TEST: Ibanez FRIX6FDDQM Iron Label

As an instrument maker in the electric guitar sector, you really don't have it easy at the moment. In a market that is saturated to the hilt, you have to come up with something in the area of "aesthetically" shaped bodies in order not to bring the millionth variation of Strat and co. onto the market. The people responsible at Ibanez must have said something similar to themselves and have come up with the Ibanez FRIX6FDQM-BMG Iron Label, a fusion of various classics.

The construction of the Ibanez FRIX6FDQM-BMG Iron Label

For the company's internal processes, the cryptic alphabet soup, which Ibanez now uses almost without exception as a model designation, may be a helpful thing, but for the ambitious guitar fan, the whole thing turns out to be a bit exhausting at times. The model on test comes from the comparatively new FR series, which at first glance looks like a fusion of Strat, Paula and EvH. Since even China has meanwhile increased its production costs and Indonesian workers are in no way inferior to their Chinese colleagues in terms of craftsmanship, more and more manufacturers are moving the production of their cheaper lines to Indonesia, where the FR line is also manufactured.

If you look at the individual components of the instrument, it is already visible at first glance that Ibanez has placed great emphasis on an all-rounder, that is, a guitar with which you can basically cover the entire evening repertoire of a cover band. Let's take a look at the individual components in detail.

The components of the Ibanez FRIX6FDQM-BMG Iron Label

For a good all-rounder, it is of course important to cover the two great forefathers of the electric guitar, as there are the big F and the big G plus their flagships in terms of wood selection and hardware. Ibanez jumps here truly very intelligently from branch to branch and helps itself in each case to the strengths of the protagonists, enriched with a few interesting Japanese details.

The 2-piece, asymmetrically glued body of the instrument is made of Nyatoh, a Southeast Asian species of the sapote plant family, which is supposed to be very similar to the wood type mahogany in appearance and sound. Here, too, the commercial skills of Leo Fender were probably taken into account, who at the time only used woods that grew on his doorstep and where transport costs were as low as possible. In times of ecological footprints a not to be neglected plus point in the production!

The top is made of cloud maple and is finished in a burst varnish, described by the manufacturer as Black Mirage Gradation, pronounced "Black Fata Morgana finish". Well, the last color step on the right bell bracket is indeed black, but the finish fades from dark to light and back again on the headstock in a NATO green hue. The reader may decide for himself if he likes the color, for camouflage-heavy U.D.O. or Sabaton tribute bands at least an interesting alternative.

The three-piece neck (Maple / Purple Heart / Maple) has an asymmetrical shaping, which at a width of 43 mm and a thickness of 19 mm at the nut expands to a thickness of 58 mm at the 24th fret and a thickness of 21 mm at the 12th fret. The fingerboard radius is kept very flat at 400 mm, typical of Ibanez, and Jumbo Frets are also used. A special feature are the luminescent side dots, which are intended to facilitate orientation on the fingerboard on a sparsely lit stage. The bound fingerboard itself is made of ebony and has no inlays. The long scale length of 648 mm is used. The neck is quadruple bolted and sits bombproof in the neck pocket.

In terms of hardware, the color black is used and six locking tuners from Gotoh are installed, which do not have to be tagged due to the angled headstock. As a bridge, a product from the in-house Gibraltar series with the designation Standard II is used, which includes an interesting detail on closer inspection. In order to be able to guarantee the eternal problem of octave purity over all sets of strings when the strings are fed through the body, the holes of the two lowest bass strings were optionally moved a little to the rear in order to be able to better adjust the individual riders in the rear area. If you are now wondering why these double holes were also made on the top treble strings, I guess the bridge is also supposed to be used on the left-handed models, where said situation is reversed. Cleverly done.

Or even such small details as the truss rod cover. While other guitars, even in the high-end league, require the annoying workflow of "loosen strings - remove cover screws - remove cover - tune strings - adjust trussrod - loosen strings - put cover on - tighten cover screws - tune strings" when readjusting the neck, the Ibanez FRIX6FDQM-BMG Iron Label has a simple, snap-in flap that can be folded away sideways with a fingernail as a cover. Why isn't something like this standard? I can only hope that the system is patent protected, so the other manufacturers would at least have an excuse, if they do not use such a system.

In terms of pickups, DiMarzio products are used again, this time the Fusion Edge humbucker series, both of which are designed to be spilt. Apparently these pickups are made exclusively for Ibanez, at least they don't show up on the regular DiMarzio website. By means of a pleasantly heavy three-way switch and a coil tap switch, you can call up the variations Humbucker Neck Serial - Humbucker Neck / Bridge Serial - Humbucker Bridge Serial - Inner Coil Neck - Inner Coil Neck / Bridge and Inner Coil Bridge. Logical, simple and usable for 95% of all common sounds. A tone control was omitted, only a volume control was placed on the instrument.

The Ibanez FRIX6FDQM-BMG Iron Label in practice

It may not come across that way in the photos, but the menagerie of the colors green (top), red-brown (body), purple and natural (neck) is already a daring composition, but should not say anything about the sound. Connected to a H&K Triamp MK III with a Marshall 4x12 Cabinet with Celestion G75 Speaker and 2 pcs. SM57 in Fredman method the Ibanez FRIX6FDQM-BMG Iron Label turns out to be a real all-rounder.

In particular, the flexible pickup circuit allows a wide range to emerge in the clean / crunch range. Hardly a characteristic sound, which would not be hit by the six pickup configurations. In addition, the bandwidth can be increased many times over with the volume control. Clean and crisp single coil sounds are just as familiar to the guitar as powerful rumbling humbucker crunches, whereby the single coil sounds on the neck pickup differ marginally from the classic under the 24th fret due to their discreetly inward moving orientation. However, this is not to be understood in a judgmental way, at the latest with Steve Morse with his up to 6 coils on his instruments, you can experience how impressive coils sound in positions where you would not expect them.

The attack behavior of the Ibanez FRIX6FDQM-BMG Iron Label also knows how to please. The guitar is very "snappy" in its response, swings up quickly and has nothing in common with the sometimes discreet sluggishness with which many a mahogany body goes to work. Once again, I spontaneously think of the area of application in a cover band, where many sounds are needed without constant instrument changes. Such a guitar in combination with a highly flexible combo like the Hughes&Kettner Black Spirit 200 Combo (https://www.amazona.de/test-hugheskettner-black-spirit-200-combo-gitarrenverstaerker/) and the whole repertoire of the evening is set.

For a smoky blues evening in old-man style, the instrument seems to me too tangy in its approach, but I'm sure this approach was never planned by Ibanez either. The Ibanez FRIX6FDQM-BMG Iron Label seems more like it was designed for the modern player who can do without a vibrato system, especially since you really get a lot of instrument for the store price thanks to Indonesian manufacturing. Interestingly, I also didn't notice a single point where you could feel or hear the Asian manufacturing.

Conclusion

With the Ibanez FRIX6FDQM-BMG Iron Label, modern guitarists get a lot of instrument for their money. The guitar impresses with great flexibility, very good workmanship and interesting details, from which many a big name can sometimes take a leaf out of the book.

Additional informations:

- Ibanez Guitars is a renowned Japanese guitar manufacturer known for producing high-quality instruments for guitarists of all skill levels. The company was founded in 1908 by Hoshino Gakki and began as a music store selling imported stringed instruments. Over the years, Ibanez has developed a reputation for producing innovative and reliable guitars that have earned the respect and admiration of guitarists around the world.

Ibanez's guitar designs have always been innovative, with the company continually pushing the boundaries of what is possible in guitar manufacturing. In the 1950s and 1960s, Ibanez produced copies of popular American guitars, but by the 1970s, the company was developing its own designs. One of the most significant developments was the introduction of the Ibanez Roadstar, a versatile guitar that quickly became popular with both professional and amateur guitarists.

In the 1980s, Ibanez cemented its reputation as a leading guitar manufacturer by producing the Ibanez JEM, a signature guitar designed in collaboration with virtuoso guitarist Steve Vai. The JEM featured a range of innovative features, including a double-locking tremolo system and a monkey grip handle. The JEM became a popular guitar among shredders and metal guitarists, and it continues to be one of Ibanez's most iconic designs.

Today, Ibanez produces a wide range of guitars, from entry-level instruments for beginners to high-end models for professionals. The company's product lineup includes electric guitars, acoustic guitars, basses, and ukuleles, all of which are known for their quality and reliability.
One of Ibanez's most popular product lines is the RG series of electric guitars. The RG series features a sleek, modern design and is known for its fast playability and versatile tone. The RG series has been used by guitarists in a variety of genres, including metal, rock, and fusion.
Another popular Ibanez guitar is the Artcore series of semi-hollow electric guitars. The Artcore series features a classic design and a warm, rich tone that is well-suited to jazz, blues, and rockabilly styles. The Artcore series has been used by guitarists such as George Benson and John Scofield.

In addition to producing high-quality guitars, Ibanez is also known for its commitment to innovation. The company has developed a range of unique features, including the Edge tremolo system, the Tight-End bridge, and the Fishman Fluence pickups. These features have helped to distinguish Ibanez guitars from other brands and have contributed to the company's continued success.

Overall, Ibanez Guitars is a leading guitar manufacturer that has earned the respect and admiration of guitarists around the world. The company's commitment to innovation and quality has made it a favorite among professional and amateur guitarists alike, and its wide range of products ensures that there is an Ibanez guitar to suit every style and skill level.

Ibanez Guitars' Iron Label Series is a highly regarded line of instruments that caters to the needs of modern metal and hard rock guitarists. Known for their exceptional build quality, powerful tones, and sleek aesthetics, the Iron Label guitars have become a go-to choice for players seeking high-performance instruments that can handle the demands of heavy music genres. In this comprehensive review, we will delve into the key features, design elements, and sonic capabilities of the Iron Label Series.

Design and Construction: The Iron Label guitars feature a distinct design aesthetic, blending modern and aggressive elements with a touch of elegance. These guitars are built with precision and attention to detail, ensuring optimal playability and reliability. The body shapes often found in the Iron Label Series include the popular RG and S series, known for their ergonomic contours and comfortable feel. These guitars are typically crafted from high-quality tonewoods, such as mahogany, ash, and maple, which contribute to their rich tonal characteristics and sustain.

Neck and Fretboard: The necks of Iron Label guitars are designed to facilitate fast and effortless playability, ideal for high-speed riffing and shredding. Typically, they feature a slim and fast profile, allowing for smooth navigation across the fretboard. The fretboards are usually made of high-grade rosewood or ebony, ensuring excellent note articulation and a smooth playing surface. The frets are well-dressed and polished, allowing for accurate intonation and comfortable fretting.
Pickups and Electronics: One of the standout features of the Iron Label Series is the powerful and versatile pickup configurations. Ibanez incorporates high-output pickups, often from renowned manufacturers like EMG or Seymour Duncan, to deliver a wide range of aggressive and articulate tones. These pickups are specifically selected to excel in high-gain situations, providing clarity, tightness, and ample sustain. The pickup configurations vary across the Iron Label models, offering options like HSS, HH, or HSH setups, allowing guitarists to achieve their desired tonal palette.

Hardware and Tremolo Systems: Ibanez understands the importance of reliable hardware in the world of heavy music, and the Iron Label Series is equipped with top-notch components. The guitars often feature high-quality locking tuners, ensuring precise and stable tuning, even during intense playing sessions. Additionally, many models in the series are equipped with double-locking tremolo systems, such as the Ibanez Edge Zero II or the Gibraltar Standard II, enabling guitarists to perform expressive dive bombs and extreme pitch modulation while maintaining tuning stability.

Tonal Versatility: While the Iron Label Series is primarily known for its metal and hard rock capabilities, these guitars offer a surprising degree of tonal versatility. With the help of the carefully selected pickups and versatile control layouts, guitarists can achieve a broad spectrum of tones, ranging from warm and clean sounds to searing leads and crushing rhythm tones. The guitars excel in high-gain situations, delivering tight and articulate distortion tones ideal for heavy genres, but they are equally capable of producing beautiful cleans and dynamic crunch tones.

Conclusion: The Ibanez Iron Label Series has rightfully earned its place as a leading choice for guitarists who demand powerful and reliable instruments for metal and hard rock music. With their exceptional build quality, attention to detail, and a wide range of tonal options, these guitars provide players with the tools they need to express their creativity and deliver intense performances. Whether you're a professional musician seeking a workhorse instrument for the stage or a dedicated enthusiast looking to explore heavy music genres, the Iron Label Series from Ibanez is a compelling option that is sure to impress.

TEST: Ibanez AZ24047

It has become a little quiet around the 7-string faction. After Steve Vai chose Ibanez as the protagonist of all prog fans with the Universe model at the end of the eighties and the band Korn introduced the 7-string guitar into the mainstream, this design took over the part of the "missing link" between the traditional 6-string concept and the "do-we-really-need-a-bassist-yet" 8-string djent range. Also, the downtuning trend that was at its zenith years ago, where a standard 6-string is transposed down several semitones, has taken over much of the 7-string territory. For the test we have an Ibanez AZ24047 in classic black, which is preparing to reclaim some of the lost territory.

The special features of the Ibanez AZ24047

What would Ibanez be without its model designations that are as long as a bull's-eye and indecipherable to the layman? One should really take up the cudgels for the music dealers, who have to deal with the columns of numbers every day. Be that as it may, the Japanese will probably not give up this designation policy, one must live with it.

Once again, the Japanese-made instrument comes with the classic Powerstrat attributes, i.e. Strat-like body, powerful pickups and a vibrato system, whereby the "thick pants" department has turned out comparatively moderate on this model from the Prestige series. Rather, one gets the impression Ibanez doesn't want to create provocation in both the color scheme and the general layout, both with the public and with bandmates. One may interpret the brown-black color scheme as discreet or as banal, just as one likes it.

In terms of workmanship, Ibanez once again shows its class, although for a model of this LIga, which has a retail price of 2,199, - €, the general headroom regarding uncleanliness will also be very low. Here the pedant will probably be allowed to search all day, he won't find any reason to nag.

Japan has built several special features into the Ibanez AZ24047. Not quite new anymore, but still always a highlight in terms of vibration behavior is the neck made of roasted maple mounted in the bolt-on process. As is well known, this type of wood in particular benefits from the process in terms of vibration behavior and gives the instrument already in dry mode an exceptionally long sustain for the construction screwed neck / vibrato system. As expected, the dimensions of the neck are slightly thicker than usual due to the seven strings, resulting in the following values:

Width: 47 mm at the nut, 66 mm at the 24th fret.
Thickness: 20.5 mm at the 1st fret, 22.5 mm at the 12th fret
Fingerboard radius : 305 mm

The neck is 4-bolted to the alder body and, as is often the case with Ibanez, is in a rounded neck socket, which makes it much easier to play in the upper registers. 24 stainless steel jumbo frets on a long scale (648 mm / 25.5") are also standard on this model. The truss rod is accessible from the top of the headstock and due to this construction already brings a not to be underestimated weakening of the sensitive transition point to the headstock. Although this circumstance is somewhat compensated for by the more massive neck, increased caution is (as always) called for in the case of lateral impacts in this area.

The forced somewhat extended headstock accommodates 7 locking tuners from Gotoh and provides the necessary contact pressure for the three treble strings by means of a triple string tree. The vibrato system is also supplied by Gotoh and draws attention directly by the fact of silence. Silence? Yep, finally a manufacturer has read the test reports and given the total of four vibrato springs inside each a rubber sleeve, which eliminates the terrible "reverb spiral effect" of other vibrato systems. Small detail, extremely large effect! A locking system does not use the Ibanez AZ24047, instead the saddle is a Graph Tech BLACK TUSQ XL.

Pickups and circuit

For the Ibanez AZ24047, the Japanese leave their house and court supplier in terms of pickups, DiMarzio, and give preference to Seymour Duncan with three pickups of the Hyperion series. All pickups are passive and based on Alnico magnets. Two switches, an unfortunately somewhat wobbly 5-way and a mini-switch allow for quite complex sound management, which the attached picture explains comprehensively. A limp comparison would roughly divide the two modes into a Strat and an LP approach. As I said, it's limping. A master volume and master tone control round out the sound management. The string set is from D'Addario and goes by the name EXL 110-7 (.010/.013/.017/.026/.036/.046/.059).

In terms of accessories, Ibanez once again sets standards with this model that many other manufacturers could take an example from. Not only that the instrument is delivered in a high-quality plastic case, no, the highlight is the included multitool Hex Wrench MTZ11, which contains all the keys needed to adjust the instrument, like a Swiss Army knife. The manufacturing costs for such a product will probably be around 3-4 euros internally, why doesn't every manufacturer have such a tool in the functional scope. The external effect outweighs this investment many times over!

The Ibanez AZ24047 in practice

If one looks apart from the somewhat more massive dimensions of the neck, one has the feeling to hold a regular Ibanez Powerstrat in the hands. Weight, dimensions and handling are the same as always and easily fit into the personal playing experience. Thanks to a string space of 10.5mm, you don't really feel a significant difference from a fingering and touch perspective unless you analyze your fretboard from "top to bottom" (tonally from bottom to top).

The low B string adds only 5 additional bass notes to the tonal spectrum, but the fingerboard is completely different. It takes time to adjust your scales and voicings to the changed sound spectrum, it is after all a completely independent instrument. The typical metal head will possibly tune the B-string down to A, penetrate the high gain channel on the amp, fire off one power chord after the other in barre fret style and only in the rehearsal room, on stage or during the demo recordings think about where you can somehow accommodate the bass player tonally. Small tip, bassist from the band take and keyboarder purely. They can do more in terms of sound and can be placed much better in the overall sound. The lot of the heavy bass player in 2021. P.S. Only a fraction of all downtuned metal productions still have a "real, played" bass and even that can hardly ever be found in the sound.

However, it would be very unfair to limit the Ibanez AZ24047 to simple low-frequency banging. In terms of versatility, the instrument has much more to offer, which alone shows the large pickup selection. Like the RG series, the AZ series offers a very comprehensive and balanced sound from clean to all types of crunch to lead and high gain, with which you can cover a lot of playing styles. In principle, a very good instrument for a Dream Theater tribute band that has to play 2 sets of classic rock songs in the evening for the sake of catchiness (if there is such a band ;-)

The instrument is fun to play due to the very good vibration behavior and proves to be similar to the enclosed multitool in terms of flexibility. You can play everything that the "normal" sound range gives and has for the "fat department" again the low B-string in Petto, which can be brought in normal tuning also still very musical. The comparatively discreet appearance (please keep in mind the neon coloring of some Ibanez models) allows the use even in areas where the artist has to keep himself visually in the background.

Conclusion

With the Ibanez AZ24047, Japan's biggest name in electric guitars has a very good and above all flexible 7-string at the start. The instrument impresses with a very good workmanship and an unusually good vibration behavior, due to the roasted neck and the components used.

Due to the extensive circuitry, the guitar offers an excellent basis for all musical performances that require great flexibility in terms of sound, such as the always popular Top 40 cover band or but product presentations.

Oh, yes, be creative yourself is of course also very well possible with this instrument! ;-)

Additional informations:

Ibanez Guitars is a renowned Japanese guitar manufacturer that has been a prominent player in the music industry for over six decades. Known for its exceptional craftsmanship, innovative designs, and diverse range of instruments, Ibanez has become a trusted brand among musicians worldwide. This comprehensive report aims to provide an in-depth overview of the company, including its history, notable achievements, product range, manufacturing processes, and global impact.

History and Background Ibanez was founded in 1957 by Hoshino Gakki, a Japanese music company primarily involved in the distribution of sheet music and musical instruments. Initially, Ibanez focused on producing traditional Spanish classical guitars, but it soon expanded its offerings to include electric guitars, bass guitars, acoustic guitars, and other musical instruments.
In the 1960s and 1970s, Ibanez gained recognition for producing high-quality, affordable replicas of popular American electric guitars. This not only allowed beginner musicians to afford professional-grade instruments but also put Ibanez on the map as a serious competitor in the guitar market. Over the years, the company developed its own unique designs and technologies, establishing a distinct identity and loyal customer base.

Notable Achievements Ibanez has achieved several significant milestones throughout its history. One of its most notable accomplishments was the introduction of the Ibanez JEM series, a line of signature electric guitars designed in collaboration with legendary guitarist Steve Vai. These guitars showcased advanced features such as the innovative "Monkey Grip" handle, the double-locking tremolo system, and DiMarzio pickups, revolutionizing the industry and capturing the attention of guitarists worldwide.

Additionally, Ibanez made substantial contributions to the evolution of heavy metal and rock music. The brand's guitars gained popularity among metal guitarists due to their fast necks, aggressive tones, and high-performance features. Many renowned musicians, including Joe Satriani, Paul Gilbert, and John Petrucci, have collaborated with Ibanez to develop signature guitar models, further solidifying the brand's position in the rock and metal genres.
Product Range Ibanez offers a vast range of guitars and related instruments to cater to musicians of all genres and skill levels. Their product lineup includes:

Electric Guitars: Ibanez electric guitars are renowned for their versatility and playability. They offer a wide array of models, ranging from classic designs inspired by iconic instruments to cutting-edge modern instruments with advanced features.

b. Acoustic Guitars: Ibanez acoustic guitars are crafted with attention to detail, ensuring rich tones and superior playability. The company produces acoustic guitars suited for various playing styles, including steel-string acoustic, classical, and acoustic-electric models.

c. Bass Guitars: Ibanez bass guitars are highly regarded for their outstand
ing build quality, innovative designs, and exceptional tonal range. The company offers an extensive selection of bass guitars, catering to the needs of professional bassists, beginners, and everyone in between.

d. Amplifiers and Effects: In addition to guitars, Ibanez produces a range of amplifiers and effects pedals designed to enhance the tonal possibilities for guitarists. These products offer a wide range of sound-shaping capabilities, from vintage-inspired tones to modern high-gain distortion.
Manufacturing Process and Quality Control Ibanez maintains stringent quality control measures throughout the manufacturing process to ensure the highest level of craftsmanship and reliability. The company employs experienced luthiers and utilizes state-of-the-art technology to create instruments that meet the expectations of musicians worldwide.

TEST: Ibanez AD9

How the tastes of the times change! Once again, a retro flash hits my ears when I receive the Ibanez AD9 for testing. Why? OK, let's get back in our infamous time machine and whiz back in time over two decades.

In the blissful days of the nascent eighties, analog processor management was the name of the game. The burgeoning digital technology was still in its infancy, but was already revealing itself as the holy grail of the music industry in terms of promotion and pricing. My AD80 Analog Digital Delay, which I still own today, had the charm of a Fiat at that time with its maximum 300 ms delay and couldn't really cause a storm of enthusiasm within the music scene.

Duller repetitions of the original signal and 18 volts operating voltage (2x 9 volt blocks stuffed into the small housing, both empty after a few hours, no batteries commercially available and stabilized 18 volt power supplies only available via dark paths as imports) did not want to give rise to real joy.

But then (drum roll!), the I/O converters came upon us as if by magic and revealed frequency responses beyond our imagination, coupled with delay times that reached 1000 ms with the ease of a feather (drum roll over!). Tataaaa!

So little Axel was willing to invest and bought for the unimaginable price of 1.600,- DM!!! a Roland 19 inch digital delay, equipped with 8!!!! memory locations and a max. delay time of 1.800 ms (..but then only with half the frequency response, full frequency range was available up to 900 ms...). The pure madness, I was thrilled, I was who!

Back to the present. Digital technology is an ancient hat, so old that it led to a never expected price drop of about 95% for my wonderful 19 inch delay. In return, a diametrical price development was revealed concerning my "old cucumbers" in the pedal area (I also still have an old Tube Screamer ;-)). What I have not already gotten everything in offers for my old Tretminen from the house Ibanez. Suddenly all the then so low valued features were absolutely hip! I can't help but smile mischievously....

As I said, now the little fellow has caught up with me again, let's see if he can reproduce his grandfather's (now highly appreciated) idiosyncrasies tonally.


Construction:

They've already nailed the original color tone at Ibanez, though the adjective "beautiful" is in the eye of the beholder. I found the telecom-heavy color scheme honestly always a bit "exhausting", but hey, you should see my old Ibanez Flanger in yellow, you can only look at it with sunglasses, so strictly colored it comes ;-)

But that's it with the original replica, everything else was subjected to a maturation process and changed accordingly. The housing now has the same dimensions as all pedals from this Ibanez series, that is, it was slightly widened. In addition, a more massive steel housing was installed, which is significantly more stable than the old alloy, but also brings at least 50% more weight on the scale.

Three potentiometers control the ranges "Delay Time" (10 ms - 300 ms), "Delay Level" and "Repeat". The functions of the knobs are self-explanatory. All potentiometers are quite stiff, which has the advantage that the selected setting cannot be changed so quickly by an unintentional touch. Since these devices are literally "trampled underfoot", heavy-duty potentiometers on pedals are a real plus.

The AD9 is optionally operated with a 9V block or an appropriate power supply, gone is the search for the then factually non-existent 18V counterpart (which also became very hot during operation).

While the AD80 was still equipped with the (at that time very popular) noise-free FET switch, the AD9 is equipped with a (nowadays very popular) true bypass, whose switching process is also noise-free. Whether one prefers a bypass of the signal around the processor electronics, or as in former times in the middle, is up to everyone. Of course, the sound is changed when the signal is routed through, which in turn has its sonic appeal in terms of authenticity. To each his own....

Another change is the stereo layout of the AD9 with which two amplifiers can be controlled (Dry / Wet). Very nicely suited for spatial slapbacks.



Practice:

The first listening impressions after completed wiring provide another retro flash for me. Yes, this is analog! Nice and musty, a bit wooden and with the slightly musty charm of a rehearsal room that has already had a water ingress and, thanks to non-existent cross-ventilation, still has a nimble armada of fungal spores.

Not a high-gloss digital blast, but a very warm, unobtrusive room effect that is second to none. The aim is not to reproduce a natural echo as faithfully as possible, as it occurs in nature, but rather to create a very own signal repetition, condensed by the built-in compander, which integrates itself into the personal playing.

In direct A/B comparison to the AD80, the sound of the AD9 seems "tidier" and "clearer". This makes for better localization possibilities, but also has a bit less charm than the "rumbling Neanderthal" from the late seventies. There is always something unpredictable about the AD80's signal processing, which is more mulish and uneven. Depending on personal taste, this has advantages or disadvantages.

As before, short slapbacks are the AD9's specialty. Especially for sixties music or rock'n'roll attitudes an analog delay is suited like no other device. A direct digital competitor stinks here on the full line, too clean and true to the original the signal repetition sounds from the speakers and takes the retro aspect out of the music.

A very special peculiarity has been robbed from the AD9 in comparison to the AD80, or let's better say, a protective circuit has been built in. The AD80 could turn into a real hell machine, if you didn't pay attention to the values of the repeat and blend controls.

If both values exceeded about the 3 o'clock position, the AD80 slowly cranked up with the repeats and continuously increased the volume until it ended in a completely overdriven, infernally loud feedback loop, which could only be deactivated by pressing the bypass switch. For experimental music certainly a real gain, but for occidental sound culture rather an imposition.

I will never forget one of my shows where I reproduced three different sounds with three different amps. One amp per sound, thick pants everywhere you look, those were the days, my friend ;-)). The AD80 was connected to one amp and due to a setting error it had swung up quite a bit, i.e. the amp was being driven at full load, but I couldn't hear that because I had switched to another amp at that point. In the middle of a soulful ballad, I had to change the sound and I was greeted by a crashing and whistling soundclaster that is unparalleled. It was hell!


Conclusion:

The AD9 does exactly what it was built to do. It produces a very warm, musical, stand-alone delay that has become rare in this day and age of digital delays.

A true repilka of its grandfather, the AD80, it is not, for that it lacks the "rowdy", but it shines with higher practicality, better handling and higher operational reliability.

A real treat on the floorboard!

Additional information:

- Ibanez is a renowned guitar manufacturer that has established itself as a prominent player in the music industry. With a rich history spanning several decades, the company has consistently delivered high-quality instruments known for their exceptional craftsmanship, innovative designs, and versatility. This comprehensive report aims to provide an in-depth analysis of Ibanez, covering its history, product range, technological advancements, notable collaborations, and overall impact on the guitar industry.

History and Background: Ibanez was founded in Nagoya, Japan, in 1908 by Hoshino Gakki as a sheet music store. The company ventured into guitar production in the 1930s, manufacturing Spanish-style acoustic guitars. Throughout the mid-20th century, Ibanez gained popularity by producing replicas of well-known guitar models from renowned American manufacturers, eventually carving a niche for itself in the global market.

Product Range and Innovation: Ibanez offers a wide range of guitars, catering to diverse musical styles and player preferences. Their product line includes electric guitars, acoustic guitars, bass guitars, and classical guitars. Ibanez electric guitars are particularly renowned for their sleek designs, comfortable playability, and exceptional tone. The company is known for its innovative features, such as the Ibanez Edge and Lo-Pro Edge tremolo systems, the versatile switching system known as the "Super Switch," and the active electronics found in their premium models.

Technological Advancements: Ibanez has consistently pushed the boundaries of guitar technology, introducing several groundbreaking features over the years. They were among the pioneers of the extended range guitar, introducing the legendary Ibanez Universe in collaboration with guitarist Steve Vai. Ibanez also played a significant role in the development of the seven-string guitar, making it accessible to a wider audience. Furthermore, the company has been at the forefront of ergonomic guitar design, ensuring player comfort and playability through innovations such as the Ibanez RG body shape and thin, fast neck profiles.

Collaborations with Renowned Artists: Ibanez has built strong relationships with influential musicians across various genres. These collaborations have resulted in signature models that reflect the unique playing styles and preferences of the artists. Some notable artists associated with Ibanez include Steve Vai, Joe Satriani, Paul Gilbert, John Petrucci, Tosin Abasi, and George Benson. These collaborations have not only enhanced Ibanez's reputation but have also contributed to the evolution of guitar playing techniques and musical expression.

Impact on the Guitar Industry: Ibanez has had a profound impact on the guitar industry, influencing both musicians and manufacturers alike. The company's commitment to quality control, affordability, and innovative designs has made high-quality instruments more accessible to aspiring musicians worldwide. Ibanez's influence is evident in various genres, including rock, metal, jazz, and fusion, with many renowned guitarists opting for Ibanez guitars due to their reliability, playability, and tonal versatility.

Manufacturing Process and Quality Control: Ibanez maintains high manufacturing standards to ensure consistent quality across its product range. The company utilizes a combination of traditional craftsmanship and modern manufacturing techniques to achieve the desired results. Each instrument undergoes rigorous quality control measures, including thorough inspections, setup adjustments, and meticulous attention to detail. This commitment to quality has earned Ibanez a reputation for producing instruments that offer exceptional playability and tonal characteristics.

Customer Satisfaction and Support: Ibanez places great emphasis on customer satisfaction and provides excellent support services. The company offers warranties on its instruments, ensuring peace of mind for customers. Ibanez also has an extensive network of authorized service centers and dealers worldwide, ensuring easy access to repairs, maintenance,

- Digital delay pedals are indispensable tools in the arsenal of guitarists, allowing for the creation of captivating and atmospheric sounds. As a fundamental effect in the world of guitar pedals, digital delay units offer a wide range of functionalities, from simple repeats to complex rhythmic patterns. This comprehensive report aims to provide a thorough analysis of digital delay pedals, covering their history, technical features, popular models, applications in different music genres, and notable advancements in recent years.
History and Development: The history of delay effects can be traced back to the 1940s when tape-based delay units were first introduced. However, it was not until the advent of digital technology in the late 1970s that digital delay pedals became commercially available. Early digital delay units utilized digital signal processing (DSP) to sample and repeat the incoming guitar signal, offering greater control and flexibility compared to their analog counterparts. Since then, digital delay pedals have undergone significant advancements in terms of sound quality, features, and processing capabilities.

Technical Features: Digital delay pedals employ digital signal processing algorithms to capture and reproduce the guitar signal with precise control over delay time, feedback, and modulation. These pedals typically offer a wide range of delay time settings, often extending from milliseconds to several seconds. Many digital delay units also incorporate tap tempo functionality, allowing guitarists to synchronize the delay time with the tempo of their performance. Other common features include modulation effects (such as chorus or flanger), tone shaping controls, and stereo outputs for enhanced spatial effects.

Popular Models and Notable Advancements: The market is flooded with a plethora of digital delay pedals, each offering its own unique set of features and sonic capabilities. Some popular models include the Boss DD-7, TC Electronic Flashback, Strymon Timeline, Eventide TimeFactor, and Line 6 DL4. In recent years, manufacturers have focused on enhancing the sound quality and versatility of digital delay pedals. This has led to the introduction of advanced algorithms, improved analog-to-digital and digital-to-analog converters, increased memory for storing presets, and the integration of MIDI and USB connectivity for seamless integration with other musical equipment and computer-based setups.

Applications in Different Music Genres: Digital delay pedals find applications across various music genres due to their versatility and ability to add depth and texture to guitar sounds. In rock and pop music, digital delay is often used to create spacious and ambient effects, as well as rhythmic patterns. In genres like shoegaze and post-rock, digital delay pedals are frequently employed to achieve cascading walls of sound and ethereal atmospheres. Additionally, in experimental and electronic music, digital delay units serve as powerful tools for manipulating and transforming guitar sounds in real-time.
Creative Uses and Techniques: Digital delay pedals offer a myriad of creative possibilities for guitarists. Some popular techniques include:
Slapback: Setting the delay time to a short duration (around 50-150ms) to create a vintage-style slapback echo effect commonly heard in rockabilly and old-school country music.

Infinite Feedback: Increasing the feedback control to create sustained, self-oscillating sounds that can be used for ambient textures or as a sonic backdrop for improvisation.
Rhythmic Patterns: Utilizing the tap tempo functionality or preset rhythmic patterns to generate complex delay patterns that synchronize with the music, adding a rhythmic element to the guitar sound.
Reverse Delay: Utilizing the reverse delay feature to produce backward-sounding repeats, creating surreal and otherworldly textures.

TEST: Hughes & Kettner Era 1

With hardly any other instrument are joy and sorrow as close together as with the acoustic guitar. On the one hand, the instrument is bursting with independence in terms of transport and flexibility, just think of the countless bed-in-the-cornfield style possibilities regarding singer/songwriter, on the other hand, you can pack your bag when the volume bullies of the electric guitar or drum faction unpack their potency.

Only the feeding of the monitor system including all the disadvantages such as the dependence on the monitor man and the eternal fight against the low-frequency feedback was until recently the measure of all things to get an ear on a stage. As far as I know, almost 30 years ago it was Trace Elliot, among others, who heard the plea of acoustic guitar players and developed an acoustic combo similar to an electric guitar combo, which was of high quality, but also heavy and expensive.

As expected, it was a bass amp manufacturer who had an open ear for acoustic guitarists, since the electric guitar amps and especially their cabinets with their essential treble clipping by the 12 inch speakers were anything but open for a specialized amp for acoustic instruments. Quote: "The wimps still have their wedge solution", see above, a real drama.

Thanks to Class-D power amplifiers and state-of-the-art manufacturing methods, the middle ages of acoustic amplifier technology are long behind us and have been taken over in recent times, especially by manufacturers who primarily drew attention to themselves through their success in the electric guitar sector. The Saarland-based manufacturer Hughes & Kettner can now also join this merry band, which with the German-made Hughes & Kettner Era 1 releases an in many respects extraordinary amplifier onto the market, or should we better speak of a miniature P.A.?


Design and construction

In order to give the Hughes & Kettner Era 1 special treatment during its development, the company secured the services of acoustic specialist Michael Eisenmann, who was a leader at the renowned acoustic amplifier manufacturer AER.

Even if one sees the Hughes & Kettner Era 1 primarily as an amplifier for an acoustic guitar with a built-in pickup, one should be aware from the outset that the combination of a 250 watt power amplifier with a 1 inch dome tweeter / 8 inch bass speaker can also amplify other acoustic instruments such as accordion, string instruments or zither. Due to the wideband playback, keyboards or vocal microphones can also be connected, which, due to the four-channel mixer section, quickly turns the amplifier into a typical "vocal system".

Conceptually, the Hughes & Kettner Era 1 has 2 identical channels, which, in addition to a gain control and a 3-band tone control, also have an FX selector for the internally installed 16-fold FX device along with FX control. An EQ switch can be used to change the center frequencies of the tone controls, with Mode 1 being designed more for steel string instruments and Mode 2 more for nylon string instruments. Similarly, Mode 1 is more preferable for male voices, Mode 2 for female voices. The exact frequency processing results as follows: Bass control 80 Hz (Mode 2 at 110 Hz) to +/-10 dB, Treble at 10 kHz (Mode 2 at 12 kHz) to +/-10 dB, Mid control at 700 Hz (Mode 2 at 1200 Hz) to +/- 6 dB.

Furthermore, each channel has a clip indicator, a shape switch, which in typical loudness style slightly lowers the mids and emphasizes the bass and treble, and a mute switch, which mutes the individual channels if necessary. This has particular advantages if you are on the road with 2 guitars and want to prevent the second guitar from resonating during the performance. The switching action can also be completed using a foot switch. Hughes & Kettner offers the FS-2 for this purpose, but it is not included.

All these controls and switches are located next to volume control for channel 3 and a master notch and master volume control recessed downwards on the top of the housing for transport reasons. All inputs and outputs of the Hughes & Kettner Era 1 are located on the rear of the housing.

While channels 1 and 2 are fed via lockable combo jacks (XLR / TRS), whereby 48 V phantom power can be optionally connected and thus designed for the amplification of acoustic instruments and microphones, channel 3 (mini stereo jack) and channel 4 (TRS) are responsible for feeding MP3 players or high-level instruments. Both channels nevertheless have a separate volume control.

As a circuit trick one has to see the FX Send over channel 4, with which an external FX processor can be used. In this case, the internal FX processor is disabled and the FX knob controls the external FX device. Attention, in this case set the FX portion to 100% for the external processor! In order to be able to forward the incoming signals to a P.A., the Hughes & Kettner Era 1 has a DI Out in XLR form, which can be tapped either before or after the tone control and has a ground lift.

Two other special features make the Hughes & Kettner Era 1 stand out from the competition. First, the amp has an optical output and an auto sleep function. The optical S/PDIF Toslink allows direct access to the interface of the computer and, as an optical fiber, is known to be insensitive to ground loops of all kinds. The Auto Sleep switch takes over the order according to 1275/2008/EG for the energy saving regulation for electronic devices manufactured in Germany, where the device has to deactivate after a certain time in sleep mode. This can be switched off here if required.

Case

With dimensions (W x H x D): 351 x 285 x 290 mm and a weight of just over 10 kilograms, the Hughes & Kettner Era 1 is very easy to transport thanks to the carrying handle attached to the top of the case. There are no edge protectors in the classic sense, but the padded cover absorbs most of the external impact. It also accommodates the included slider, which angles the combo between 25 - 35 degrees as desired. A 35 mm flange has also been thought of for high stand operation.

Practice

In order to be able to evaluate the Hughes & Kettner Era 1 neutrally, I first make a completely neutral setting, that is, both the tone control of the amplifier, as well as the tone control of the Fishman preamp on the test guitar Framus Legacy FD 28, are at 0 dB. First impression, the amp sounds very balanced and significantly louder than the very clear dimensions of the cabinet would suggest. Of course, there remain the comparatively harsh mids and bony highs that just about every piezo pickup in the bridge area gives off, but that's not the amp's fault.

I'll continue to leave the guitar's tone control out of it, which, by the way, won't change during the course of the test. As it turns out, this amp really doesn't need EQ support from the guitar; on the contrary, it interferes rather than helps, since the tone controls of acoustic guitar preamps tend to be designed for typical wedge operation in their center frequencies. In the studio, you should record a guitar with a high-quality condenser microphone anyway.

The tone control of the Hughes & Kettner Era 1 is truly very discreet and practical. No level jumps and especially no over- and under-presence with +/- 15 dB or more, which no one needs in live performance anyway and which only make for a harsh or thin sound. Rather, the treble control is particularly pleasing, which helps the so important "sparkle" area of the guitar on the jump. The Shape switch undoubtedly crystallizes as a highlight. After activation, the exact frequency curve is formed, which offers the guitar the necessary assertiveness within a band context.

In general, it seems that the Hughes & Kettner Era 1 actually only changes the guitar's volume, the instrument is spared unpleasant sound bending. The basic sound of the instrument is preserved and is simply raised and improved in terms of volume. Quite outstanding.


Conclusion

With the Hughes & Kettner Era 1, the Saarland-based company treads new ground at the highest level. The amplifier shines with an excellent basic sound, combined with practical detail solutions and the best workmanship.

Anyone looking for a small amplifier with a very big sound should definitely shortlist this amplifier.

Be sure to test it!

Additional informations:

- Hughes & Kettner is a well-respected German company that designs and manufactures high-quality guitar amplifiers and effects pedals for professional musicians and guitar enthusiasts around the world. The company was founded in 1984 by a group of experienced engineers and musicians who were passionate about creating innovative, reliable, and great-sounding guitar gear.

One of the company's core values is to listen to the needs and feedback of their customers, which has led to a continuous process of research and development. As a result, Hughes & Kettner has earned a reputation for producing some of the most advanced and feature-rich amplifiers on the market, with a wide range of products that cater to players of all styles and skill levels.

The company's flagship product line is the TriAmp series, which includes the TriAmp Mark 3, TriAmp MK II, and the TriAmp MK I. These amps are known for their versatility and ability to produce a wide range of tones, from crystal-clear clean sounds to heavy distortion. The TriAmp series also features a unique three-channel preamp design, which allows players to switch between different gain stages and EQ settings on the fly.
Hughes & Kettner also produces a range of other high-quality amplifiers, including the GrandMeister Deluxe, Black Spirit 200, and TubeMeister Deluxe. These amps are designed with modern features such as built-in effects, wireless connectivity, and power scaling, which allows players to adjust the output power of the amp to suit their playing environment.

In addition to amplifiers, Hughes & Kettner also produces a range of effects pedals, including the Replex tape echo simulator, Tube Factor overdrive pedal, and the Rotosphere rotary speaker simulator. These pedals are built with the same attention to detail and quality as the company's amplifiers, and are designed to provide guitar players with a range of unique tonal options.

One of the unique features of Hughes & Kettner products is the ability to connect to the company's proprietary software, which allows players to customize and save their amp and pedal settings. The software also provides access to a range of additional features, such as remote control and firmware updates.

Hughes & Kettner products are used by a range of high-profile artists, including Alex Lifeson of Rush, Paul Gilbert, and Doug Aldrich. The company's commitment to quality, innovation, and customer satisfaction has helped them establish a loyal following among guitar players around the world.

In conclusion, Hughes & Kettner is a highly respected and innovative company that produces high-quality guitar amplifiers and effects pedals. Their commitment to customer satisfaction and constant innovation has helped them establish a reputation as one of the premier guitar gear manufacturers in the world. Whether you are a professional musician or a guitar enthusiast, Hughes & Kettner has something to offer that will enhance your playing experience.

- Acoustic guitar amplifiers are designed to enhance the sound of acoustic guitars by amplifying the natural tone of the instrument while preserving its warmth and character. They are commonly used by guitarists who perform in venues that require amplification, such as coffeehouses, small clubs, and concert halls. In this report, we will explore the features and benefits of acoustic guitar amplifiers.

One of the primary features of acoustic guitar amplifiers is their ability to accurately reproduce the natural sound of the instrument. This is achieved through the use of specialized speaker systems and preamps that are designed to capture and amplify the delicate nuances of acoustic guitar playing. Some models also feature built-in effects such as reverb and chorus, which can further enhance the sound of the guitar.

Acoustic guitar amplifiers come in a range of sizes and power ratings, with smaller models designed for practice and intimate performances, while larger models are capable of filling large concert halls. They also feature a range of inputs and outputs, allowing them to be used with a variety of instruments and equipment, such as microphones and external effects processors.

One of the key benefits of acoustic guitar amplifiers is their portability. Many models are designed to be compact and lightweight, making them easy to transport to gigs and rehearsals. Some models also feature battery power options, which makes them ideal for outdoor performances or locations where power outlets are not readily available.
Acoustic guitar amplifiers are also versatile in their applications. They can be used in a range of musical genres, from folk and country to jazz and rock. They are also suitable for use with a variety of acoustic instruments, including guitars, violins, and mandolins.
When selecting an acoustic guitar amplifier, it is important to consider the wattage and size of the unit, as well as its features and connectivity options. Additionally, it is important to choose an amplifier that complements the natural sound of your instrument, rather than one that adds unnecessary coloration or distortion.

In conclusion, acoustic guitar amplifiers are a valuable tool for guitarists who perform in a range of settings. They offer the ability to amplify and enhance the natural sound of acoustic instruments while preserving their character and warmth. With a range of features and benefits, acoustic guitar amplifiers are an essential piece of equipment for any musician looking to take their performances to the next level.

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.