman series is clearly designed for live operation due to its conception in the form of a solid metal housing and the foot switches, consideration was also given to the demand regarding home recording. As with the Floor series, a Red Box speaker emulation was installed, but this time in a professional XLR version with switchable output level (Mic / Line) and 8 different speaker simulations. This can be used for direct recordings into the interface, to feed the Inear System for live operation or, in an emergency, to send a direct signal to the PA. The Red Box is located on the back of the product, as well as other useful features. This includes the FX loop vehemently demanded by many users, which makes a full-fledged live operation possible. In addition, the control for a noise gate is located on the back, which makes sense especially in the lead channel of the Modern version. Anyone who has had to frantically change the channel in every break in the performance in order not to rush into the singer's announcement in terms of background noise knows what I'm talking about.

To support the practice effect, there is also a mini-jack headphone output and an AUX In on the back of the case, as well as the input and the speaker output. It's also nice that even this comparatively small power consumer has an AES circuit that can be disabled if you don't like it, which turns the amp off after 2 hours of inactivity. This circuit often made my technician sweat during our tours, because my Triamp MKIII Spare Amp liked to deactivate itself at the end of the show and my technician did not know this circuit yet.

Unfortunately, due to space limitations, it was not possible to install a cold-device plug on the Ampman, so the same external power supply as on the Nano series does its job. For live operation it is important to provide a good strain relief and never forget the external power supply. No multi-voltage power supply will be able to deliver the values of 24 volts at 2.5 amps.

Even though all components are solid and of high quality, I recommend to get a padded bag or case especially for the transport of the amp. In addition to the controls on the top, this also protects the three protruding controls on the back of the housing, which could be damaged in the event of an unfortunate impact.

The Hughes & Kettner Ampman in practice

OK, let's get straight to the point. I am through the intensive contact with the BS200 series sonically already so much of Hughes & Kettner accustomed, especially in terms of analog sound and the sonic proximity to a tube circuit. However, what the Saarland here with the Ampman sonically "do", sets in terms of price / performance ratio once again on top. The two variants sound, in a word, phenomenal!

Doe both controls Presence and Resonance allow exactly the tonal diversity that it still needed for the real stage operation and provides in cooperation with the Tone and Sagging control for a very large fanning what style and personal priorities. The Vintage variant can be easily blown up to a three-channel by adding an overdrive in TS9 style, but due to the Solo and Boost switch, this is only necessary for very high gain reserves, for AOR, Classic and Hard Rock the Lead channel is completely sufficient and impresses especially with its excellent interaction with the volume control of the guitar.

This is particularly evident in the Modern variant, where a high-gain sound can be easily transformed into a true lead or heavy crunch sound by pulling back the output, much in the style of an all-tube amp. Sonically, both variants are more in the American than in the British realms, that is, the overpowering "Mittennöck" of the EL34 guard can be tickled out well by turning the Tone control to the left, but the overall sound always remains very balanced and voluminous, as you know it more from the 6L6 department and colleagues.

The practicality of this amp is outstanding, for me already one of THE new releases in 2021. This amp screwed on a medium floorboard, tuner and the personal modulation and room effects with it, and you are perfectly equipped for a complete show. Should you be able to share a suitable cabinet on site, your complete equipment consists of your instrument and a padded bag / bagpack for your floorboard.

These amps are a real enrichment for every working musician! Full marks with all possible recommendations what goes!

Conclusion

With the Ampman series, the Saarland company has once again two excellent products from the Spirit series at the start. The amps impress with an excellent basic sound, great practicality and a very high flexibility, which ranges from home recording to the daily practice routine to the very easy to transport, professional stage amp.

The abandonment of the classic three-band tone control in favor of the Tone control allows a very fast character change from midrange-heavy to scoop and, in conjunction with the Sagging control, achieves a sonic quality that has not been possible in solid state technology until now.

Absolutely test and be amazed! Absolute purchase recommendation!

Additional informations:

Hughes & Kettner is a German manufacturer of high-quality guitar amplifiers, speaker cabinets, and effects pedals. The company was founded in 1984 by Hans Stamer and Lothar Stamer, two engineers with a passion for creating innovative guitar equipment. Today, Hughes & Kettner is recognized as a world-class manufacturer of guitar amplification products, and their products are used by some of the most renowned guitarists in the world.

One of the things that sets Hughes & Kettner apart from other guitar amplifier manufacturers is their commitment to innovation. They are constantly pushing the boundaries of what is possible with guitar amplification technology, and this is reflected in their product range. From the award-winning TriAmp MKIII to the versatile GrandMeister Deluxe 40, Hughes & Kettner amplifiers offer a level of tonal flexibility that is unmatched in the industry.

Another key feature of Hughes & Kettner products is their attention to detail. Every amplifier, speaker cabinet, and effects pedal is built to the highest possible standards, using only the best components available. This results in products that not only sound great, but are also incredibly reliable and durable.

Hughes & Kettner also places a strong emphasis on user-friendliness. Their products are designed to be easy to use, even for guitarists who are new to the world of amplification. Whether you're looking for a simple practice amp or a high-end professional rig, Hughes & Kettner has a product that will meet your needs.

In addition to their range of amplifiers and effects pedals, Hughes & Kettner also offers a range of speaker cabinets. These cabinets are designed to complement their amplifiers perfectly, and are built to the same high standards as their other products. They come in a variety of sizes and configurations, making it easy to find the perfect cabinet for your needs.

Hughes & Kettner has also embraced the digital revolution, and many of their products feature advanced digital signal processing capabilities. This allows guitarists to access a wide range of tones and effects that would be impossible to achieve with traditional analog technology. However, Hughes & Kettner has also recognized the importance of preserving the classic analog sound that has made guitar amplifiers so popular over the years, and many of their products combine the best of both worlds.

Overall, Hughes & Kettner is a company that is dedicated to providing guitarists with the best possible amplification products. Their commitment to innovation, attention to detail, and user-friendliness have made them a favorite among guitarists around the world. Whether you're a beginner or a seasoned professional, Hughes & Kettner has a product that will meet your needs and exceed your expectations.

TEST: Hotone Xtomp

As is so often the case in the life of a six-stringer, in many ways 2 camps are facing each other with bared teeth. On the one hand the traditional vintage player, whose fight for the true tone demands whole truckloads of pedals, amps and cabinets, limited only by personal budget, and on the other hand the modern pragmatist, who likes to resort to digitalization and modeling in favor of transportability and effectiveness.

Generally speaking, both camps have their advantages and disadvantages, so I'll be damned if I'm going to feel more committed to one side than the other. But there are areas where the percentages clearly shift in one direction. Quite clearly, the roles are distributed in the pedal area, as long as it is a single effect. Even if in the multi-effects warehouse is gladly fallen back on modeling, the classic overdrive or but also chorus of the old school comes in analog form and carries on a well readable sign the names Ibanez, Boss or also the one or other boutique side entrant before itself.

But what if the emulation is to access a single pedal, preferably multifunctional in terms of distortion, modulation or room effect? Good grief, I think the first vintage disciple in the second row just swooned. Let's see what awaits us with the HOTONE XTOMP, because that's exactly the concept of this in many ways outstanding pedal.

Concept

I'm sure some of the readers are experiencing a little deja vu right now. Programmable pedal with different sounds, possibly powered by a smartphone? Does that sound familiar? Yes, it does, it is in fact the concept of the Digitech iStomp series, which works on this very principle. However, the HOTONE XTOMP has some differences in the operating concept, which in practice make it easier to use.

While Digitech implemented a charging of the sounds via a licensed Apple cable and thus had to submit to the Apple monkey circus in terms of 30-pin, Lightning and other proprietary cable crap, Hotone avoids this constraint by relying on Bluetooth for data transmission. This has the advantage that you don't have to lug around a bulky cable, which you can't buy anywhere else.

However, if you now think you can reprogram your pedal across the stage, you'll unfortunately have to shift down a gear. During testing, there was a flawless function (iPhone 6) as long as the product was right next to the pedal. From a distance of 2 meters, there were unfortunately some data transfer interruptions. In addition, the pedal needs up to a minute to load the sounds, so a quick sound change on stage is not recommended.

Another advantage lies in the power supply. As with the iStomp, the HOTONE XTOMP cannot be powered by a 9V battery due to the intense processing power, but can handle a higher range of amps than the iStomp. While Digitech asks for the in-house 1.4 amp (!) power supply, the HOTONE XTOMP was also content with an everyman - 200 mA power supply from Ibanez. Unfortunately, no power supply is included in the delivery. A rogue, who suspects that one could have designed the packaging with this then no longer so exclusive ...

However, the idea behind the product is obvious, buy one pedal, own very many. Depending on your needs, the HOTONE XTOMP is a distortion, a modulation effect, a room effect, an amp / cabinet simulation or a combination of 2 different effects. However, one is dependent on the combination of the factory presets, a freely combinable selection is not possible.



Design

But whoops, did they deliver me the new iPhone there? Whenever there should be a prize for the most attractive floor pedal, the winner is already determined. Starting with the packaging and ending with the final device, Cupertino has once again been the godfather here. Brushed aluminum, a very solid metal housing, six knobs, which are illuminated by an LED ring in different colors depending on the loaded effect and an On/Off switch, which is also surrounded by a matching ring for the purpose of circuit status and which can be programmed either as a true bypass or as a buffer amp in off mode. In addition, 4 small rubber feet, which just suck on a smooth surface. As I said, but whoops ...

The device is designed in stereo, but can also be operated in mono. The two input and output jacks are very close to each other, but Hotone has taken proper measurements. Even with the very massive Neutrik connectors of the Cordial Roadline series, the plugs do not touch. All other connections in the form of the 9V plug and a USB interface for firmware updates are located on the top of the housing.

In total, the HOTONE XTOMP originally comes with 51 effect modulations, 45 single effects and 6 combination effects. Interesting is the respective leaning on sonic role models, depending on the effect area. While in the distortion area 100% of the big names such as TS-9, DS-1, OD-1, TS-808 or MT-2 are used, in the modulation area only about 50% of the models are used (e.g. CE-2), and then in the room effect area only own creations are delivered. However, the library is constantly being expanded, which led to 34 new effects being loaded at the end of the test, but these were not included in the test.

The respective LED rings light up in matching colors of the originals (Tube Screamer green, DS-1 orange, etc.) and also indicate which of the knobs are currently switched and which are not. Clearly, visually this can't be topped! However, you can't tell from the knobs which section they are currently controlling. Where the TS-9 emulation had the tone control, the DS-1 suddenly has the volume control. On the smartphone app, however, the areas are mapped, in addition, 2 layers of stickers are included, with which you can individualize his pedal.


Practice

Once skimmed the Quick Start manual, the rest is self-explanatory. Download the necessary app from the App Store, start, select effect, select Xtomp, load, done. If necessary, read a little background knowledge about the loaded effect and try it out. After the effect has been loaded, some controls need a few millimeters before they recognize their new function on the control, but after that everything runs like clockwork.

Sonically, the effects deliver a consistently good to very good spectrum. Interestingly, the programmers have attached importance to a predominantly "analog" sound impression. No effect seems sterile digital, on the contrary, they have rather added a strong touch of vintage to the effects, which is especially in the distortion range very much in favor of the general sound spectrum. You could say that the sound and the look of the HOTONE XTOMP are diametrically opposed.

In terms of copies, the HOTONE XTOMP comes pretty close to the originals, with the modulation effects in particular being very convincing. The distortion sounds are, as always, very taste-dependent, here everyone should just make his own picture. Among the own creations there are some very interesting effects at the start, especially in the room area HOTONE tries to offer a varied selection. Worth trying out!


Conclusion

With the HOTONE XTOMP is a very good sounding pedal on the market, which also easily clears the designer award in the field of floor effects. Conceptually, the manufacturer of smartphone programming occupies an effect niche, which he must share with only one competitor and can therefore draw from the full.

Especially the species of studio musicians will be happy to no longer have to drive pedalboard battles to be able to deliver the right effect on the fly. But also musicians who play in different bands with different setups can put together their respective setup individually before the rehearsal / show, without having to resort to another board.

Highly recommended!

Additional informations:

- Hotone Audio is a Chinese company that has become known for producing innovative and high-quality audio equipment, such as guitar and bass amplifiers, effects pedals, and other audio accessories. The company was founded in 2010 by a group of experienced engineers and musicians who shared a passion for creating cutting-edge audio products.
Hotone Audio has always been committed to innovation, and this is one of the reasons why the company has been so successful. The company's products are often highly original and offer unique features and designs that are not found in other audio equipment. For example, the company's Nano Legacy amplifier series is highly popular and offers guitarists and bassists a range of compact, portable amplifiers that deliver powerful sound in a small package.

The company's effects pedals are also highly regarded, and Hotone Audio has built a strong reputation for producing high-quality, affordable pedals that offer a wide range of sounds and effects. The pedals often feature innovative designs and are built to be rugged and reliable, making them ideal for musicians who demand the best.

Another factor that has contributed to Hotone Audio's success is the company's commitment to quality and reliability. All of the company's products are made using high-quality components and materials, and the company places a strong emphasis on ensuring that its products are durable, dependable, and built to last. The company's customer service is also highly regarded, and the company offers extensive support and warranty coverage to ensure that its customers are satisfied with their purchases.

Hotone Audio has continued to expand its product range in recent years, and the company now offers a wide range of audio equipment and accessories. The company's products are available worldwide, and the company has built a strong reputation for producing high-quality and affordable equipment that meets the needs of a diverse range of musicians.
In conclusion, Hotone Audio is a highly innovative and respected manufacturer of audio equipment. The company's commitment to quality, reliability, and innovation has helped it to become a leader in the industry, and the company's products are highly regarded by musicians around the world. With a wide range of amplifiers, effects pedals, and accessories to choose from, Hotone Audio offers something for everyone, and the company is sure to continue to be a major player in the audio equipment market for many years to come.

- Multi-effects pedals are a type of guitar effects pedal that contain multiple effects in one unit. These pedals can provide a wide range of different sounds and effects, making them a popular choice for guitarists who want to experiment with different tones and textures.
One of the key advantages of multi-effects pedals is their versatility. These pedals typically offer a range of different effects, including distortion, overdrive, delay, reverb, modulation, and more. This allows guitarists to create a wide variety of sounds and tones, from clean, crisp tones to heavy, distorted sounds.

Another advantage of multi-effects pedals is their convenience. Instead of needing to purchase and carry multiple pedals to achieve different effects, guitarists can simply use one multi-effects pedal to achieve a range of different sounds. This can be particularly useful for guitarists who play live or travel frequently, as it can save space and simplify the setup process.

Many multi-effects pedals also include additional features, such as built-in tuners, loopers, and expression pedals. These features can add even more versatility to the pedal and allow guitarists to experiment with new techniques and sounds.

One potential disadvantage of multi-effects pedals is that they can be more difficult to use than individual pedals. Because there are multiple effects to choose from, it can be challenging to navigate the different settings and find the right combination of effects. Additionally, some guitarists prefer the individual sound and feel of individual pedals, rather than the all-in-one approach of a multi-effects pedal.

Despite these potential drawbacks, multi-effects pedals remain a popular choice for many guitarists. They offer a range of different sounds and effects in a convenient and compact package, making them an ideal choice for musicians who want to experiment with different tones and textures. Whether you're a beginner or a seasoned professional, a multi-effects pedal can be a valuable addition to your guitar rig.

TEST: Hotone Ampero One

A factor that should not be underestimated when it comes to equipment is the first visual impression. The product can later turn out to be the over-the-top hit par excellence in practice, but if the first impression is more or less in the realm of "inconsequential to the bone", it takes an eternity to put this impression into perspective, if you ever get it out of your head at all. In today's review of the Hotone Ampero One, we're clearly dealing with the "Wat cute" performance category, which succinctly sums up the product's priorities.

The construction of the Hotone Ampero One

The Hotone Ampero One is a typical multi-effects pedal of the modern class, which means that the usual FX arsenal is joined by a lot of modeling amps, cabinets and microphone simulations. As already indicated, the Hotone Ampero One focuses on very small dimensions, but without sacrificing the necessary editing comfort. Until a few years ago, it was standard practice to have at least some kind of cabinet and microphone system in the rehearsal room or on the club stage if you couldn't transport your own equipment in a car. Nowadays, depending on the constellation, it may be necessary to travel by public transport for cost reasons and to have a suitable Inear-compatible sound generation system in your luggage in addition to your personal instrument.

The Hotone Ampero One is aimed at precisely this target group, which with its dimensions (W x D x H) 273 mm x 143 mm x 51 mm and a weight of just under 1.2 kilograms fits into any front pocket of an average gig bag. The required 9V multi-voltage power supply is included. If you forget to take it, don't worry, with a moderate 500 mA output, you can also use a different power supply on site.

Despite the focus on transportability and a retail price of only 272 euros, Hotone has not skimped on the mechanical equipment. Whereas in the past multi-effects units in this performance class were often housed in a plastic casing, the Hotone Ampero One has a solid metal casing all around, which speaks for a long service life of the pedal. In addition to three footswitches, a volume control and a rotary / push control, even a small expression pedal was built in, which thanks to a grippy surface provides a good grip for any shoe.

This is also urgently needed, since the pedal forces the user to make some compromises due to its short length of only 13 centimeters. If you put the foot on with the ball of the foot for the necessary sensitivity, the heel touches the ground prematurely during the downward movement, so that you have to slide backwards again with the ball of the foot to zero the pedal. Conversely, if the heel is flush on the pedal, you only have about the middle of the foot to perform the tilting motion, resulting in an unfamiliar "foot hold". Of course, you can get used to the dimensions, but it remains to consider whether you do not connect an external expression pedal with regular dimensions, especially since the Hotone Ampero One has an extra connection socket for an external pedal on the front side.

Speaking of the front panel, in addition to the input jack, the Hotone Ampero One has two stereo jacks (the left can be used mono if necessary), a stereo mini jack for headphone use and a stereo mini jack as AUX In. Again, a solid construction, especially since the jacks are directly screwed to the housing and thus the plugging and unplugging forces of the cables are not passed on to the board. The system rests on a total of 6 pleasantly soft rubber feet, which ensure good stability even on smooth surfaces. A USB socket for controlling the client solution in PC mode or for uploading updates completes the system.

The effects department

As usual with products of this performance class, one is almost overwhelmed by the list of possible effects. 64 amp models, 60 cabinet models plus various microfotypes, over 100 pedal models, over 50 Hotone effects - including high drive / dynamic / filter / mod / delay and reverb models, the whole spread over 198 presets, give the impression that you could easily save the same fleet in analog form, which would amount to almost six figures, especially since Hotone is very borderline with names such as the amps with names. For example, the amps with names like "Boger", "Fryman", "Rector", "Dizzle", "Engle" or even "Marshell" in the field. How far these models differ from each other, or even have something to do with the originals, will still be shown in the practical test.

The large color touch display of the pedal is controlled by using your finger, or via the software, which you can download from the web. Here you have a very extensive selection of submenus, where you can choose, for example, in addition to the various pedal / amp / cabinet combinations also between different microphone types along with an alignment of the microphone in the X, Y and Z axis. Now we would have easily arrived at 120,000 € equivalent in the analog world. Finally, for personal practice, there is a drum computer with 100 different patterns and a tuner, which is activated by pressing the left and middle footswitches simultaneously.

The Hotone Ampero One in practice

The Hotone Ampero One can be used or integrated into your personal setup in 2 ways. On the one hand, you can use it as a normal multi-effects pedal, i.e. you 1.) use the internal distortion pedals before the analog amp, or 2.) loop it into the FX loop of the analog amp, or 3.) use all effects before a clean amp. So far, so normal, however, the majority of users will probably rather aim at the second variant of use, i.e. the all-in-one solution with minimal transport effort, directly into the P.A. / Inear systems etc., as known from the market leaders Kemper and Fractial.

This is also the area that I primarily tested and from which the attached sound files also originate. If we step through the individual factory presets, we come across the usual, mostly effect overloaded standards, as we know them from the competition. Why this "eighties programming", in which a sophisticated reverb algorithm was still a special feature and a special mention in the presets was quite justified, has remained until today with all other suppliers of this product class, I can not really explain. Nowadays, the experienced user can only be moved to a benevolent nod with the most successful reproduction of the original possible, and there it requires exactly the opposite, namely no FX part at all.

But ultimately no problem, you can turn off all effects and listen to the pure amp / cabinet emulation, possibly with an equalizer pedal in front. And exactly then you can hear why the presets were set with a comparatively high FX content. Please forgive the harsh language, but none of the mentioned "paraphrases" has anything to do with the sound of the original. Neither a "Dizzle" sounds like Diezel, nor an "Engle 4x12" cabinet like Engl, nor a Dyn57 like Shure. Also, the "movement" of the microphone emulation in the three axes is pure EQ processing and has nothing to do with the interactive action of an analog mic.

This doesn't mean that you can't achieve satisfying sounds with the Hotone Ampero One, it just means that you shouldn't go by the names of the originals. For real "game kids", on the other hand, the pedal offers a great playground due to its almost inexhaustible possibilities. Sonically, the product offers the typical strengths and weaknesses of this performance class, meaning good clean sounds and rather mediocre distortion sounds, which can undoubtedly be improved by manual processing, but overall leave a rather mixed impression.

For the quick capture of an idea in songwriting mode, the daily practice routine or even the carefree jamming without much wiring, the Hotone Ampero One, however, is undoubtedly recommended.

Conclusion

With the Hotone Ampero One, the Asian manufacturer introduces a very well-made multi-effects pedal with minimal dimensions in its portfolio. Anyone who focuses on easy handling, a good basic configuration and a wide range of editing options will have a lot of fun with the pedal.

Additional Informations:

- Hotone Audio is a Chinese company that specializes in designing and manufacturing high-quality guitar and bass amplifiers, effects pedals, and other audio equipment. The company was founded in 2010 by a group of experienced engineers and musicians who were passionate about creating innovative, high-performance audio products that would help musicians bring their creative vision to life.

One of the key factors that sets Hotone Audio apart from other audio equipment manufacturers is the company's commitment to innovation and creativity. Hotone Audio is constantly pushing the boundaries of what is possible in the world of guitar and bass amplification and effects, and the company's products are known for their unique and innovative designs. Hotone Audio has won numerous awards for its products, including the prestigious NAMM "Best in Show" award.

Hotone Audio's product lineup includes a wide range of guitar and bass amplifiers, effects pedals, and accessories. The company's Nano Legacy amplifier series is particularly popular, offering a range of compact, portable amplifiers that deliver big sound in a small package. Hotone Audio's effects pedals are also highly regarded, with a range of pedals that offer classic and modern guitar and bass effects in a compact and affordable format.

Another key factor in Hotone Audio's success is the company's commitment to quality and reliability. All Hotone Audio products are crafted using top-quality components and materials, and the company places a high emphasis on ensuring that its products are rugged, reliable, and built to last. Hotone Audio's customer service is also exceptional, with the company offering extensive support and warranty coverage to ensure that its customers are completely satisfied with their purchases.

Hotone Audio's commitment to innovation and quality has made the company a favorite among guitar and bass players around the world. Whether you're a professional musician or a hobbyist, Hotone Audio's products offer exceptional performance, reliability, and value for money. With a wide range of amplifiers, effects pedals, and accessories to choose from, Hotone Audio has something to offer for every musician, and the company's products are sure to inspire creativity and help musicians achieve their musical goals.

Lunchbox amplifiers, also known as "mini amps," are a type of compact guitar amplifier that are designed to provide high-quality sound in a portable and affordable format. These amplifiers are typically small enough to fit in a lunchbox or backpack, and are ideal for musicians who need to travel frequently or want a compact and easy-to-use practice amp.

One of the key advantages of lunchbox amplifiers is their portability. These amplifiers are typically lightweight and easy to carry, making them an ideal choice for musicians who need to travel to gigs, rehearsals, or recording sessions. Additionally, lunchbox amplifiers are often battery-powered, allowing musicians to play anywhere without the need for an external power source.
Despite their compact size, lunchbox amplifiers are capable of delivering high-quality sound. Many of these amplifiers use advanced digital modeling technology to replicate the sound of classic tube amplifiers, providing a wide range of tonal options and a realistic, responsive feel. Some lunchbox amplifiers also include built-in effects, such as reverb and delay, allowing musicians to add depth and texture to their sound without the need for additional pedals or processors.

Another advantage of lunchbox amplifiers is their affordability. These amplifiers are typically much less expensive than larger, more powerful amplifiers, making them an ideal choice for musicians on a budget. Additionally, because they are smaller and use less power, lunchbox amplifiers are often more environmentally friendly than larger amplifiers.

Lunchbox amplifiers are available from a wide range of manufacturers, including well-known brands like Fender, Vox, and Marshall. Some lunchbox amplifiers are designed specifically for use with electric guitars, while others are designed to work with both electric and acoustic guitars, as well as other instruments such as keyboards and basses.

In conclusion, lunchbox amplifiers are a popular and versatile option for musicians who need a compact, portable, and affordable amplifier. These amplifiers offer a wide range of tonal options, built-in effects, and battery-powered operation, making them ideal for practice, gigs, and recording sessions. Whether you're a professional musician or a hobbyist, a lunchbox amplifier is a great choice for anyone who needs high-quality sound in a compact and easy-to-use package.

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TEST: Horch MP NVR

Every sound engineer knows the problem: what you mess up at the beginning of the signal chain cannot be salvaged in the mixdown, even with the most sophisticated technology. This is especially true for the sound quality of the preamp in combination with the right microphone, which is especially noticeable in mobile recording or home recording. Probably everyone once in his early days just took any console / preamp, which was just available to pack his ideas on HD, only to be surprised later that it lacks depth, volume and headroom and even the best vocal / voice performance of the quality of an iPhone recording just turned out to be superior. Aware of this, the Horch company, which has already made a name for itself with its high-quality microphones, has consistently committed itself to mobile recording at the highest level at an affordable price with the Horch MP NVR Mic Preamp, which is what the following test is intended to verify.

The concept of the Horch MP NVR Mic Preamp

No, even though the older generations may associate it, the Horch company, founded in 1997, has nothing to do with its automotive counterpart, which later evolved into the AUDI company (lat. "horch"). Rather, the German company from Schorndorf, led by developer Helmut "Jack" Breyer, has managed to rescue the classic tube technology of the 50s and 60s into the modern era and also make the technically archaic, but sonically high-quality yield accessible to the new generation in recording and producing. However, the best microphone is of no use at all if the subsequent transformer and the final conversion do not pass the signal recorded by the microphone through to the DAW at the same level.

Since many producers, especially from the rap and hip-hop area, now only work in the box and appreciate a flexible, high-quality microphone recording option, an easy-to-transport and yet high-quality sounding preamp is ideal, which combines the most important preamp functions in a small space and still does not lack in sound quality. That's why Horch decided on a kind of "brick" layout with the Horch MP NVR Mic Preamp, which is not unlike a brick in that it is easy to transport and has sufficient stability. According to Jack Breyer, the stand-alone solution was deliberately chosen for cost reasons, which is good for the end customer in terms of price. The external, included 24V / 200 mA power supply was also outsourced for cost reasons, but Horch is already working on a very interesting USB-C solution to be able to supply the preamp with voltage via the corresponding ports of the computers, which would make the use of the usually unloved "board bugs" obsolete.

In terms of construction, the Horch MP NVR Mic Preamp with its dimensions of (W x H x D) 10.7 cm x 6.2 cm x 18.4 cm and a weight of about 600 grams consists of a cuboid-shaped housing made of plastic, which finds its conclusion with two screwed metal plates on the front and back. There is no 19 inch frame for the desktop unit, so if you want to screw the Horch MP NVR Mic Preamp into a rack, you'll have to get a corresponding 2 U panel and drill holes in it accordingly. However, Horch is already working on a 500 solution, which will solve the rack application accordingly. The preamp is supplied with a high-quality XLR - TRS adapter cable, whereby in a simple instruction leaflet it is pointed out to connect the preamp exclusively to the line input of the interface. If the interface used does not offer a line input in XLR format, the same cable is to be used for the TRS input. In principle, this is a self-evident action, but many beginners or career changers are guaranteed to make the typical wiring mistakes in terms of signal flow and wonder about the high-gain distortion on the monitors or headphones.

As usual with Horch, the preamp has been designed with only the most important functions in favor of sound quality, as there is the amplification itself, a switchable 48V phantom power for condenser microphones, a phase rotary switch, a PAD switch, a mute button and a level meter. The level meter functions via a three-color LED with green (signal present), yellow (optimum level), and red (overload) indicators. The level meter of the Horch MP NVR Mic Preamp works similar to a VU meter, as the continuous color change is very similar to the movement of a needle. The gain is controlled by a very smooth and pleasantly sluggish gain control. On the rear there is an XLR input and output plus the power supply connection. The preamp stands on four soft rubber feet, which provide good slip resistance even on a very slippery surface.

As the name of the Horch MP NVR Mic Preamp suggests, the legendary Neve VR console was the inspiration for the product's development. The legendary preamps of the console, which were known for their outstanding transparency, were to be the starting point of the Horch preamp. On the output side, the Horch MP NVR Mic Preamp was designed without a transformer for coloring reasons, quoting Jack Breyer "2x coloring is not good".

The Horch MP NVR Mic Preamp in practice

Where exactly is the optimal application range of the Horch MP NVR Mic Preamp? Actually a strange seeming question, because the preamp can be used of course in each area, where it concerns to supply the output weak microphone signal to a level, with which one can process the further signal flow accordingly. If you are in the lucky position to be able to run an old Neve or SSL console economically due to the crazy electricity costs in Germany, you will not really need a preamp in the style of the Horch MP NVR because of the high number of high-quality channels. But what if you really only want to drive high-quality mono microphone recordings, preferably vocals and this as stationary independent as possible?

This is where the concept of the Horch MP NVR Mic Preamp comes into play, which in its basic conception has ultimately designed the preamp of a Neve channel strip to go. Open the backpack, put in the MacBook, put in the interface, put in the necessary cables, put in 2 headphones, put in the preamp, put in the microphone, put in the pop shield, close the backpack and pack the microphone stand, done. If you can find a good sounding room and a professional singer, you can create high-quality basic recordings. Even Brian Adams and other successful artists have used this method to create parts of their recordings in hotel rooms or similar spaces.

But what is needed in any case is an A/B comparison to a simple "loudspeaker", the function of which is sometimes even taken over by some interfaces. This is where it becomes clear why the majority of engineers go into raptures at the name Neve and why users are tempted to pay €888, which, by the way, is a real "bargain" for what's on offer.

In fact, the Horch input transformer Custom made by Haufe is the central component as far as the sound of the Horch MP NVR Mic Preamp is concerned. Once again, we have to resort to a discreetly flowery description of the sound, but the words "transparency" and "size" probably describe the sound of the preamp best. Combined with excellent headroom, the product offers the legendary "British warmth" without the "over-coloring" that cheap 1073 clones tend to spread.

The sound is finely resolved without harsh frequencies in any form. Also, the character of the respective microphone is optimally captured and transmitted, fine differences do not fall victim to the equalizer principle, but are optimally processed and passed on. The balanced and open sound can simply be described as outstanding, especially in relation to the three-digit price. To what extent the desktop principle of the Horch MP NVR Mic Preamp fits into the own workflow, each user must find out for himself, but the target group of the product will definitely be able to do something with the practical design.

Conclusion

With the Horch MP NVR Mic Preamp, the company from Schorndorf has an outstanding sounding preamp in its portfolio. With a very good price / performance ratio, the product convinces in all sonic aspects and offers the legendary sound of the preamps of a Neve VR console in a single application.

If you need a very good sounding preamp for mobile use and want to offer optimal amplification for your microphone in all situations, you should definitely take a listen to the Horch MP NVR Mic Preamp.

Additional informations:

- Horch Audio is a German company that specializes in designing and manufacturing high-end audio equipment. The company was founded in 2015 by a group of audio engineers and enthusiasts who were passionate about creating audio equipment that delivers superior sound quality and a seamless user experience. Horch Audio has quickly gained a reputation for its innovative designs and exceptional attention to detail, and the company has become a favorite among audiophiles and music professionals alike.

One of the key factors that sets Horch Audio apart from other audio equipment manufacturers is the company's commitment to using only the highest quality materials and components. All Horch Audio products are crafted using top-of-the-line materials, including precision-machined aluminum, aerospace-grade titanium, and premium quality circuit boards. Additionally, Horch Audio uses only the finest electronic components, such as hand-selected vacuum tubes and custom-designed transformers, to ensure that every product delivers the best possible sound quality.

Another important aspect of Horch Audio's design philosophy is the company's focus on usability and user experience. All Horch Audio products are designed with the user in mind, and the company places a high emphasis on creating products that are intuitive and easy to use. This attention to detail extends to the company's customer service as well, with Horch Audio offering exceptional support to its customers to ensure that they are completely satisfied with their purchase.

Horch Audio's product line includes a wide range of high-end audio equipment, including amplifiers, preamplifiers, DACs, and headphones. One of the company's flagship products is the Horch Audio M4 tube amplifier, which features a beautifully designed chassis made from aircraft-grade aluminum and an innovative circuit design that delivers exceptionally warm and natural sound. Another popular product is the Horch Audio DAC8, a high-end digital-to-analog converter that delivers stunningly clear and detailed sound quality.

In addition to its exceptional product lineup, Horch Audio is also known for its commitment to innovation and research. The company invests heavily in research and development, and is constantly exploring new technologies and design techniques to push the boundaries of what is possible in the world of audio equipment. This commitment to innovation is reflected in the company's products, which feature cutting-edge technologies and unique design elements that set them apart from the competition.

Overall, Horch Audio is a company that is truly dedicated to delivering exceptional audio equipment to its customers. With its focus on quality, usability, and innovation, Horch Audio has quickly become one of the most respected names in the world of high-end audio equipment, and the company's products are sure to impress even the most discerning audiophile. Whether you are a music professional or simply a music enthusiast, Horch Audio has something to offer that is sure to elevate your listening experience to new heights.

- Microphone preamplifiers, commonly referred to as "mic preamps," are a type of electronic device used to amplify the signal from a microphone before it is fed into a recording or sound reinforcement system. Mic preamps are essential for capturing high-quality audio recordings, as they provide the necessary gain to bring the microphone's low-level signal up to a level that can be properly processed and recorded.

One of the key features of mic preamps is their ability to provide clean, transparent amplification of the microphone signal. This is important because any distortion or noise introduced at this stage of the signal chain will be amplified and will degrade the overall quality of the recording. High-quality mic preamps are designed to provide minimal noise and distortion, allowing the microphone signal to be amplified without introducing any unwanted artifacts.

Another important feature of mic preamps is their ability to provide variable gain. Different microphones have different sensitivity levels, and the amount of gain required to bring the microphone signal up to an appropriate level will vary depending on the specific microphone being used and the intended use of the recording. Mic preamps typically provide a variable gain control, allowing the user to adjust the level of amplification to match the needs of the specific recording situation.

Mic preamps can be built into a variety of different devices, including mixing consoles, audio interfaces, and standalone units. Standalone mic preamps are popular among recording professionals because they provide the ability to select and use a specific mic preamp for each recording channel, allowing for maximum flexibility and control. Some high-end mic preamps also include additional features, such as switchable input impedance or selectable high-pass filters, which can be used to further tailor the sound of the microphone signal.

In addition to their use in recording studios, mic preamps are also used in live sound reinforcement applications. In live sound, mic preamps are typically built into mixing consoles and provide the necessary gain and processing to amplify the signals from the various microphones used on stage. Live sound mic preamps are designed to provide robust and reliable performance in a live environment, where reliability and ease of use are essential.

In conclusion, microphone preamplifiers are a critical component of any audio recording or sound reinforcement system. They provide the necessary gain to amplify the low-level signal from a microphone, while minimizing noise and distortion. Whether used in a recording studio or live sound environment, high-quality mic preamps are essential for capturing clean, clear, and accurate audio recordings.

TEST: HK Audio Polar 10

One could get the impression that the Columns P.A. has completely outstripped any other forms of sound reinforcement. There is not a single established manufacturer that has not expanded its portfolio with one or more components of this system class in recent years. HK Audio is one of the last to follow suit with the HK Audio Polar 10 and provides a lot of purchase arguments for the ambitious customer with interesting key data at a moderate price at first glance. Let's see how the second look turns out.

The construction of the HK Audio Polar 10

For just under 700 euros, you get with the HK Audio Polar 10 about 2000 watts of peak power, which are generated from a 10-inch subwoofer, 6 pieces of 3-inch midrange speakers and a 1-inch tweeter. According to the manufacturer, a frequency spectrum of 38 Hz to 20 kHz is covered with a dispersion angle of 120 degrees.

The complete system consists of a total of 3 elements, whereby one of the two column elements is a pure empty housing (company name "Spacer") and serves only as a spacer rod with passage of the signal to the midrange, respectively tweeter(s) (company name "Top"). In other words, to bring the system at ground level at ear level of the listener, one uses the spacer, if the system is already exposed on an elevated stage, one connects the top of the columns by plug system directly to the woofer. With the dimensions Top / Spacer (W x H x D): 10.8 cm x 82.5 cm x 9.8 cm and a weight of 3.9 kg (Top) and 2 kg (Spacer), the two column elements are easy to transport. Visually, both elements have an identical appearance anyway.

In the woofer housing, which comes with the dimensions 366 mm x 625 mm x 541 mm (W x H x D) and a weight of 21 kg already very strong in a black birch plywood finish, is as usual also the entire DSP department, along with mixer and power amplifier. If you put all the elements together, the system has a height of 2.13 meters and a weight of almost 27 kg, without spacers, the system has a height of about 135 cm.

As already mentioned, the entire electronics are located in the lower part of the HK Audio Polar 10. On the back is the cold device plug together with heat sink and all connections of the system. The crossover frequency between bass and midrange is 180 Hz, which demands a lot from the comparatively small midrange drivers in the direction of low midrange, the eternal Achilles heel of column systems. I'm already very curious about the practical part, especially since HK Audio explicitly points out the solution to this problem.

The mixer section of the system turns out to be comparatively simple. Channel 1 and 2 is supplied via a combo jack (XLR / TRS) and can be pre-adjusted with a slider in the input sensitivity. A small volume control decides the final volume. Channel 3 is designed for high impedance instruments and also has a volume control. Channel 4 is designed as a stereo channel and controls the volume for the Bluetooth receiver or the RCA input. The Bluetooth version is 5.0 and should have a range of up to 50 meters.

Via an XLR output, the incoming signals can be looped through to other amplifier systems in daisy chain mode. Finally, there is a separate volume control for the subwoofer on the mixer panel, which, in addition to a standard 0 dB control, also allows a boost of up to 10 dB. Finally, we have a master volume control for the entire system.

A small but easy to read display informs about the most important system points, such as limiter use in case of overload and Bluetooth use. In addition, the system has a three-band EQ on board (bass 70 Hz +/- 12 dB, treble 12 kHz +/- 12 dB, midrange semi-parametric from 70 Hz - 12 kHz +/- 12 dB) and three modes in the dispersion range labeled Music, Voice and DJ. In addition, the system can be operated as a delay tower with a distance of up to 100 meters. All settings can be saved to up to 5 presets.

The HK Audio Polar 10 in practice

One expects a lot from a column P.A., which is less of an issue with other systems. In particular, the combination of easy transportability, unobtrusive appearance and superior radiation behavior has made the principle in recent times a box office hit of the first category. In the case of the HK Audio Polar 10, the above points are undoubtedly fulfilled at first impression. The disassembly of the system takes seconds and the transport of the individual units is also problem-free, provided you have the strength to move the woofer with its 21 kg, but this is no problem due to the practical recessed grips.

In terms of optics, the Saarlanders succeed in creating a truly discreet appearance, which doesn't scare away guests even in a private garden party environment, but is rather perceived as a modern art element. Many sound experts like to forget that especially with discreet background sound, the appearance at private events is sometimes more important than the sound. The concept is appealing, the workmanship is very good, and the amount of cable to be used is minimal due to the internal connection rails.

In general, especially the plug-in rails leave a very good impression. The connections are torsion-resistant, solidly designed and can be securely plugged together even in the semi-darkness of a sparsely lit stage. Who doesn't know the club version, where the stage can't be properly lit around bursting, because all the spotlights are plastered with some pointless color filter, the walls were painted black so that you don't see the siff so and you have simply forgotten to install sufficient white light for assembly and disassembly.

Although a corresponding audio stream can be put on the system via Bluetooth, there is no app with which you can remotely control the system. If you leave the mixer at home, you unfortunately can't avoid the "set-before-run-listen-back-repeat" fuss.

Although HK Audio claims to have put a special focus on the construction-related center hole, you can't outsmart physics in this case either. 3 inch speakers are simply not capable of generating corresponding low mids to generate a completely balanced sound image, even more so when only 6 are available. One can help out a bit with an appropriate external EQ, but the typical slightly brittle sound of a typical column P.A. can also be heard with the HK Audio Polar 10, as with all other suppliers.

In return, however, the system scores with a very powerful bass, which provides a solid basis for up to about 150 people to be sounded, especially in the DJ preset. The headroom of the woofer is outstanding, especially since 1000 watts RMS and 2000 watts peak can generate a lot of pressure when needed. Depending on the preset, the sound spectrum ranges from scoop to moderate, although the high frequency range can also become "biting" at times, as is typical for columns.

The feedback strength of the system depends, as always, on the location of the performer. Of course, it is advisable to act at maximum at the same height as the speakers, or even better behind them, but even with a slightly forward setup, feedback attacks can be kept under control comparatively well. Of course, it is important to consider whether the spacer is in operation or not. Without a spacer on a stage in front of the speakers turns out to be a bad idea, as expected.

The Bluetooth feed turns out well, the 50 meters under Bluetooth 5 are met and even with lower versions 25 to 30 meters should not be a problem even with smaller obstacles. For an external mixer operation, somewhat higher quality connections like TRS or XLR would be desirable, but in the consumer area, the RCA connections simply do their job.

Conclusion

With the HK Audio Polar 10, the Saarland-based company has a high-quality column P.A. with a very good price / performance ratio in the program. With a very good mechanical workmanship and easy handling, smaller events up to a maximum of 200 people can be acoustically properly illuminated even in acoustically unfavorable conditions. Especially in the bass range, the system can show its full strength and provides a very good basis for various requirements with moderate dimensions and comparatively handy feel.

Additional informations:

- HK Audio is a German company that designs and manufactures high-quality audio equipment for professional and commercial use. The company was founded in 1992 by Hans Stamer and Lothar Stamer, and it is based in St. Wendel, Germany.

Products:
HK Audio offers a wide range of audio products, including loudspeakers, subwoofers, amplifiers, and digital signal processors. Their products are designed to meet the needs of a wide range of customers, including musicians, DJs, event planners, and sound engineers. HK Audio products are known for their high-quality sound, durability, and reliability.

One of the company's most popular products is the Linear 5 Series, which includes loudspeakers and subwoofers designed for use in live music performances and events. The Linear 5 Series features high-performance drivers, advanced electronics, and a lightweight design, making it easy to transport and set up.

In addition to the Linear 5 Series, HK Audio offers several other product lines, including the Elements Series, which is designed for use in fixed installations, and the Premium Pro Series, which is designed for use in large-scale events and concerts.

Technology:
HK Audio uses advanced technology to design and manufacture its products. The company's products are designed using computer-aided design (CAD) software, and they are tested using state-of-the-art equipment to ensure they meet the company's high standards for sound quality and performance.

One of the company's most innovative technologies is the MultiGrip carrying handle system, which is featured on many of its products. The MultiGrip system allows users to carry and transport speakers and subwoofers with ease, and it also provides a secure grip for easy handling.

Sustainability:
HK Audio is committed to sustainability and environmental responsibility. The company has implemented several initiatives to reduce its carbon footprint and promote sustainable manufacturing practices. For example, the company uses recyclable materials in its products and packaging, and it has implemented energy-saving measures in its manufacturing facilities.

Conclusion:
In summary, HK Audio is a German company that designs and manufactures high-quality audio equipment for professional and commercial use. The company's products are known for their high-quality sound, durability, and reliability, and they are used by musicians, DJs, event planners, and sound engineers around the world. HK Audio uses advanced technology to design and manufacture its products, and it is committed to sustainability and environmental responsibility.

- Column PA systems, also known as line array speakers or vertical array speakers, are a type of loudspeaker system that is designed to provide consistent and even sound coverage across a wide area. These systems are popular in a variety of settings, including concerts, festivals, conferences, and worship services.

Design:
Column PA systems consist of multiple smaller speakers arranged in a vertical column. The speakers are typically arranged in a line or curve, and they are designed to work together to produce a consistent and even sound. Each speaker in the column is angled and aimed in a specific direction to provide optimal coverage.

The design of a column PA system allows it to provide more even coverage than traditional speaker systems, which often have hot spots and dead zones. Column systems also have the advantage of being able to deliver sound over longer distances without losing clarity or volume.

Uses:
Column PA systems are often used in large venues, such as arenas, stadiums, and outdoor concert spaces, where consistent and even sound coverage is essential. They are also popular in houses of worship, where they can deliver high-quality sound throughout the sanctuary.
Column systems are also used in smaller settings, such as conferences and corporate events, where they can provide clear sound reinforcement for speeches and presentations. They are also popular in bars and restaurants, where they can provide high-quality background music without taking up valuable space.

Advantages:
One of the main advantages of column PA systems is their ability to provide consistent and even sound coverage over a wide area. This is achieved through the use of multiple speakers that work together to produce a uniform sound.

Column systems are also known for their high-quality sound. The smaller speakers used in these systems are often designed to produce a more natural and accurate sound than larger speakers.
Another advantage of column systems is their compact size. Because they are designed to be arranged vertically, they take up less floor space than traditional speaker systems.

Disadvantages:
One potential disadvantage of column PA systems is their cost. These systems can be more expensive than traditional speaker systems, due to the complex design and the use of multiple speakers.

Column systems can also be more difficult to set up and configure than traditional speaker systems. The precise positioning of each speaker is critical to achieving optimal sound quality, and this can be time-consuming and challenging.

Conclusion:
In summary, column PA systems are a popular choice for venues and events that require consistent and even sound coverage over a wide area. These systems use multiple smaller speakers arranged in a vertical column to produce high-quality sound that is natural and accurate. While they can be more expensive and difficult to set up than traditional speaker systems, their advantages make them a popular choice for a wide range of applications.